Literatura académica sobre el tema "Films documentaires – Production et réalisation – Environnement"
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Tesis sobre el tema "Films documentaires – Production et réalisation – Environnement":
Sussfeld, Frédérique. "Entre expériences, récits et actions la communication du mouvement de la transition écologique traduit-elle un changement d’heuristique?" Electronic Thesis or Diss., Aix-Marseille, 2021. http://www.theses.fr/2021AIXM0069.
The ecological transition is investing the field of environmental communication by mobilising two distinct communicational phenomena, documentary film and transitional civic initiatives revealing attitudes that renew the interconnection between our tradition and the living world. By letting our comprehension of the way species function broaden, the permaculture-inspired ecological transition would allow for another relation to others. In communication sciences, players of the transition movement would be focusing on the present in numerous countries, thus encouraging the creativity of its protagonists based on their abilities and ensuring that daily actions would build the world of tomorrow. Developed by individuals with increased capabilities on environmental issues, inclusive, this cultural movement would rely on different narrative structures composing a communication gathering facts and sensitive experiences. From a corpus of movies that marked a turning point in the field of ecological documentary films, and the observation of a new permaculture-based transition project, the research conducted in information and communication sciences using an inductive and anthropological method prioritises the study of processes set up by the protagonists as well as the narrative processes employed, allowing to access interpersonal and inter-groups communications showing how people integrate notions of culture, performativity and acculturation in their daily lives. In a context where environmental communication calls up notions of fear, catastrophe and anxiety is the communication around the transition movement showing a change in heuristics?
Cesaro, Pascal. "Le documentaire comme mode de production d'une connaissance partagée : recherche et développement d'une stratégie de réalisation". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10019.
Guéronnet, Jane. "Place du poste d'observation dans la mise en scène du film documentaire". Paris 10, 1985. http://www.theses.fr/1985PA100127.
Forveille, Luc. "Montage et production de sens dans le documentaire contemporain". Thesis, Aix-Marseille, 2020. http://www.theses.fr/2020AIXM0038.
The general idea of this research is to understand and analyze the theoretical issues that arise when editing a documentary film. It is at the intersection of two aims: that of the practitioner who intends to give a broader and more abstract perspective to his 'ways of doing', that of the theorist who seeks a more pragmatic application to his 'forms of thought.'
Delmeulle, Frédéric. "Contribution à l'histoire du cinéma documentaire en France : Le cas de l'Encyclopédie Gaumont : (1909-1929)". Paris 3, 1999. http://www.theses.fr/1999PA030010.
From the beginning of the twentieth century, some french teachers understood that film was a new and interesting implement for their educational work. First experiments were individual, but this interest increased during the twenties and resulted in the development and the institutionalization of an early school cinema. Major french producers tried very soon to supply those teachers with nonfiction films. So did the societe des etablissements gaumont, which created the encyclopedie gaumont about 1913. Unfortunately, this film collection revealed itself as unsuitable for teaching : the encyclopedie was logically a commercial failure and disappeared forgotten by all. It appears however that this school catalogue brings together almost all of gaumont documentaries from 1909 to 1929. These films allow therefore to study technical and esthetic changes during that period. But their quantity (more than thousand titles) also reveals some astonishing and consistent mass representations
Tchernava, Irina. "Le cinéma de non-fiction en URSS : création, production et diffusion (1948-1968)". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0095.
The non-fiction cinema, which includes chronicles, documentaries, industrial and educative films is rarely studied as a professional area and as an object of specific political expectations. This studying carries on the daily fabrication of films in Soviet Union from the end of the 1940s till the Kossygin economic reforms in the second half of the 1960s. This work tries to shape up a social history of the soviet cinema industry by studying the professional practices of the film-makers in the Soviet socialist republic of Latvia and in the Sverdlovsk region. It concerns the transformations in film production and distribution by analysing territorial aspect, work conditions, shifting economic role of the non-fiction and materiality of the practices. The period is that of the strengthening of the professional autonomy and the film-makers try to distance themselves from the command whatever are its sources (social, political, industrial)
Lu, Jiejing. "Écritures documentaires de l’histoire dans la Chine contemporaine : Hu Jie, Folk Memory Project, Mao Chenyu". Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030027.
This dissertation wishes to contribute to the studies about the independent documentary film creations in contemporary China which confront national history. In an intellectual and artistic context, where the exhumation and transmission of the buried facts are repressed or bereft of public representation, we would like to observe three exemplary cases in this regard : HU Jie, Folk Memory Project, and MAO Chenyu. Our study will try to characterise the different propositions and the principal gestures in their experimentations of documentary writing style.For HU Jie, the principal gesture is also the seminal gesture of classical documentary filmmaking : to establish the facts. Based on collected testimonials and archival footage, HU Jie explores in his practice how the subjects of his films and the historical facts would come to shape intelligibly. Folk Memory Project is an ongoing participatory documentary experience that engages amateur filmmakers or citizens to go back to their families’ rural villages, and film elders’ memories about difficult times. The project sees its practice as creation, investigation, transmission, but also intimate introspection. In the case of MAO Chenyu, who centers his work in the rural region and China’s peasantry, with his innovative approach that explores perpetually about the possible articulation between cinema and other practices, his work provides an ethnographic thinking to history writing.These three practices all participate to the critical approach of history writing in sounds and images, which reclaims history's collective and plurality becoming
Lehec, Clémence. "Une géographie expérimentale de l’art aux frontières : filmer les graffitis du camp de réfugiés palestiniens de Dheisheh". Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAH029.
This dissertation focuses on graffiti and borders in a Palestinian refugee camp, i.e. Dheisheh camp, located in Bethlehem, in the Occupied Palestinian Territories. A formal and experimental research is proposed, involving documentary film production and scientific writing. Through a study of figurative elements painted on walls, the dissertation contributes to updating current knowledge of Palestinian popular imagery. It also questions, in an original way, representations of the border within a marginal space. The analysis of the network of relevant actors and their motivations to paint allows to understand the specificities of the Palestinian graffiti movement from a diachronic perspective that draws its ontology. The production and co-direction of the documentary Les murs de Dheisheh makes it possible to stage reflections on graffiti, their authors and the borders that cross the camp, while continuously proposing a reflection on the original methodology used. From an extradisciplinary perspective, this dissertation in experimental geography offers an epistemological reflection on how geographical knowledge is produced by advocating a collaborative ethic that is seen as an alternative to participatory model. The experimental dimension of the dissertation unfolds at each stage of the research process since the documentary makes it possible to carry out in a single object: survey method, data collection and final result. Documenting and analysing the borders through the lens of Palestinian graffiti in Dheisheh makes it possible to bring border studies towards a feminist geopolitical perspective that defines the camp space as being crossed by mobile front lines and Damocles’ borders, placing bodies at the heart of the control process set up by the Israeli occupation
Hamery, Roxane. "Jean Painlevé (1902-1989) : un cinéaste au service de la science". Rennes 2, 2004. http://www.theses.fr/2004REN20016.
Jean Painlevé, short film director and documentarist, usually associated with the specialized genres of scientific cinema and educational film, has, throughout his long career, produced an impressive amount of work which remains for a large part scarcely known. He was however an ardent promoter of an instructive yet popular cinema, an eminent member of the institutions of the seven arts and a major pioneer of the avant-garde of the twenties. Up to now, this eclecticism may have impeded the attempts to draw up all these various activities into a coherent panorama and to understand the complex personality of the strongly independent man behind them. The aim of this thesis is the reassessment of this original cinematographic career; it will follow Painlevé's works step by step and will also examine his aesthetic evolution in a contextual analysis. This contrasted portrait fits a never satisfied artist involved with the same passion in the making of films or in militant struggles as well
Lichaa, Flora. "Le documentaire en Chine (1905-2017) : entre autonomie artistique et enjeux politiques". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF024.
This thesis proposes to explore the political, aesthetic and ethical issues of documentary in China. Based on a historical research from the birth of Chinese cinema in 1905 to the end of the Maoist era in 1976, I show that documentary was progressively subjected to politics, supporting the construction of a modern nation. Thus, aesthetics could not free itself from politics before the reform of the economic system in the 1980s. From that period onwards, I analyze the strategies adopted by filmmakers to free themselves from their ideological straitjacket, based on field surveys and film analyzes. While television has first enabled the re-evaluation of documentary to promote its diffusion, I show that the strengthening of censorship, following the student protests of 1989, has encouraged some documentary filmmakers to create production and diffusion channels independent from the audiovisual sector. The analysis of this network's organization mode reveals the mechanisms of professional recognition, that lead the filmmakers to develop their activities in the Chinese private sector, while seeking to exist on the international scene. This structural autonomy allows them to develop an ethics aimed at guaranteeing their proximity with the people filmed, who usually belong to the lower classes. However, the interference of the Chinese authorities only allows their films to be shown in festivals which have low visibility in the public space. As they are part of a marginalized space, frequented mainly by artists and intellectuals, their egalitarian aim is hampered by the impossibility of reconnecting with the Chinese audience. This paradox suggests the difficulty of establishing a constructive dialogue between documentary filmmakers and the audience, as long as the Chinese State does not allow the formation of a public sphere, functioning independently of political institutions, bringing together filmmakers, critics and audience members into a concrete community
Libros sobre el tema "Films documentaires – Production et réalisation – Environnement":
Rabiger, Michael. Directing the documentary. 3a ed. Boston: Focal Press, 1998.
Rabiger, Michael. Directing the documentary. 2a ed. Boston: Focal Press, 1992.
Rabiger, Michael. Directing the documentary. 5a ed. Burlington, MA: Focal Press, 2009.
Rabiger, Michael. Directing the documentary. Boston: Focal Press, 1987.
Rabiger, Michael. Directing the documentary. 4a ed. Amsterdam: Focal Press, 2004.
Jeanneau, Yves. La production documentaire: Histoire d'une renaissance. Paris: Dixit, 1997.
Niney, François. L' épreuve à l'écran: Essai sur le principe de réalité documentaire. 2a ed. Bruxelles: De Boeck, 2002.
Ducharme, Thierry. Camera lucida: Entretien avec Hugo Latulippe : entretien. St-Fulgence, Québec: La Peuplade, 2009.
Kriwaczek, Paul. Documentary for the small screen. Oxford: Focal Press, 2000.
Bernard, Sheila Curran. Documentary storytelling: Creative nonfiction on screen. 3a ed. New York: Focal Press, 2011.