Tesis sobre el tema "Cinéma et propagande – Espagne"
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Berthier, Nancy. "Cinéma et propagande en Espagne sous Franco : étude de trois cas : "Raza", "Franco ese hombre" et "El último caido", de José Luis Sáenz de Heredia". Paris 4, 1994. http://www.theses.fr/1994PA040280.
This doctor's degree wants to consider the question of propaganda cinema in Spain under Franco with the studies of three peculiar examples: Raza (1941), Franco ese hombre (1964) and El último caido (1975 -unfinished-), films realized by José Luis Sáenz de Heredia, generally considered as the "movie director of the government". Those three films are to be viewed with their own stories that make them unique but at the same time, we will look at them in a wider perspective that exceeds the particular history in order to find the history of the cinema under Franco and further the history of franquism itself
Bernaldo, Lopez Cristina. "Regards documentaires sur la folie dans le cinéma espagnol, du franquisme à la Transition démocratique". Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080111.
The aim of this work is to present an intersectional study between psychiatry and documentary film during the Francoist dictatorship and the democratic transition. The end of the Spanish Civil War marks the abandonment of the psychiatric policies applied during the previous historical period and the beginning of new principles based on controlling university chairs and publications and dissolving the treatment policies previously carried out by psychiatric hospitals. Social awareness of mental health issues only arose in Spain at the beginning of the 1970s when a new generation of psychiatrists engaged in a series of public protests in the hope of changing the institution of psychiatry includingits theoretical foundations as well as its practical applications. Meanwhile, during the dictatorship, documentary films were almost exclusively controlled by the NO-DO, the Noticiarios y Documentales, an entity responsible for producing audiovisual propaganda for the regime. Upon Franco’s death, documentary films became the springboard for uncovering certain veiled aspects of Spanishsociety, such as insanity, that, until then, had been forbidden or hidden from the public. Through the study of these two concepts, our work hopes to identify the specific message of Francoist psychiatry and understand how it was portrayed via nonfictional communication channels more concretely in documentary films produced by NO-DO during the dictatorship , before we examine the interest given to psychiatric matters by documentary cinema during the Spanish democratic transition and to what extent it challenged the scientific and therapeutic order established during the previous period. Widely-established as an important instrument in the shaping of history , we consider studying documentary film a fundamental tool in shining a light on different unknown aspects of history, and in this case, those related to mental illness
Fourrel, de Frettes Cécile. "L'évolution du rapport à l'image de Vicente Blasco Ibáñez (1908-1928)". Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20081.
In 1916, the Valencia-born Spanish writer V. Blasco Ibáñez (1867-1928) started a career in cinema and shot Sangre y arena (Blood and Sand), a film adapted from his 1908 novel. Shortly after, the author left for Latin America where he stopped writing novels until 1913. This hiatus, considered by literary critics to be the result of a lack of inspiration, brought about an opening to new artistic ventures in which the image held center stage. Then, during World War I, the writer designed a quantity of film projects; in terms of writing, these coincided with the elaboration of the "cinematographic novel". Finally, the last years of his life were devoted to writing for Hollywood (scenarios, novels, stories). Film studies have recently looked into the Blasquian contribution to the history of Spanish cinematography, but literary critics have scarcely taken an interest in the aesthetic evolution entailed by the novelist's orientation towards the big screen. Moreover, if the Hollywood adaptations of his stories are well-known, the relation of the writer to the cinematography of the WWI era is overlooked despite the fact that it is crucial to the understanding of the evolution of Blasco Ibáñez's writing. In the same way, his relation to the production line in Hollywood should be clarified in the light of unpublished documents. This thesis, based on the analysis of textual and iconographic elements found in French, Spanish and American collections, proposes to throw light on the way in which the advent of the new cinematographic medium may have motivated V. Blasco Ibáñez to rethink his novel writing practice and the distribution of his narratives
En 1916, el escritor español de origen valenciano, V. Blasco Ibáñez (1867-1928), se lanzó al cine y adaptó Sangre y arena, novela publicada en 1908, poco antes de su salida a América Latina donde interrumpió su actividad novelística hasta 1913. Este período interpretado por la crítica literaria como una carencia de inspiración resultó ser una apertura a nuevas vías artísticas en que la imagen ocupaba un lugar central. Luego, durante la Gran Guerra, el escritor concibió numerosos proyectos fílmicos que coincidieron, al nivel de la escritura, con la elaboración de la “novela cinematográfica”. Por fin, se dedicó, en los últimos años de su existencia, a la redacción de historias para el cine hollywoodiense (guiones, novelas, relatos).Los estudios fílmicos se interesaron recientemente por la aportación blasquiana a la historia del cine español; en cambio, la crítica literaria no se preocupó demasiado de la evolución estética que suponía tal orientación del novelista hacia la pantalla. Además, se sabe mucho de las adaptaciones hollywoodienses de sus relatos, pero muy poco de la relación del escritor con el cine de la Gran Guerra ; ahora bien, el conocimiento de este período es crucial para entender la evolución de la escritura blasquiana; lo mismo, hace falta profundizar su vinculación con la cadena de producción hollywoodiense, a la luz de documentos inéditos.Esta tesis – fundada en el análisis de elementos textuales e iconográficos sacados de fondos francés, español y americano – pretende dilucidar en qué medida la llegada del nuevo medio cinematográfico pudo llevar a V. Blasco Ibáñez a reconsiderar su forma de escribir novelas y de difundir historias
Jaime, Antoine. "Littérature et cinéma en Espagne (1975-1995)". Toulouse 2, 1998. http://www.theses.fr/1998TOU20061.
The aesthetic relations beetween literature and cinema are set into their economical, industrial and commercial dimensions; they are analysed from the creator's point of view: how the literary expression is conveyed on the screen, from rhetorical figures up to emotional feelings and ideas. Examples taken from the Spanish production. A method to analyse works, applicable to both arts, and a typology of recreations (films from pre-existing texts) are proposed. The review of the recreations in Spain between 1975 and 1995, combined with the analysis of signficant works shows the influence of literature on the cinema in the evolution of the latter towards subtle writing technics. Filmography of the Spanish recreations (cinema and television) for each of the twenty years. Bibliography. Index of works, authors and film-directors
Pu, Hong. "l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70". Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30007.
The thesis work develops the long history of Chinese animated cinema over the period from 1920 to 1977, from the beginning of the 20th century until the end of the great proletarian cultural revolution. The subject of the thesis is: ideology, propaganda and animated Chinese cinema between the years 20-70. The problem is oriented towards the Chinese animated cinema which is integrated in the propaganda, the ideology as well as the politics of the power in different times, according to an aesthetic and artistic evolution. Since the first generations of filmmakers who permeate the highest political direction in their cinematographic creations. So I worked on the different masterpieces of each genre of Chinese animation and the work of their creators.The research was written in three parts according to a demarcation of the history of China, which corresponds to the important historical moments and societal stakes in China. : the embryonic creation of Chinese animated cinema between the 20s and the 40s with the aim of describing the process leading to the birth of animated Chinese cinema and the first functions that have been made, as a propaganda weapon as well as serve the ideology of the Communist Party involved in Chinese animation during World War and Civil War. During this period, there were several black-and-white feature films made and produced, including the first feature film, Black and White, The Iron Princess in 1941.After the second world war, the Chinese animated cinema was subjected to the only ideology omnipresence in China - Maoism - during the 50s and 70s. It reached its apogee in accompaniment of a strong aesthetic and artisanal creation of a generation of filmmakers still irreplaceable today. There were new genres of animated Chinese cinema that appeared: as the first color animation, the paper cut, the animated wash, the first full-length feature in color - the monkey king. All animations are produced by the SHANGHAI art studio. Although the Shanghai Art Studio then became the production factory of the Red Guards and the Chinese animation cinema was forced to stop because of the social storm of the Cultural Revolution.The thesis work concludes with the end of the great cultural revolution, and the death of President Mao, with topics such as: the rehabilitation of intellectuals, the gang of four, propaganda, idolatry and paradoxical images with dozens of revolutionary animations reflecting the social situation of China.I completed the last part of the thesis with the difficulties of work, marriage, maternity leave and work
Colin, Christelle. "Identité et mémoire dans le cinéma actuel sur la Galice (1989-2006)". Toulouse 2, 2007. http://www.theses.fr/2007TOU20086.
This thesis treats the identity question in the cinema (of fiction) made in Galicia since 1989. To release the forms and the expressions of the identity in the imaginary filmic one, we were centered on a recurring axis in this cinema still very young: memory and images of the past. By supporting us on the concept of narrative identity proposed by Paul Ricoeur we highlighted the various identity strategies installation in the filmic texts. In a first part, the evocation of a folk memory consisted elements such as the territory, the traditions and the language proposes a reading inspired of a macrotext identity exit of the tradition galleguist. In a second part, a problematic relation with the past based on the disorders of the memory the lapse of memory and amnesia characterize a Galician character in crisis which rejects the first identity model suggested by films of the previous period. A third part finally highlights the formulation of an ideal identity founded on the recovery of the memory of the former heroes of the republic and the galleguism or more contemporary heroes. The memory in these filmic representations reveals more one problematic identity that the claim of a strong Galician identity
Domínguez, Arribas Javier. "L'ennemi judéo-maçonnique dans la propagande franquiste (1936-1945)". Paris, EHESS, 2006. http://www.theses.fr/2006EHES0103.
This thesis is devoted to anti-Semitic and anti-Masonic propaganda under the first period of the Franco regime (1936-1945). The first part studies two preliminary subjects that are essential in order to correctly understand the topic : on the one hand, the anti-Semitic and anti-Masonic tradition that later inspired Franco's propaganda and, on the other hand, Franco's attitude towards Jews and masons. The second and the third parts pay attention respectively to the period of the Spanish Civil War and to that of the Second World War. In each of these two parts, one chapter focuses on the role of the press in the transmission of anti-Semitic and anti-Masonic ideas : another chapter focuses on the most important publishing house of each period (as far as the dissemination of these ideas is concerned). The fourth and last part is the result of the application of an interpretative scheme based on the following question : what was the purpose of Franco's propaganda about Jews and masons ?che
Chueca, Cuartero Miguel. ""propagande et légitimation du coup d'état du 18 juillet 1936" (le mythe du complot communiste)". Paris 10, 1997. http://www.theses.fr/1997PA100076.
Oms, Marcel. "La guerre d'Espagne vue par le cinéma : mythes et réalités". Montpellier 3, 1986. http://www.theses.fr/1986MON30006.
Kronfol, Ramla. "Représentations et quête identitaires dans le cinéma palestinien de 1967 à nos jours". Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100001.
The aim of this dissertation is to reveal and analyze the forms of national and individual representation of identity that emerge from Palestinian films made after the Arab political and military defeat of 1967. The corpus of this research consists of works from different cinematic movements, specifically, films by Bourhane Alaouié, Annemarie Jacir, Michel Khleifi, Mai Masri and Elia Suleiman. The shared desire of testimony links documentary and fictional forms as well as propaganda and militant works from the beginnings of Palestinian cinema (Moustapha Abou Ali, Bourhane Alaouié) and films that assert a subjective point of view (Michel Khleifi, Liana Badr, Elia Suleiman) and reflect, voluntarily or involuntarily, redefinitions of identity stemming from a situation of war or one related to war. What place does cinema occupy in the definition and modeling of identities in the case of Palestine? From this analysis, a certain typology of themes of identity emerges, allowing us to examine modes of representation, of fixation, and of deconstruction and reconstruction. The goal of this dissertation is to explore cinematic devices that put into play time, in terms of memory and identity, and places of identification as they are projected in a real or fictional space. Throughout this work, we seek to point out processes of reparation regarding traumatic fixations in a cinema of war that is constantly questioning itself
Castanon, Brice. "Renouveau du documentaire en Espagne et nouveau réalisme catalan : le Master en Documentaire de création de l'Université Pompeu Fabra (Barcelone)". Thesis, Reims, 2011. http://www.theses.fr/2011REIML004/document.
As in others European countries, at the end of the 9O's, documentary experiences a new boom in Spain. The Master in Creative documentary of the Pompeu Fabra University takes part to the renewal and is one the main originator. This training center, where a lot of movies are developed, is the origin of a new world of art and promotes the cooperation between producers, creators, technicians and cultural coordinators. In this thesis, we wanted to give an account of the process that considers both local scale (a University) and the global cultural panorama. In a country where "creative documentary" doesn't success in elaborating a tradition, we wanted to question the transmission between filmmakers of different generations in the UPF and, at the same time, the transmission of the concept of "creative documentary", between filmmakers, producers, programm planners. broadcasters and spectators. In these pages, we analyze movies of filmmakers as Jean-Louis Comolli, Joaquin Jorda, José Luis Guerin, lsaki Lacuesta, Ricardo Iscar, Mercedes Alvarez, Xavier Montanyà, Ariadna Pujol, Lupe Pérez and Marc Recha
Fernandez, José Antonio. "Cinéma et guerre civile au pays basque (1936-1939)". Nantes, 2006. http://www.theses.fr/2006NANT3041.
The doctoral thesis Cinema and the Spanish civil war in the Basque Country provides an analysis of all the films related to this conflict which have been produced throughout the last seventy years. The war that took place in the Basque lands had its own peculiarities which have been made visible in all the related cinema products. Franco’s propaganda was aggressive, full of rage, insulting. It was focused not only on the military victories of the fascists or the glorifying scenes about the Caudillo, but also on the humiliation of the enemies. The Basque nationalist propaganda appeared when the war was almost finished. The best documentary at this respect is Guernika (1937) carried out in Paris, which entailed a considerable effort to let the Europeans know about the nazi bombing of the Basque city. When war was over, the screens remained almost silent. Nevertheless, after Franco’s dictatorship they became fully recovered remembrances of the war, usually to link those experiences with the present. Thus, all films about the Spanish Civil War in the Basque Country are closely related to the times when they were filmed
Laborderie, Pascal. "Le film-parabole dans les Offices du « cinéma éducateur » en France dans l'entre-deux-guerres : histoire d'un cinéma de propagande et étude d'un genre cinématographique". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030069.
This study explains why and how the popular State Education contributed to the emergence of a genre, called “parable film”, within the context of a propaganda cinema in France between the interwar years. Competing with the charities of the Employers and of the Church, the teachers of the State Education took in hand the leisure of the working-class and farming-class families within associations federated by the Ligue de l’enseignement. Offices of the “educational cinema” constituted a vast network which did the propaganda of French culture and of the political ideas of the Cartel des gauches, and then of the Popular Front [part I]. With their entertaining and educational aims, these offices favoured narrative and argumentative non-fiction feature films, such as those directed by Jean Benoit-Lévy. Those “parable films” are studied according to a method of analysis which offers theoretical viewpoints on the study of the genres [! part II]. Eventually, this work consists in leading in a complementary way history of “educational cinema” and the study of the “parable film” genre in order to consider how a sociocultural context popular State Education cinema and a mode of production of meaning the parable are linked with propaganda aims
Fournier, Caroline. "La prolifération des versions multiples dans le cinéma en Espagne de 1955 à 1967". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030011.
The proliferation of multiple versions in cinema in Spain from 1955 to 1967 is due to a complexsituation originating from the conditions of production and distribution, a legislation that constantlyevolved in order to control the sector more efficiently and the emergence of dissenting voices amongcreators themselves.The first decisive factor is the setting up of administrative organs of control, among whichcensorship proves to be the most straightforward instrument, although other significant mechanismssuch as licensing or protectionism are equally important: their aim is to impose upon cinema theideology of the Franco regime and Catholic Church. However, the role of the industry in this systematicpractice should not be underestimated: a significant part is played by the forms of production,distribution and diffusion, the emergence of new trends and also technical difficulties.After a general analysis of these closely interconnected factors, a sample of nine case studiesprovides a portrait of film plurality in Spain as it is undergoing a period of hope and timid opening.Through an in‐depth study of the complicated creation of films representative of the main genres andcurrents as well as the different stages in the history of Spanish cinema from 1955 to 1967, it appearsthat the interdependency of the State and the industry is the breeding ground for a systematic use ofmultiple versions, whether deliberate or imposed
Rivas, Roblin Sonia María. "Aspects comiques de la comédie cinématographique espagnole des années 1980 et 1990". Toulouse 2, 1999. http://www.theses.fr/1999TOU20029.
Comparative study of Spanish comic films of the eighties and nineties. Relationships of picaresque literature and Spanish comic theater with filmic comedy. Historical, political, cultural, economical and industrial evolution of Spanih comic cinema from Franco's time comedy to the years 1990. Main themes of the films analisis of the Spanih comedy of the eighties and nineties influences and relationships of cinema on contemporay society
Berzosa, Camacho Alberto. "La sexualité comme arme politique. Cinéma homosexuel subversif en Espagne dans les années soixante-dix et quatre-vingts". Thesis, Reims, 2012. http://www.theses.fr/2012REIML013/document.
This Thesis proposes the study of Subversive Homosexual Films in Spain during the decades of the Seventies and Eighties. Thus raising a new conematographic category within specialized Spanish historiography. This type of cinema is composed of gay and lesbian themed films which transmit discourses aimed to transgress heteronormativity using different ways of externalizing homosexuality; presenting alternatives gender and sexual identities or by raising messages that challenge social, cultural and politicians taboos towards sexuality. Therefore, for the study of this new filmic categoryin depth; it is essential to analyze the political and cultural contexts in which the history of homosexuality was developed during these decades
Denis, Sébastien. "L' État, l'armée et le cinéma pendant la guerre d'Algérie : des origines du conflit à la proclamation de l'indépendance : 1945-1962". Paris 1, 2004. http://www.theses.fr/2004PA010679.
Feugain, André Sauveur Michel. "Iconologie et iconographie : analyse contrastive des affiches de propagande pendant la IIe république et la guerre civile espagnole 1931-1939". Orléans, 2008. http://www.theses.fr/2008ORLE1096.
As a provider of information and propaganda, the poster appears very often in a context where men live a double reality : one arising from personal experience and the other linked to the media and other communication systems, hence the need to study the formal structures, the intrinsic features and the models of propaganda in such support. Base on a nine hundred posters corpus from the Second Republic and the civil war, this thesis is an analysis of the propaganda poster, of the link between the argument and the iconological and iconographic representation, and finally of its relationships with history. Starting from the idea that interference between the rhetoric message and the iconological message is not a sine qua non condition of an actual coherence between image and text, as they belong to two different semiotic systems, we prefer the idea of contextual signifiance of the elements in connection with their co-text and their context of production. We are then both in the world of semiotics when dealing with dealing with the interpretation of iconic elements, and in the world of pragmatics when it comes to the interpretation of linguistic elements. In addition to the answer given to the issue of knowing how the Republicans and the insurgents use the circumstances for propagandist purposes, the thesis develops a multi-criteria analysis involving two complementary approaches : a list of the questions which must be asked when analyzing propaganda posters and an inventory of the propaganda mechanisms to make-see, make-believe and make-do, that were used in the Spanish pre-dictatorship period
Leonardi, Francesca. "Les films du débarquement : Etude du lot de « 40 » longs métrages hollywoodiens sélectionnés par l’Office of War Information pour l’Europe (genèse, analyse et diffusion en Italie et en France, 1943-1945)". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030116.
During the summer of 1943, the Office of War Information (OWI), the main US government propaganda agency, entered into an agreement with the eight Hollywood Major studios to send forty films, five from each studio, to the European countries to be liberated. These feature films were to be screen rapidly by the allied armies after the landings.This Ph.D. dissertation examines this stock of forty films and its aim and purpose, grounding its thesis on extensive research drawn from American, Italian and French newspapers and archives. The detailed study of this particular program aims to offer a change of « focalization » and a new perspective in studies about the return of American cinema in Europe at the end of World War Two.First, in order to have a better grasp at this program, a « wide-angle lens » is used to go back to the times when American propaganda was used abroad during World War One. Then, the genesis of the program and the film selection are examined, focusing on the interests at stake for those involved in the project (the Major Hollywood companies and the OWI), on the project’s rough and complex designing process, as well as on the previous film campaign laid out for North Africa. The analysis then focuses on the forty films concerned, on the ways in which they could meet the goals of the government agency, and to what extent. Finally, the study examines the program’s implementation in Italy and in France during the Liberation, and attempts to draw a picture of the diverse reactions elicited by this selection of feature films
Thibaudeau, Pascale. "Image, mythe et réalité dans le cinéma de Victor Erice". Poitiers, 1995. http://www.theses.fr/1995POITA001.
An analysis of the relationships between image, myth and reality in the first three feature films of victor erice (el espiritu de la colmena. El sur, et sol del membrillo) with minor references to the short film el desafio. Critical tools are borrowed from structuralism, anthropology, psychaonalysis and semiotics. The first part, "the consciousness of time" deals first with the way time is recreated on the screan and then with the internal rythms which are specific to each film; then it centres on the mythifying of history by means of the image. The second part "an ordering of the world" devotes an important place to the study of space reconstruction according to principles of symmetry and concludes on an analysis of reflexive devices, of the status of enunciation and the question of the representation of reality
Sillam, Olivier. "Les films militants du Parti communiste français de la Libération à la Guerre Froide (1944-1953)". Paris 1, 2012. http://www.theses.fr/2012PA010633.
Monroy-Avella, Fernando. "Géopolitique de l'Espagne à travers l'iconographie du timbre-poste : le cas de l'axe Barcelone-Madrid-Séville". Paris, EHESS, 2007. http://www.theses.fr/2007EHES0119.
This piece of research puts forward a geopolitical study of Spain through the iconography of the postage stamp (1850-1992). The subject is how philatelic imagery officially conveys a type of ideology by portraying national figures, regional modes of perceiving as well as the rivalry in power. This seriel/classifying study of regional iconography demonstrates a leaning towards the Barcelona-Madrid-Seville axis. We clearly see the emergence of a diagonal line on the map prior to the civil war and after the Francoist regime, whereas this dictatorship maps out a completely different trend: a north dominated conservative, horizontal centred on religious pillars and the Castilian traditi on. The diagonal, on the other hand, explores regional values which are open, rich in visual and identitarian nuances, projections of and insights into the nation. It also throws light on the symbolic representation given to international spheres: the Universal Exhibition, the Olympic Games, the cultural heritage and the central power of the nation
Gallinari, Pauline. "Cinéma et communisme en France : de la libération au milieu des années 1960". Paris 1, 2009. http://www.theses.fr/2009PA010626.
Augé, Étienne F. "L'illusion culturelle : le monde de Hollywood 1990-2000". Paris, EHESS, 2002. http://www.theses.fr/2002EHES0031.
Delafond, Marie-Isabelle. "Les sermons d’Inquisition en Espagne et au Portugal aux XVIIème et XVIIIème siècles". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040220.
As an Old Regime institution, the Inquisition ordered all sorts of sermons wich were part of the ceremonies it organised. The latter were delivered during the inquisitorial calendar celebrations, that is during autos-da-fé, and during the publication of Edicts of Faith, anathema and Expurgatory Index. They were also preached during occasional celebrations, wether they were part of the liturgical calendar or not (expiatory celebrations, Lent …). The Holy Office and the tribunals led a statutory affirmation policy and obtained a certain social visibility through « homitic patronage », especially in Spain, in order to improve their repressive image. Sermons, wich were first hand ideological vectors, helped spread a doctrine focused around confessional alterity rejection and a patron’s acquired propaganda in the community
Heitz, Françoise. "Recherches sur l'oeuvre cinematographique de Pilar Miró : (1976-1993)". Dijon, 1997. http://www.theses.fr/1997DIJOL016.
The first part : "the progress of a woman of pictures" provides some biographical information on Pilar Miró, goes through a rapid survey of the socio-political background in 1976 and spanish film-making at the same period, brings forth the major characteristics of Miró's work at various stages of the creative process, and then deals with the genesis and reception of the seven films under study. The second part is an analysis of political and social commitment, ever present in pil Pilar Miró’s films, and more particularly in el Crimen de Cuenca (an aesthetics of unveiling, the scheme of revolt, converging editing), and in Beltenebros (heroes and traitors, photographs or referential delusion). The study then centres on the condition of women and conflictual marital and family relations. The third part : "loneliness, violence and death", develops along three more lines : intimist discourse, faces and landscapes (from Werther to el pajaro de la felicidad, a poetics of space), then the links between sex and death in la Peticion, and finally the tribute paid to the mythical past of film-making in Gary Cooper que estas en los cielos and in Beltenebros (reflexivity of mirrors, modes of "mise en abyme. . . ") a study of the various meanings of the choice of the stopped image at the end of her films and the complicity created by intertextuality put an end to that part, before the conclusion
Campillo, Jean-Paul. "Les représentations des problématiques sociales dans le cinéma espagnol contemporain (1997-2011)". Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2002/document.
This thesis is about documentaries which, in Spain, are in a half-way between militant commitment and political disengagement. Our research focused on minority movies likely to take the opposite view of the feeble representations of social problematics, and thus, to propose a political interpretation. These productions, by coming closer to militancy, question the speech and the action of in place authorities (political and economical) and, at the mean time, show alternatives that belong to a distant or very recent past. Portmán, a la sombra de Roberto (Miguel Martí, 2001), El efecto Iguazú (Pere Joan Ventura, 2002), 200 km. (Discusión14, 2003), La mano invisible (Isadora Guardia, 2004), Veinte años no es nada (Joaquín Jordà, 2004), El astillero (Disculpen las molestias) (Alejandro Zapico, 2007), Flores de luna (Juan Vicente Córdoba, 2009), 15M Libre te quiero (Basilio Martín Patino, 2011), although these movies share a lot of things in common with social criticism, they do not focus on individual fates, but rather on collective projects. Moreover, beyond describing facts, they act as whistleblowers in order to modify the viewer’s consciousness
Kai, Yin. "Un écran idéologisé : le cinéma chinois de 1949 à 1966". Paris 1, 2011. http://www.theses.fr/2011PA010596.
Blázquez, Carretero Elena. "Helena Lumbreras et le Colectivo de Cine de Clase : une pratique cinématographique militante à la fin du franquisme et durant la transition en Espagne". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL173.
This research study proposes an analysis of the film practice that Helena Lumbreras carried out, individually and within the Colectivo de Cine de Clase, between the end of the Franco regime and the beginning of the transition to democracy in Spain. The analysis is accompanied by a detailed description of her biography that focuses on both her artistic and cinematographic training, undertaken in Spain, but also in Italy. With the intention of knowing more about the filmography of this pioneer of militant cinema, the study is guided by the analysis of her five main documentaries. On one hand, we analyze her two documentaries made individually: Spagna ’68 (1968) and El cuarto poder (1970). On the other hand, we analyze her three documentaries made within the Colectivo de Cine de Clase: El campo para el hombre (1975), O todos o ninguno (1976) and A la vuelta del grito (1978). This study also includes the analysis of unreleased material: her graduation film, España (1964), a short fiction film shot during her studies in Italy. Her cinema, characterized by being resolutely clandestine and low budget, gradually established a collective, working-class and feminist approach. Since this is the first academic study to deal with Helena Lumbreras’ cinematographic work in-depth, we have mainly used primary sources. This involved field-work involving numerous interviews and thorough research in the archives. This research work aims to contribute to the dissemination of Helena Lumbreras’ cinematographic work, and to provide future researchers with a monograph from which they will be able to build knowledge
Salhab, Sabine. "Vers de nouveaux cinémas israélo-palestiniens : convergences esthétiques et repositionnements idéologiques (1980-2010)". Paris 1, 2011. http://www.theses.fr/2011PA010525.
Goret, Lea. "Produire et voir du cinéma en régime autoritaire : censure et spectateurs dans l'Espagne franquiste (1946-1960)". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC014.
From the beginning of the 20th century, cinema became one of the privileged media for disseminating information and staging fiction. Like other authoritarian regimes, Franco's Spain (1939-1975) became aware of the need to control this mode of communication and equipped itself with a powerful censorial apparatus. In parallel to their interventions on scripts and films, Franco's censors made sure that spectators correctly interpreted the films they censored. Every month, between 1946 and 1960, the provincial delegates sent them reports detailing how the films were received by the public in their province. Through the study of these original sources, this thesis aims to renew the traditional approach to Franco's censorship. It is based on the hypothesis that censorial practices obey the actors' perceptions of the public's expectations as well as the regime's ideological, artistic and commercial ambitions. The analysis of these surveys enables us to apprehend the modalities through which audiences are approached by the censorial authorities and to evaluate their effects on the censors' practices. By studying the different points of view of actors who are constantly interacting, this work is interested in the circularity of censorial and receptive discourses and in their capacities of mutual influence. The relations between censorship and cinematographic reception are questioned around three axes: the reception reported to the censors by the regime's informers, through the analysis of the discourses present in the provincial reports; the reception imagined by the censors, through the study of their discourses on audiences within the administrative sources; and finally, the receptive experience of the spectators, by studying the cinematographic environment in an authoritarian context, which influences their reception of national cinema
Sapiega, Jacques. "Regard(s) documentaire(s) à la télévision et dans le cinéma français et stratégies du souvenir : la matrice des années 1939-1945". Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10008.
Montero, Laureano. "Le cinéma d'Eloy de la Iglesia : marginalité et transgression". Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL019/document.
Spanish director Eloy de la Iglesia (1944-2006) is the author of twenty-two feature films made between 1966 and 2003. His vast filmography covers a crucial period in the history of contemporary Spain, with which it is in constant dialogue. Acclaimed by audiences, Eloy de la Iglesia incurred the wrath of the Film Censorship Board (which kept a close watch on his work) and the hostility of many critics, including the most progressive ones, who inevitably rebuked him for opportunism, demagogy, excessive penchant for provocation and blatant bad taste. Our study focuses on his entire filmography and highlights its extreme internal coherence around two main axes: marginality and transgression. Always on the margins of major cinematic movements and aesthetic tendencies, Eloy de la Iglesia managed to develop a personal and prolific work at the crossroads of art-house and popular cinema; an original project to analyse Spanish society from its fringes and through transgression of dominant norms and values. His anti-elitist cinema, deeply rooted in mass culture, pretends to accept the rules and language of commercial cinema to better subvert them from within, by introducing taboo and controversial topics and developing a radical critical discourse on contemporary Spanish reality
Ramos, Alquezar Sergi. "Fantômes, slashers et monstres dans le cinéma fantastique espagnol (1993-2005) : une approche du cinéma fantastique réalisé par les jeunes metteurs en scène espagnols des années 1990 et 2000". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20107/document.
This thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre
Blayo, Nicolas. "La fictionnalisation de l'histoire par la direction artistique dans le cinéma espagnol". Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30071.
The fictionalization of recent history in the Spanish cinema of democracy is approached in terms of its representation by the art directors who, in cinema, are responsible for all the visual aspects of the film. The study of this issue, little discussed in the scientific production of film studies, interests us in its development since the 30s until the current time. It makes possible to highlight the mechanisms that are at work to represent history in cinema, from Francoism to democracy.The aim of the thesis is to demonstrate the fundamental importance of art direction in the historical film, to identify the ideological implications that underlies and detect the aesthetic characteristics that vary according to eras, styles and intentions of production designers
Durán, Julián. "Prophétisme et opposition politique en Espagne à l'époque de Philippe II : le cas de la "Santa Cruz de la Restauración" (1587-1598)". Montpellier 3, 2004. http://www.theses.fr/2004MON30059.
The ambition of this work is to study one aspect of the political opposition against Philip II, King of Spain (1558-1598), namely the machinations of a type of secret brotherhood, the Santa Cruz de la Restauración, founded by the followers of a young visionary from Madrid, Lucrecia de León whose prophetic dreams circulated in different circles from the Royal Court to the High Clergy. Lucrecia and her main supporters were arrested in May 1590 by the Toledo Holy Office under direct instructions from the King. For not only was Lucrecia predicting that Spain would be suddenly brought down in ruins in the near future by a coalition of its worst enemies, but she was also criticizing the King and his principal advisers in many aspects of their policies. By carrying out a detailed analysis of the trial records for several members of this brotherhood and by relating the unusual path of one of the most famous prophets of the time, Lucrecia's precursor, Miguel de Piedrola Beaumont, this work aims to improve our understanding of this strange circle of anti-establishment visionaries, in the last years of Philip II's reign. The careful scrutiny of the prophetic material contained in the 433 Lucrecia's dreams which are still available to us, shows that her discourse belongs to clearly identifiable prophetic traditions but that, by the use of new themes put forward in a new style, these traditions are being twisted to deliver a totally different message, more contemporary, more incisive, more politically efficient. Lucrecia's discourse, manipulated as it is by a circle of opponents to the royal policies, is the vibrant testimony that certain parts of Spanish society rejected the official propaganda showing the King as defender of the Catholic faith and of the Church. It also testifies to the deep sense of disenchantment shared by the majority of the Spanish people who see themselves as victims of their monarch's immoderate ambitions
Larraz, Emmanuel. "Théatre et politique pendant la Guerre d'indépendance espagnole 1808-1814 /". Aix-en-Provence : Université de Provence, 1988. http://books.google.com/books?id=2b0rAAAAMAAJ.
Henry, Yann. "Une Espagne borgne : la vision des photographes espagnols et étrangers durant la période médiane du franquisme (1945‐1959)". Thesis, Rennes 2, 2011. http://www.theses.fr/2011REN20059.
After General Franco’s victory on April 1st, 1939, a military and ecclesiastical dictatorship takes hold of Spain. A “time of silence” sets in for the vanquished of the war. After 1945, however, the dictatorship survives the demise of the political regimes it had modelled itself on and goes through several stages. Under the median period of Franquism (1945–1959), the regime, in a phase of consolidation, sets itself up as National-Catholic. In the realm of photography, both professional and amateur practices are up against harsh, manifold prohibitions, and the national imagery displays introversion and respect for conventions. Spanish photography proves the follower or mandatory vassal of Franquism; its avant-gardesare annihilated, its reports muzzled, while retrograde movements, such as late Pictorialism, are glorified. It conveys only a one-eyed vision of reality in that its subjects respond to a conventional nostalgia reflecting a bygone past in affected, academic fashion.However, a surge of modernity, as well as thin trickles of fresh air, emerges from the provinces –where amateur associations come into light– and from the vision of some foreign photographers then touring Spain. We will question common practices and scrutinize the esthetics of these images in order to find out how, to what extent and in what way theseSpanish and foreign photographers have managed to picture Spanish society between 1945 and 1959: some with a view to legitimizing the authorities in control, others in a modernist, humanist frame of mind
Isely, Laura. "Barcelone à l’écran : dynamiques coréalisatrices d’une biographie urbaine : étude comparative sur l’évolution des représentations filmiques de la ville comtale à la charnière du XXe et XXIe siècle (1992-2017)". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL025.
By adopting, in a line anchored on local governance models inherited from the past, the strategy of organizing a macro-event to realize an unprecedented series of urban transformations, Barcelona has given itself body and soul to a constructive fever from which the city of today is the result. The present study searches among the cinematographic representations made between 1992 (symbolical date which includes those which were developed with the objective of the Olympic Games) and 2017, date of commemoration, echoes and symptoms of a relative and incomplete change in perception, compared to the Barcelona Model. This thesis maintains that, at the turn of the century, the old reluctance to speak about success, strongly encouraged by institutions, gained momentum and found in cinematographic creation a mode of expression and a channel of communication. Step by step, a counter-discourse emerged and the cinema helped to make it visible. Through the cinema shot in Barcelona, are narrated twenty-five years of an urban biography that has multiplied anchors to achieve and maintain effective centrality as a global city. But as it accumulated successes in its desire of internationalization, it fully integrated, as our corpus shows, the dynamics of transnational problems and became not only a model to follow but also to avoid. Synecdoche of the contemporary city in a deeply urban world in the era of globalization, the Barcelona of today seeks among its images to place itself into an axial dialogical tension between pertinence and im-pertinence
Dewaele, Hélène. "Les relations entre droites autoritaires françaises et espagnoles de 1931 à 1940". Paris, EHESS, 2003. http://www.theses.fr/2003EHES0109.
Herrou, Tual Claudie. "Le cinéma de Lorenzo Soler dans l'Espagne franquiste : (1963-1970) : (Les images de la réalité sociale en Espagne sous séquestre)". Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL040.
In 1962, in Barcelona, Lorenzo Soler’s path crossed again Juan Piquer’s, by chance. Both were from the Posguerra generation. In their hometown, Valencia, they had attended the same posh college… and suffered the same experiences, because of the injustices of the Franco’s society. Their reunion marked the beginning of a close friendship. Juan Piquer was a film maker. Under his influence, Lorenzo Soler founded a movie production company. On July 29th 1963, a bomb exploded in downtown Madrid. The two young men were deeply shocked by the bomb attack. Lorenzo Soler then decided to produce a documentary on the obscure period that preceded the Civil War. The two friends’ commitment was exemplary. The first part of the thesis unveils the story of the documentary, from the study of the censure, because there is no copy of the movie, shot as a 35 mm film. In 1965, Juan Piquer went back to Madrid for work. In 1964, the producer started directing movies, using a 16 mm camera. In October 1965, Barcelona town council decided to promote its housing policy toward the southern Spain immigrants, Lorenzo Soler was in charge of a commissioned documentary. While shooting, he discovered el barraquismo, a lump in his throat, he shot, but his work was confiscated. Then the film maker’s decision became irrevocable, his work had to testify. The second part of the thesis deals with the career, from 1965 to 1970, of the precursor of a new cinema in Spain : el cine [documental] independiente
Herbreteau, Julie. "Le cinéma espagnol, lieu de rencontre de l'histoire et de la mémoire : les représentations cinématographiques de la guerre civile espagnole (1982-1996)". Nantes, 2015. http://www.theses.fr/2015NANT3023.
This doctoral thesis develops an analysis of the spanish civil war cinematographic representations in films produced between 1982 and 1996, under the socialist governments presided by Felipe Gonzales. It participates in the research on the relations between history and cinema. Furthermore, it brings the relation between the cinematographic representations and the memory of the conflict into question, in order to underline the way the films and serials created during this period (1982-1996) took part in the construction of the spanish civil war collective memory
Roy-Orenes, Chloé. "Presse people et monarchie à l'époque de la transition espagnole : de 1975 à 1979 : la construction d'un roi à travers les revues ¡Hola! et Lecturas". Thesis, Bourgogne Franche-Comté, 2020. http://www.theses.fr/2020UBFCH003.
My thesis is focused on the Spanish Transition to Democracy, and more particularly on the period beginning in November 1975 with the death of the dictator Franco and then the proclamation of King Juan Carlos, and drawing to a close in March 1979, at the time of the legislative elections.From the proclamation of King Juan Carlos to the calling of the legislative elections, the King was much portrayed in the press. King Juan Carlos' legitimacy was contested even though he benefited from a journalistic immunity during the Transition. The purpose of my work is to show how the press, especially the tabloid press (taking ¡Hola! and Lecturas as two examples) played a key role in the public opinion, elevating in a way the Monarchy to a political model. Based on this first assumption, my research gives a close insight into how the King was depicted in his private life but also as an institutional and powerful figure.Another issue of my research is also to know whether the tabloids have represented a Democracy with a King or a democratic Monarchy. The similarities and the differences between the Spanish Monarchy and the foreign Monarchies also hold our attention, bearing in mind the relations between Spanish politicians and the Spanish Crown. One of the goals of the King was, at that time, to give the image of a King close to its people ―in others words being portrayed “King of all Spanish people”― hence the analysis of the evolution of the democratic when the King pursued a democratic and popular legitimacy
Chi, Miao. "La fabrication de l’histoire : la seconde guerre sino-japonaise au cinéma sous Mao Zedong, 1949-1966". Electronic Thesis or Diss., Université de Lorraine, 2020. http://www.theses.fr/2020LORR0208.
The staging of the Second Sino-Japanese War represents a delicate issue in China, since this war marks a turning point in the interplay of political powers within the country, contributing to the seizure of power by the Chinese Communist Party in 1949. The subject of this work is the study of Chinese films reconstructing the history of the Second Sino-Japanese War from 1949 to 1966. The understanding of this issue first involves the analysis of political interference in cinema and the reaction of professionals. Then, the study addresses more specifically the creations as such, the messages of propaganda films about war and the ways in which cinema then makes use of war. Two methodologies are applied to achieve this. Firstly, the socio-political analysis focuses on the exploration of the political, ideological and social context related to the production of Chinese cinema (1949-1966). With the introduction of Foucault’s theory of discourse in the analysis of political texts and the primary sources of articles by film professionals, we shed light on the order of cinematic discourse established in the “Talks at the Yan’an Conference on Literature and Art” written by Mao Zedong. We also highlight the confrontation and conflict between the film world and the Party leadership during this period. Secondly, film analysis allows us to understand interpretations and censorship, and to examine the evolution of cinematic discourse. Our study focuses on the decoding of the anti-Japanese war film as a complex artistic product combining image, dialogue and sound, with the aim of uncovering the political and cultural interpretations of the staging of the war. We also reveal the concrete aspects that characterise the political influence and hindrance on the image of the body in anti-Japanese war films and their evolution under Mao
Launey, Stéphane. "Pellicules en uniformes : le cinéma au service des forces armées françaises, septembre 1919 - juin 1940". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H041.
This thesis aims to fill a historiographic vacuum. Namely, it studies the plurality of the use of cinema by the French Armed Forces between the time war cinema was put on hold in September 1919 and the Armistice of June 1940. This work is based on unpublished archives, which were repatriated from Russia. They shed a new light on the link between cinema and the Ministry of War (including the Army), especially for educational purposes. Our study is structured around a double movement, which is at the heart of our research problem: the use of the medium within the military institution, and its inscription in the state landscape of a cinema simultaneously used for education and propaganda ; this plurality attained a certain golden age at that point. The first movement deals with a structural analysis of the Army Cinema Section (ACS), which reemerged in summer 1920, and it includes an overview of its stakes and progress during the interwar period. At the same time, the question of the use of cinema in the French Navy and Air Force reveals a political use, which was focused on meeting structural challenges. In the second part, we study the production of the ACS, including the instructional films at the heart of this filmography, other educational films (such as moral, patriotic, or prophylactic), and propaganda films (particularly colonial). Finally, we explore the mutation of military cinema and its entry into a fully developed age: from the "Phoney War" to June 1940
Bykova, Dognon Oksana. "La mafia russe et le crime organisé dans le cinéma : (1988-2010) : représentation, communication et esthétique". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH034.
Today, although the Russian mafia and organized crime community is officially defeated, it continues to influence, transform the identity of his « faithful » viewers through by the way of cinema. It's necessary to understand the exchanges between the cinema said « criminal fiction » and its influence on the public reality. On the one hand the Russian mafia identity of cinema was built across the international market and international audiovisual film.The originality of Russian fictional crime genre, in particular, that it was in some cases produced, directed and performed by former criminals, who also faced historical changes, and were influenced by Hollywood mafia movies lived a period of transformation in « cinema professionals », as also the professionals in the field of other arts such as literature, publication, music, television. Such was the case of Vitaly Demochka 1, the former criminal, who became director, producer, actor and writer. The particularity of his case, that he directed and performed his own « life story » on the screen, as well the members of his former criminal team became the fictional heroes of his film « Spets ».In parallel, our work is focused on the study of “communicating objects”, such as a music, behavior, language, dress code, tattoos. Which have become representative as the 'weapon' of mafia propaganda, projected in the cinema and widely recycled in reality, and vice versa. It operates not only the mythification of public communication but therefore, the evolution of the social representations and even transformation of the spectators
Marquer, Julie. "Propagande politique et Islam d’Occident sous le règne de Pierre Ier de Castille (1350-1369)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040154/document.
Exploring the place of Islam in the political propagandas during the reign of Peter of Castile (1350-1369) leads to questioning the paradoxical and ambiguous aspects of an approach to Otherness. Islam here refers to various items: the political and military power of the Nasrids and the Merinids, as well as a religious and cultural body. The instrumentalization of these items through various forms of propaganda, either textual or architectural, aims at reinforcing the power of their initiator(s). Bringing out the various modalities of this instrumentalization will allow us to question and reconsider the political, religious and cultural frontier in the 14th century Iberian Peninsula. The example of the reign of Peter of Castile shows how shifting and ephemeral the frontier with Otherness can be, and its strengthening or its dwindling depends on the political interests at stake, the balance of power, the motivation of the protagonists as well as the different types of convergence which have allowed the integration and the assimilation of artistic, political and literary patterns and concepts. By confronting the various types of sources and points of view, it will be easier to fully understand, in its entirety and complexity, the either excluding or including relationship that the Christians have with Islam, both in their political practices and in their symbolic representations. Indeed, Islam is utilized as a form of otherness which is sometimes positive, sometimes negative, but it also occasionally ceases being viewed as such. This dialectical connection is closely linked to the part that Islam has played in the formation of Castilian culture as well as in the construction of Modern State
Jorge, Anita. "« Blended together in one great symphony » : documentaires officiels britanniques de la Seconde Guerre mondiale et paysage sonore de la nation". Thesis, Université de Lorraine, 2020. http://docnum.univ-lorraine.fr/ulprive/DDOC_T_2020_0073_JORGE.pdf.
This thesis deals with the treatment of the soundscape of World War II Britain in British propaganda of the period. More specifically, it focuses on how the Ministry of Information sought to handle Britain’s wartime sonic environment through the projection of propaganda messages and the control of information and cultural productions. This resulted, on the one hand, in an attempt to neutralize the sounds of war that the government, with the support of the scientific community, considered harmful to the physical and mental health of British citizens during the Blitz. On the other hand, the propaganda principles formulated by the government such as the “People’s War” or the idea that British people were “pulling together”, were specifically illustrated by several “aural icons” that were considered typical of the British nation. At the heart of my study lies the analysis of the soundtracks of official propaganda films commissioned, produced or sponsored by the Films Division of the Ministry of Information. From the beginning of the war, the British General Post Office (GPO) Film Unit was integrated into the Ministry and renamed the Crown Film Unit. Its role throughout the war was therefore, alongside the Army Film Unit and independent documentary units – such as the Shell Film Unit, Strand Film Company, Realist Film Unit and Spectator Short Films – to convey the government’s messages through short, medium and feature-length documentaries. What I demonstrate is that the government’s propaganda principles as well as their extolling of the British nation and its people, and of their superiority over Nazi Germany, were reflected in the treatment of the soundtrack of these films. Through a creative sound aesthetics, these films endeavoured to “harmonize” the sounds of the nation and establish a musical order within discrete sounds, as well as soundmarks encouraging the British people to resist in the face of adversity
Álvarez, San Román Mercedes. "¿Anima(fic)ción? La producción del cuerpo en la era digital". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040206.
This dissertation looks at the construction of female characters in animated feature films produced in Spain between 1985 and 2017, with the idea of providing insights into the production of the female body in the digital era. To establish a methodological framework, a first approach to computer generated imagery was made by means of a historic run-through of animation techniques over the years and the relation with other media. A breakdown of the historical stages of introducing 3D in Spain was then proposed, working from the economic production model and the impact thereof on feature-film content. As the first ever in-depth academic study of this stage, it proved necessary to draw from primary sources, whether trade professionals or their own films. This involved a fieldwork campaign involving nearly sixty semi-structured interviews and the watching of over one hundred feature films. Relating the 3D image production features to Spain’s social and political context over time then gives a much better idea of the business model trend in animated films. All these elements have been drawn from an ethnographic study and bibliographical documentation, helping to contextualize the study of the virtual body. The gender perspective has been crucial for ascertaining the economy’s impact on the construction of the body. In other words, the study of feminine characters and the way they are constructed as such, despite the absence of a biological sex, has helped us to understand how the market moulds women’s bodies
Garric, Yseult. "Pèlerins et pèlerinages de Compostelle dans la littérature, le théâtre et le cinéma (de Guilhem IX à La voie Lactée de Luïs Bunuel) : de l'épique au subjectif, de la recherche de la Jérusalem Céleste à la quête de soi". Toulouse 2, 2006. http://www.theses.fr/2006TOU20026.
We aim here at giving an idea of the evolution of sprirituality through centuries since the Middle Ages. Using literary evidences and movies we wanted to find out what make pilgrimof today different from pilgrims of the Middle Ages. First and foremost we tried to understand the real motivations of pilgrims. Our first question was : Do pilgrims of today share the same ones as pilgrims of yesterday ? Pilgrims of the Middle Ages had at their time many different reasons to take the road towards Santiago de Compostela. Some where, for instance, looking for redemption, hoping a miracle whereas others did it for political reasons. But pilgrims nowdays don't walk for political reasons any more. Most of them just want to take a good walk or need to feel themselves closer to Mother Nature. However it remains a very hard challenge for all. New dangers effectively threaten them on the orad although modern equipments make now the crossing of natural obstacles, like rivers or mountains (the so-called "loca horribila"), quite easier than before. If highwaymen are not to be feared any longer, falling in with dishonest false pilgrims (people using tourist traps to dupe exhausted pilgrims) may always happen. Pilgrims of today are really quite different from pilgrims of the Middle Ages. Their feet are no more accustumed to covering so great distances. Moreover, carrying rucksacks is a real ordeal. Nevertheless they share the same spiritual quest as pilgrims of yesterday. It has just taken different forms through the centuries. Anyway that pilgrimage knows a real revival today. Its future looks so promising that we will probably see for a long time yet courageous and anonymous people following in pilgrim footsteps, marching on the road to Santiago de Compostela