Tesis sobre el tema "Musique et cinéma"
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Mari, Jean-Claude. "Une nouvelle esthétique sonore et musicale dans le cinéma moderne : Michel Fano et l'avènement du filmusique". Paris 8, 1997. http://www.theses.fr/1997PA081363.
Chanudaud, Stéphane. "La musique de cinéma française, européenne et américaine : de l'avènement du cinéma parlant aux années de l'âge d'or". Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10055.
Dastugue, Gérard. "Le corps du cinéma : musique de film et réception spectatorielle dans le cinéma hollywoodien classique". Toulouse 2, 2004. http://www.theses.fr/2004TOU20013.
Among the numerous legends that made cinema history, the usual idea that film music was created to cover a noisy projector is deeply anchored in film analysis. The prejudice idea that film music should not be heard is equally widespread. However, from the silent period, the musical accompaniment represented not only a way to make a flatering editing fluent but also to arouse in the audience the awaited emotional response. D. W. Griffith was to be the first to use music as a conversion theme as well as a conversion way before The Jazz Singer in 1927 led the production towards talking pictures. Then Hollywod became the kingdom of "major companies" and gave film music an efficient production system. The sound of Hollywood welds together several parameters as far as human, social, historical and musical dimensions are concerned. Our thesis tries to put into relief the influence of film music upon the audience's emotions. It focuses on some films and genres of the classical Hollywood period (1930-1960)
Guermazi, Amal. "La musique dans le cinéma de Youssef Chahine : spécificités et fonctions". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL009.
Although prominent, music in Chahine's cinema has still not been the focus of any in-depth musicological study. For the first time to the best of our knowledge, and at the crossroads of History, Cinema and Musicology, this thesis aims at revealing the very specificities and functions of music in the filmmaker’s work.First, the study provides a historical contextualization of music in Egyptian cinema during the first half of the 20th century. It shows the close relationship between film and song ever since the introduction of talking pictures to the country. Second, the director's own career-path is revisited in light of his most significant musical films. Four founding periods are identified and summarized in the following eras: pure entertainment, political engagement, conciliation and finally festive criticism. In this last stage, we unveil how Chahine redefines the codes of the Arab musical film with a music that embodies in itself a socio-political discourse.Thanks to the new archives kept at the Cinémathèque française, we can immerse ourselves at the heart of a music-driven film making process. Noting the influences of the director, understanding his intentions and aspirations will eventually allow us to better seize the Chahinian universe
Carayol, Cécile. "Un langage musical spécifique au cinéma : du modèle américain à l'émergence d'une nouvelle forme de symphonisme dans le cinéma français contemporain". Rennes 2, 2011. http://www.theses.fr/2011REN20002.
The existence of a specific musical language in the cinema is put in perspective by the study of two forms of symphonisms – the rehabilitation of the American model and the « intimist symphonism » in the French contemporary features films since the end of the 1990s. The analysis of the scores composed for Angel and Huit femmes shows a return to the tradition of the American melodramas of the 1930s, 1940s and 1950s. Through the dimensions – epic, lyric and fantastic – present in movies such as Les rivières pourpres, Nid de guêpes, Joyeux Noël or Jeux d’enfants, we notice an assimilation of the musical characteristics of neo-hollywoodism. Besides, the emergence of a new form of symphonism observed in scores such as Swimming Pool, Sous le sable, Sur mes lèvres, De battre mon cœur s’est arrêté, Confidences trop intimes or Hell expresses itself by a symphonic orchestration that privileges the “transparency” of the instrumental color, a restrained lyricism and develops an emotional empathy with the action of the movie by avoiding a descriptive synchronization. The appropriation of the characteristics coming from the minimalism and impressionism intensifies the concision and the working drawing of this symphonism. This musicological approach allows to clarify the way the original symphonic music is outlined in the beginning of twenty-first century and how, in the eyes of what preexist in the history of the French cinema, it distinguishes itself
Bossu, Laurent. ""Passages" de la musique dans le cinéma contemporain de fiction : nouvelles fonctions, nouvelles formes". Paris 1, 2005. http://www.theses.fr/2005PA010628.
Godebarge, Jean-Pierre. "Straub-films ou la musicalité filmique : Bach, Schoenberg et le principe musical dans la création cinématographique straubienne". Paris 3, 1992. http://www.theses.fr/1993PA030080.
Until now, visual approach has been privilegied in cinema , fonorous description makes the music depend on indefined scoring. But they also consider the musical fonction only as a hypostasis of the visual organization in film's frame. We are traying to suggest another trial based on some production choosed among straub j. M. And huillet d. 's movies : straubien films space is based on some acoustical and cimbined principals whichs appear from the composition
Bloch-Robin, Marianne. "Théorie et pratique de la musique vocale au cinéma : l’œuvre de Carlos Saura". Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST0034.
The purpose of this thesis is the study of the aesthetic and narrative function of vocal music in the non musical work of fiction of the Spanish filmmaker Carlos Saura. The role of vocal music in his films is indeed of central importance and not largely studied. In the first part we have analyzed the evolution of the use of music in works done during the half of the century, which embraced the filmography of the Aragonese filmmaker. We have also been able to put very prominently, a strong authorial affirmation by means of a restricted control of musical choices and different collaborations with composers of original music. The characterization of songs text used, enabled us to identify a corpus of twenty-two vocal works, which constituted the core of our study. In the second part, we studied the specific role of vocal music through its influence on the order, the time and space of the narrative. Vocal works can, in effect, constitute a spatial transition and temporal tool functioning as an analepsis or a prolepsis or again being considered as a narrative level on its own. In the third part, we viewed vocal music from an angle of quotation and a viewpoint which enables to reveal: that of the characters first. Subsequently, considering vocal music in its transtextual dimension, we have studied the universalizing and external viewpoint that it vehicles. Finally, we have noticed that vocal songs can also reveal the intention of the filmic enunciator
Lecompte, Rémi. "La représentation de la musique dans le cinéma de fiction : L'exemple de la musique diégétique dans le cinéma français des années 1960". Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2032/document.
Through the analysis of more than a four hundred movies collection, directed in the early years of the Fifth Republic (1958-1968), this thesis studies the representations of music aiming to report the wholeness of the musical fact, from the listener to the musician, including both human and material intermediaries. This study is devoted to the observation of one of the modality of music witch is the diegetic one, meaning the music that characters are either listening and/or making inside the story. These représentations are considered in their numerous aspects : visual – the image of music –, sound – the music itself –, linguistic – the speech about music. To the variousness of the chosen movies (from popular cinema to arthouse cinema) answers the variety of music carried by movies in this decade, where jazz, popular music and classical music are crossing paths
Guadalupe, Silveira Carlos Henrique. "La musique de film : introduction à l’étude des attentes musico-filmiques du spectateur". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20059/document.
Throughout our lives, we acquire (sometimes involuntary or even unconsciously) knowledge about our environment, and we retain in particular its regularities. These regularities are learned, stored as knowledge and will subsequently allow creating expectations that will facilitate the cognitive processing of the environmental information. Hence, via this process, the analysis of an expected event becomes faster and more accurate than that of an unexpected event. Based on David Huron's “musical expectation” theory, we propose to investigate, and develop a theory of “expectations about associations between the film and the music”. The aim of our thesis is to discuss the basic concepts of how film music can create particular expectations in relation to the narration of the film for viewers and how this affects the way they perceive the film and interpret the movie
Elipe, Gimeno Javier. "Composer d'après le cinéma muet : une approche théorique et pratique". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080127/document.
This work studies the relationship between the film’s narrative language and the contemporary music speech. The starting point of this work is the study of the new contemporary scores, which were composed for silent films from the 1920’s onwards. To reach these goals, we started from a theoretical vision, to subsequently perform a practical analysis. This gave us the important points to create our analysis model to be used for music composition. This model allows us to clarify the relationship between the film and the music, based on two main axes: the “anchoring points” (giving us the articulation points between the music and the film) and the “reference points” (which deals with the formal elements of both film and music speech). In the last part of our work, we have applied our model to the composition of four personal projects, which were created as an artistic conclusion of our research
Pluquet, Céline. "Le cinéma muet, un art musico-visuel : pratiques, théories et esthétiques de la musique de cinéma à Paris entre 1907 et 1929". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080053.
This thesis intends to articulate the historical, theoretical, cultural and aesthetic aspects of film music during the silent era through the case of Parisian theaters. It questions the role of music and how it defined cinema at that specific time. This study shows the establishment of practices, theories, filmic and musical forms conditioned by film music. A first definition of film music between 1906 and 1907 describes the cinematic show as being a cinematic pantomime from the moment it appears as an artistic representation, as both a musical and visual experience. Shortly after the Great War, film music is gradually marked by the recognition of the orchestra as a model of musical accompaniment practice in Parisian theaters. Finally, film music becomes fully embedded when theorists establish the idea of the musical accompaniment of a cinematic art throughout the 1920s.This investigation thus leads us to rethink the role of the cinematic show in the definition of cinema. In short, film music represents the cornerstone which brings together a perception of cinema as being both an art and a performance
Zagury, Fabrice. "Les Métamorphoses du son dans le cinéma de Luis Buñuel". Paris 3, 1999. http://www.theses.fr/1999PA030121.
Amalou, Quentin. "Vivre et laisser mourir : Le ciné-concert et ses publics sour le regard des sciences sociales". Thesis, Avignon, 2017. http://www.theses.fr/2017AVIG1171/document.
This thesis presents the results of a research about film-concerts (a movie screening wherethe music is played live by one or many musicians) and its audiences. Through an analysisof the relationship between music and cinema as well as a study of the conditions of theemergence of the film-concert around the year 1980, this work shows how the film-concertbecame a myth as per Roland Barthes’ definition. The myth is built around two promises:the film-concert allows the audience to dive into the history of cinema as well as being abrand new cultural experience. Starting from a reflection about the links between filmconcertand the digitalization of cinema, the work will show how, while this event takes itsroots from the origin of cinema, it is a new experience for the audience. Then, we willanalyze how film-concert modifies the relationship between an audience member andcinema as well as his relationship with concert and the orchestra to finally show going tofilm-concerts modifies the symbolic boundaries of cultural legitimacy
Harter, Jean-Louis. "Les jeux de l'image et du son". Paris 8, 1992. http://www.theses.fr/1992PA080717.
Creation of a tool of asthetic analysis, which will be applied to music, language, and relations between image and sound in a audio-visual work. This tool is built from he concept of play. 1. The bringing of an universal of the play's structure to light : a "stretching distance" must be holded between players' efficiency and the hasard inherent in a play situation. 2. In every sructure, rule is contingent, always in attendance on the "stretching distance". Now this distance doesn't belong to the structure ; it is a differential principe, spreaded in structural spatium, and which allow each places, each roles to articulate with any other. 3. Fonction of the rules of music is to promote meaning, by holding a "streching distance". This distance is reveleated in the tonal music's material itself, and is spreaded in the music which insists on sound itself, on timbre (see cage). Strech takes its origin in silence. 4. In language, figure of speech is another illustration of this variation of a "streching distance". It gives the meaning - it gives even the style. 5. Analysis of the perception's structure is used to account for aesthetic facts : work is the manifestation of an irreductible "stretching distance". An audio-visual work produces all meaning only when the two series (the one of images and the one of sounds) wich constitute the work are converging to a "paradoxal element" (see deleuze), the object = x, that flows through them. Annexe : play an pedagogy of music (five bringed out articles)
Verba, Daniel. "Enquête cinématographique sur les Steelbands de Trinidad : histoire, sociologie et cinématographie des Steelbands". Paris 10, 1989. http://www.theses.fr/1989PA100033.
Trinidad and Tobago islands' originality lies in the fact that they have constructed its cultural identity around an unparalleled musical phenomenon: the steelband. Gargantuan orchestras comprising over 350 instruments made exclusively from oil drums called "pan", are hammered, cut, heated, tuned and transformed into wonders of musical ingenuity. This historical and sociological thesis, completed by a 35mm film in dolby stereo, shows and studies the practicals of those orchestras during the carnival and social conditions of their historical appearance. This work is completed with a methodological reflexion on the audio-visual technics applied to the sociological facts
Guglielmetti, Yohann. "De la relation entre musique et images, en prenant comme témoin le cinéma du réalisateur-compositeur Tom Tykwer". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H317/document.
The perennial search of comprehension by the visual, of emotions generated by music, opens an horizon of paradoxes in cinema that merits further consideration. Filmmaker-composer Tom Tykwer's aesthetics that allows him to direct movies as Wagner composes his operas by writing scores and libretto, and whose inflexibility of his double function is probably unique in cinema, serve us as model to strengthen our revision of some commonly admitted thoughts about the relationship between music and images. We reassess the definition of music as sound material of films, the question of its concordance with the image, of its indépendence even though it integrates an unified whole, as well as its connection with the senses and their transcendence. Images as material substrate and music as element of consciousness in this director-composer's work retain their autonomy of sense while the score is closely connected to the film'structure. They are consistent with a complementary relation that questions an entire paradigm based on the idea of analogy or convergence, in short, of a duality between images and music in cinema
Gheorghita, Cornel. "En quête de la forme filmique". Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20152.
As any art form, a movie that expresses itself through cinematographic language is a communication between a sender (the director) and a receiver (the spectator). Here is a presentation of my personal researches and experiences as a film-maker, concerning the process of fabricating a movie
Parzysz, Élisabeth. "La production du sens dans quatre films de Joseph Losey : Eva (1962), The servant (1963), Accident (1967), The go-between (1970)". Paris 3, 2004. http://www.theses.fr/2004PA030027.
This study focuses on four major studies by Joseph Losey, the American film-maker renowned for his formalism and also his attention to detail, although sometimes criticised for his allegedly gratuitous aesthetics and his overly didactic approach. The analysis addresses the manner in which several meanings are produced by various aspects of filming technique such as image (setting, composition of the photograms, movement, editing), sounds (music, noises and voices, interactions between sound and image), and the task of adapting literary works to the film medium (reworking of narratives, dialogues by the British dramatist Harold Pinter, and acting). The study analyses the extent to which these partial significations may -or may not - converge so as to produce coherent general meaning which would legitimise certain stylistic effects as true cinematographic signifiers
Provot, Karine M. "La France Est Sa Banlieue: L'Identité Française et Sa Périphérie Urbaine à Travers le Cinéma, les Médias et la Musique". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1184688497.
Araujo, Juliana. "La voix du peuple chez Leon Hirszman ˸ des films du CPC aux courts-métrages sur la musique". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030042.
This research focus on a set of short films made by the Brazilian film maker Leon Hirszman (1937-1987). Leon is one of the members of the movement known as Cinema Novo,which appeared amongst the political and cultural efervescence of the 1960's in Brazil. Ater analysing his two first films: Pedreira de São Diogo (1962) and Maioria Absoluta (1964), we moved to five documentaries made during the period of the military dictatorship (1964 - 1985). The films are made in direct cinema about popular music. Two films are about samba: Nelson Cavaquinho (1969) and Partido Alto (1976-1982). The three other films are about work songs of the Northeast of Brazil: Cantos de Trabalho – Mutirão ; Cana de Açucar ; Cacau. The films represent about half of what the film-maker could produce during the most difficult years of a repressive regime. Besides that, these films made possible for him to reestablish contact with the poor classes of the country after the military coup had interrupted his experiences with the « cine-activisme », closing the first cicle of his career. They also represented a space of freedom for the film-maker's search for an artistic expression in tune with the popular cultural productions. In a a context in which the patrimonial services in Brazil value each time more the cultural diversity, these films that were little seen and studied until now, start to be rediscoveredby researchers and also by contemporary rt curators
Legon, Tomas. "La recherche du plaisir culturel : la construction des avis a priori en musique et cinéma chez le public lycéen". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0139.
This dissertation attempts to study how the French high school students of the 2010s make their minds about movies and musics they haven’t seen or heard yet. To understand this, the researcher has to analyse the incorporated past of eatch teenager and the situations in which they discover the cultural goods. With distincts cultural dispositions and relations to culture, the high school students read into clues given by these presentations to search for satisfactory cultural experiences. The methods of investigation articulates a macro-sociological aspect and several micro-social aspects
Loublier, Maguelone. "Variations et métamorphoses, une voix allemande : Alexander Kluge". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080052.
The cinematic voice asks questions: where does it come from and what temporality does it deploy? What does it tell us about the images it sometimes competes with? The analysis of voice in Alexander Kluge’s films leads to an investigation of the sonic world around us: the Klugian voices, obstinately persisting in speaking, resisting the brutality of the modern world, inviting the spectator to listen attentively and patiently. The fragmentary aesthetics of Kluge’s work do not aim for an impossible totality. Rather, against the tyrannical voices of the Nazi past, and against the dogmatic voices of the present that try to reduce the other to silence and demand uniformity of thought, a plurality of voices is raised in resistance to the impoverishment of language. For Kluge, the entangling of spontaneous and literary voices is thought of in terms of authenticity (Authentizität). Not as something original – not as something unique, or without precedent – not as that which creates authority, or as that with an unquestionable provenance – but as something that escapes its original context, constantly changing and being reappropriated by others – by the filmmaker, as well as by the spectator. The Klugean voice diffracts itself into a multiplicity of voices whose spatial and temporal anchoring is never certain. A witness-voice that intertwines history and stories with feelings, it is also a undogmatic and plural politics-voice that opens up a cinematic counter-public sphere where voices speak across each other; it is also fundamentally a music-voice, creating a soundscape in which the phonè – the vocality of music and the musicality of voices – questions the philosophical logos
Pallone, Grégory. "Dilatation et transposition sous contraintes perceptives des signaux audio : application au transfert cinéma-vidéo". Aix-Marseille 2, 2003. https://tel.archives-ouvertes.fr/tel-00003363v4.
Pellerin, Agnès. "Représenter le peuple : la chanson dans le cinéma portugais". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080054.
Questioning the “popular” anchoring of the song, this dissertation aims to shed light on the dynamics of the people’s representation, throughout the history of Portuguese cinema, from silent cinema of the 1920’s to contemporary productions. Eclectic song sequences (fado, etc.) punctuate this cinematography, triggering different representations of the people, depending on its political moments. On the one hand, this work proposes to bring to light the construction, often incomplete and contradictory, of the supposedly topos of the “portugality”, inherited from the XIXe century and relayed by the regime’s propaganda. On the other hand, it analyses the ways these stereotypes have been criticized, particularly through the quest for modernity of the late 1950’s cinema, which tries to show the people in relation to the “real country”, as opposed to the essentialist age-old nation that will be undermined by the Carnation revolution (1974). Covering thirty films, the chronological case analysis contributes to the sound studies of Portuguese cinema, and highlights some particularly significant contemporary films like those of Miguel Gomes. This thesis, which falls within the recent renewal of Portuguese cinema studies, bases its approach on Sound studies contributions and aesthetic theories (Rancière, Deleuze). It aims to broaden the tools of song politics applied to film music, beyond the strictly textual, aesthetic or script issues, which often reduce these “musical moments” to a conformist entertainment, spreading the image of a sentimentalist and depoliticized people, in spite of their complexity and ability to empowerment (Amy Herzog)
Abhervé, Séverine. "Compositeur de musiques de films dans l'industrie cinématographique française : définition, caractérisation et enjeux d'un métier en mutationj". Paris 1, 2011. http://www.theses.fr/2011PA010522.
Giorgi, Sebastian Mariano. "Organisation et réception du discours cinématographique : L'analyse d'un film de Wilson Yip : L'esquisse d'une sémiotique intégrale". Limoges, 2013. http://www.theses.fr/2013LIMO2006.
Since the main form of life of the film takes place in the discourse practice stage of its projection on the screen object, our hypothesis supports that the synergy between the various levels of its manifestation searches a subjectale temporary changes of the audio-viewer position to intensify the aesthetic pleasure of him. Another of our hypotheses posits that this synergy between film devices is comparable to the strategy of ellipse developed by Ivan Darrault-Harris and Jean-Pierre Klein. Instead of bringing the subject to a regime of autonomy, the audio-viewer becomes heteronomous during the film projection. Because it is beyond of the subject, the temporary abandonment of a judgemental instance, which opens the access to aesthetic pleasure. Thus our third hypothesis suggests that the tension turns a tool for changing subjectale position because it directs the flow of attention to a universe of sensations provided by the filmic discourse. The non-generic is a privileged discursive device to create this tension. And in this syncretic set, each language makes its tension, the enthymematic value of music composed by Kenji Kawai for the fight sequence betwenn Ip Man and ten karatekas, the hyperbolic value of the soundtrack and the interpellation value film images of Wilson Yip are some examples. Analyzing the synchronic behavior's public during a screening of the audiovisual sequence of our first corpus, we find the relationship between them and the most important moments of the film
Loublier, Maguelone. "Variations et métamorphoses, une voix allemande : Alexander Kluge". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080052.
The cinematic voice asks questions: where does it come from and what temporality does it deploy? What does it tell us about the images it sometimes competes with? The analysis of voice in Alexander Kluge’s films leads to an investigation of the sonic world around us: the Klugian voices, obstinately persisting in speaking, resisting the brutality of the modern world, inviting the spectator to listen attentively and patiently. The fragmentary aesthetics of Kluge’s work do not aim for an impossible totality. Rather, against the tyrannical voices of the Nazi past, and against the dogmatic voices of the present that try to reduce the other to silence and demand uniformity of thought, a plurality of voices is raised in resistance to the impoverishment of language. For Kluge, the entangling of spontaneous and literary voices is thought of in terms of authenticity (Authentizität). Not as something original – not as something unique, or without precedent – not as that which creates authority, or as that with an unquestionable provenance – but as something that escapes its original context, constantly changing and being reappropriated by others – by the filmmaker, as well as by the spectator. The Klugean voice diffracts itself into a multiplicity of voices whose spatial and temporal anchoring is never certain. A witness-voice that intertwines history and stories with feelings, it is also a undogmatic and plural politics-voice that opens up a cinematic counter-public sphere where voices speak across each other; it is also fundamentally a music-voice, creating a soundscape in which the phonè – the vocality of music and the musicality of voices – questions the philosophical logos
André, Emmanuelle. "Formes filmiques et idées musicales : en quête de musicalité au cinéma". Paris 3, 2000. http://www.theses.fr/2000PA030007.
Marcel, Philippe. "La poursuite au cinéma : pérennité d'une forme esthétique". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00702446.
Odin, Paul-Emmanuel. "L'inversion temporelle du cinéma". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2011. http://tel.archives-ouvertes.fr/tel-00842577.
Brisset, Frédérique. "Cinéma d'auteur et doublage : le paradoxe Woody Allen". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00914841.
Bobée, Emmanuelle. "La musique et les textures sonores comme éléments du récit filmique dans l'œuvre de David Lynch, d'Eraserhead (1977) à Inland Empire (2006)". Rouen, 2015. http://www.theses.fr/2015ROUEL027.
This study aims to explore the universe and aesthetics of American director David Lynch (1946 -. . . ), focusing upon the musical and sonic aspects; it leans on a large corpus composed of the ten feature-films that he directed between 1977 and 2006. Since Eraserhead, which appears as a sonic matrix of Lynch's future works, music and sound design have been given a prominent place by the cineaste, in order to create a true osmosis between the visual and sonic components of the filmic narrative. Deeply involved in sound creation, as much as in the elaboration of original soundtracks and the choice of pre-existing music, he has also developed fruitful and recurrent collaborations, in particular with the sound engineer Alan Splet and the composer Angelo Badalamenti, along with occasional partnerships with various contemporary artists. Over the years, Lynch has developed a singular approach, at once fundamentally authorial and open to external interventions, chance and unforeseen; he has also set up original working methods based on experimentation, intuition, and the « process of action-reaction ». All the potentialities of the audible register and of the audio-visual combination are used to interact with the spectator, arousing either the adhesion to the fictional world —especially by mechanisms of subjectivisation —, or the disorientation and detachment by a highlighting of the filmic representation. This constant deployment of opposite forces contributes to feed the feeling of uncanniness which emanates from Lynchean narratives, reinforced or induced by some techniques such as the use of pre-existing pop songs of the 60s, the resort to lip-synch and the integration of sung or choreographed scenes, or the implementation of musico-narrative strategies inspired by dream mechanisms or by the repetition principle
Renault, Jean-Baptiste. "Théorie et esthétiques de la métaphore : la métaphore et son soupçon, entre correspondances et dissemblances, métaphores linguistiques et iconiques". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00916648.
Huvet, Chloé. "D’Un nouvel espoir (1977) à La revanche des Sith (2005) : écriture musicale et traitement de la partition au sein du complexe audio-visuel dans la saga Star Wars". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20048.
The scores of the Star Wars saga, a gigantic dischronic cycle spanning over a long period of twentyeight years, are all composed by John Williams, a unique configuration in cinema history. This compositional consistency should theoretically establish the two trilogies (1977-1983 and 1999-2005) as a coherent and unified whole, especially as George Lucas considers the six episodes as one single entity. Nevertheless, the hexalogy’s musical unity and the existence of a Star Wars musical signature are far from self-evident, instead taking the form of an ideal devoid of real, solid foundations.By adopting a comparative cross-disciplinary approach and by resorting to different scales of analysis (episode, trilogy, saga), this dissertation aims to show in which ways the musical material, Williams’ compositional practice as well as the use and integration of the score within the audiovisual complex are subjected to profound transformations between the two trilogies. This research also questions how and to what extent these changes in Williams’s writing and the score’s treatment in the different episodes are related to the mutations of film techniques, especially those of the digital age.Drawing on unreleased hand-written sources and personal interviews conducted with Williams’ main orchestrator, Conrad Pope, and his music editor, Kenneth Wannberg, this dissertation implements a firm interdisciplinarity at the intersection of musical analysis, cinema and technology history
Berthomier, Maud. "De la musique et des mots. La critique rock à l’aune de la littérature (1966-1975)". Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5010.
In the second half of the sixties, rock music and rock criticism emerge in the United States. The protagonists of the two spheres gather to create a sense of camaraderie, but a third field also arises from that encounter. It is first and foremost a literary one, neither really musical, nor completely criticism-oriented. As a result, it challenges us to discuss rock criticism in order to better understand literature rather than music. Lester Bangs in particular dwells within that apparent paradox. As the figurehead of this little group of authors formed in early rock fanzines and magazines, he not only describes the rock myths but also discusses the way they are written. The portrait of the “aspiring writer” originating from the tradition of “literary journalism” also appears in his texts. This links the conditions of writing in the press to the situation of the fresh writer-to-be in literature. Similarly, auguries and echoes of such discourses can be found during the same period in American “direct cinema” and French rock criticism. For instance Donn Alan Pennebaker already underlines in 1965 the need for a non-journalistic criticism on rock in his documentary Dont Look Back. Later, Yves Adrien follows Lester Bangs works. Finally, forty years on, Nick Tosches, Peter Guralnick, Greil Marcus and Lenny Kaye continue today to reshape verbally this initial experience of writing and publishing. This thesis studies the unexpected birth of a new literary field through mythography. Though short-lived, it was nonetheless fecund
Sacco, Laure-Hélène. "L'opéra à l'épreuve du cinéma". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030106.
The "opera film" corresponds to the encounter between two art forms envolving specific staging rules. It combines the requirements of opera and cinema alike whilst endeavouring to promote their mutual enrichment. In this dissertation I analyse the relevance of this encounter from a creative point of view. I intend to highlight the risks, stakes and artistic appropriateness of the opera film. The body of works has a Franco-italian dimension: it includes five films produced by Daniel Toscan du Plantier (Joseph Losey's Don Giovanni, Francesco Rosi's Carmen, Luigi Comencini's La Bohème, Frédéric Mitterrand's Madama Butterfly and Benoît Jacquot's Tosca) as well as two other films which he did not produced: La Traviata and Otello, by Franco Zeffirelli, also belong to this opera film "wave". First of all, I examine Daniel Toscan du Plantier's cultural policy as a producer. Indeed, it was thanks to him that this cinematic genre flourished significantly in the 1980s. I aim to define the creative context of these films and to understand his commitment towards their promotion as well as his genuine interest for Italian culture. I then move on to analysing the technical difficulties as well as the creative licence which results from screen adaptation. On the one hand, the cinematographic writing of opera implies concessions in staging and requires a position be taken in respect of aesthetics, cinematographic and opera. On the other hand, it also triggers a new and original reading of opera. I assess the requirements which result from the opera-cinema articulation and the solutions, often musical, proposed by films directors confronted to these constraints. In Part II I focus on the achievements of this union, first by thematically analysing each director's the visual interpretation of music provided in the films included in the body of works. I argue that the moving image transcribes music, that cinematographic writing translates the music score visually and that it can enhance the emotional dimension. Finally, I examine the response to these films in France and in Italy, especially through the critics divided between the democratisation of opera and the vulgarisation of lyric art
Pereira, Barbosa Lenice. "L'effet couleur au cinéma - Manifestations chromatiques du temps". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00835009.
Brisset, Tifenn. "Le cinéma d'Alfred Hitchcock : une oeuvre du devenir-humain". Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00924092.
Dalleu, Estelle. "David Lynch, cinéaste de l'oralité". Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC006.
Orality has a sound and visual recurrent existence in the work of David Lynch. It is the main thread in the relation between the sound and the image and probably constitutes the nodal point in the cinematic aesthetic of this American artist; so much so that he makes it an identity trait, an obsessive theme of his cinematographic creation. Coming from the Latin os, oris, the term orality allows to treat everything related to the mouth, the point of contact between the interior of the body and the external environment. Orality pertains to a human anatomical mechanism, but it is not limited to sound production - it is not only concerned with speech and the functional aspect of communication. It is also a visual motif represented by its other strategic location: the face (a term also derived from Latin os, oris). There is thus a visual/visible orality and a sound/audible orality. The exploration into orality in David Lynch's work takes the form of an anatomical and an organic journey leading from the mouth to the ear; from visual representation and sound matter to its perception/reception. What is important in the final count is to observe how orality manifests itself and envisages a creative whole which produces an encounter between the performance arts, the visual arts, and the sound material
Massuet, Jean-Baptiste. "Quand le dessin animé rencontre le cinéma en prises de vues réelles : modalités historiques, théoriques et esthétiques d'une scission-assimilation entre deux régimes de représentation". Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00935335.
Oshima, Yukiko. "Stratégies des industries audiovisuelles japonaises". Paris 10, 1988. http://www.theses.fr/1988PA100158.
The Japanese household electronic industry is generally recognized as a world-leader in its field. The same can be said about the Japanese’s audio and video blank tape market. On the other hand, almost nothing is known about the programs industry. Thus the audiovisual field contains both its programming factor and its economic structure. Both artistic conception and industrial reproduction form an integral part of the production process. By analyzing the major audiovisual mediums' (radio television, records, motion picture) history and changes, the main objective is to determine the true economic and artistic stakes of the industry in the wake of the twenty first century
Robillard, Guillaume. "Le «Cinéma antillais» (Guadeloupe, Martinique) : de la détermination à l'extinction de sa voix ?" Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H321.
Is there a French Caribbean cinema? Focusing our analysis on the fictional feature films made by French Caribbean filmmakers or directors of French Caribbean origin (for diasporas), whatever they are mostly set in the West Indies (“cinéma antillais-péyi”), in mainland France (“cinéma antillais-lòtbòdlo”) or abroad (“cinéma antillo-toutbò”), we question the paths taken by those French-produced films. Considering the significance of orality in Caribbean societies, we analyze the expressed voices of this cinema that would inhabit it with a "Caribbeaness": a dialogue established between, on the one hand, "French Caribbean cinema" and, on the other hand, French Caribbean literature and French Caribbean music; representation of diglossic situations between Creole and French; typical characters (carrying Caribbean "voices”); voices given to the time-space of the French West Indies (based on the concept of chronotope defined by Mikhail Bakhtine) through a "historicization" of landscapes that give them depth. In particular, which strategies do these directors put in place in order to respond, from an "insider's view", to the exotic and touristic vision of their realities? Listening to the authors of Caribbean literature, in particular Edouard Glissant, as well as theorists of literature, film studies and aesthetics, we observe how those different proposed voices, since they have emerged, have faded in favor of an aesthetic tending more and more toward that of the postcard, to which this cinema has tried to resist at its beginning
Lavastrou, Marc. "La réception du cinéma allemand par la presse cinématographique française entre 1921 et 1933". Electronic Thesis or Diss., Toulouse 2, 2012. http://www.theses.fr/2012TOU20136.
Just after the first World War, French critics commented German film like an industrial or propaganda product. It was until the end of 1921, that Louis Delluc showed a first German movie in France. After some nationalists reactions, critics built around stereotypes an romantic vision of German films. These romantics visions maded by Madame de Staël in the beginning of 19 century. For French critics, the german production worlwide success proved the suporiority of European culture to the “ young “ american civilization. With The Nibelungen or Faust, these features represented German identity. But these film beyond nationalist space to acceded universal signification. Germans productions became the archetype of European Culture in the middle of the 1920s. In the beginning of the 1930s, talkies transformed French-German relations. There were a lot of collaboration on both side of the Rhine: of course, in Babelsberg studios – the most important in European space – and Parisians studios too. For example, Georg Wilhelm Pabst realized three differents versions of Die Dreigroschenoper : the first in german language, a second in french and the third in english. Pabst worked with differents actors and differents technincian. French and German works together – in some case English – to build European cinema without losing national identity. Until January 1933, the French German cultural transfers were multiple. However, the German Emigration didn't find acceptance in the Parisan studios
Schon vor der ersten Aufführung eines deutschen Films in Frankreich setzt sich die französische Fachpresse dafür ein, die Produktionen des Erbfeinds als reine Propagandawerke herabzuwürdigen. Erst Ende des Jahres 1921 gelingt es Louis Delluc einen deutschen Film in Frankreich zu zeigen. Auf chauvinistische und nationalistische Reaktionen folgen schnell besonnenere Kommentare. Diese Analysen basieren auf Stereotypen, die einer romantischen Vision Deutschlands entspringen, wie sie Madame de Staël beschrieben hat. Die Kritiken stellen den Welterfolg des deutschen Kinos, als Überlegenheit der europäischen Kulturen über die „junge“ amerikanische Zivilisation, dar. Von jetzt ab werden die deutschen Produktionen zu einem Model für das französische Kino. Mit „Die Nibelungen“ oder „Faust“ erscheint die deutsche Kinokunst den Kritikern wie eine Urform der europäischen Kultur. Diese Filme repräsentieren zwar die deutsche Identität, reichen aber über nationale Grenzen hinaus, um eine universelle Form zu erreichen, die durch die wirtschaftlichen Erfolge der Produktionen Mitte der 20er Jahre bezeugt wird. Das Erscheinen des Tonfilms führt zu einer Erneuerung der deutsch-französischen Beziehungen. Zusammenarbeit ist von nun ab ein Kennzeichen der Filmproduktion des Beginns der 30er Jahre. Dies wird durch Herstellung von verschiedenen Versionen deutlich. Auf beiden Seiten des Rheins kooperieren die Filmemacher bei der Erschaffung des europäischen Kinos, ohne dabei die wichtige national Verankerung des Films zu vernachlässigen. Bis zum Januar 1933 gibt es einen mannigfaltigen deutsch-französischen Kulturaustausch. Dennoch findet die deutsche Emigration in die Pariser Studios keinen wohlwollenden Empfang
Biotti, Gabriele. "Le cinéma à l'épreuve de l'anachronisme. Contribution à une réflexion sur le visible moderne à travers le film-essai. Les cas de Godard, Marker, Kluge et Wenders". Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30009/document.
This thesis analyzes the relationship between cinema and anachronism. Starting from anachronism as an important topic in history writing and memory discourses, this work intends to deal with some film practices with a strong will if reflection about time and chronologies. Starting from a specific practice as the essay film, analyzed from an aesthetical point of view, a topic comes out about the links between cinema and times, between a multiplicity of image forms and an anachronic time questioning forms, histories, interpretations, links and relationships. If Jean-Luc Godard's Histoire(s) du cinéma (1988-97) questions the sense of cinema itself, his plurality in a dense, complex network, Wim Wender's Tokyo-Ga (1983) interrogates some links between past cinema and more actual film forms, between a memory of cinema and the difficult search for the image's present, actual time. With Sans soleil (1982) and Level Five (1996), Chris Marker crosses cinema, images and their transformations with the complex links between past, present and future, in a context in which time can be presented according to the images forms. In some of this essays, Alexander Kluge gives strategie importance to images of every sort but also to the relationship between the images we produce and our history. All the analyzed films develop some theoretical questions about gaze's practices : every image is the sign of a complexe relationship between history and our starting from history, in accordance with a plural practice of the image
Khatib, Damavandi Farhad. "Le contexte, l'image et la musique à l'unisson dans la collaboration de Nikita Mikhalkov avec Edouard Artemiev". Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30063/document.
In the 1970s, the Soviet filmmakers, despite of all the restraints and being obliged to conform to the censorship criteria, were able to create quality movies. It is possible to consider that the originality and a certain freedom of expression were the characteristics of the Soviet cinema at that period, due to the fact that the control over the content of movies had become less strict than in previous decades. These years were marked by the birth of the successful collaboration between the filmmaker Nikita Mikhalkov and the composer Edouard Artemiev. A deep insight of his country's history and literature is a distinctive feature of all the movies made by Mikhalkov. This particularity brought the director the Grand Prix at Cannes and the Oscar for the best foreign film for his movie Burnt by the Sun (1994). As for Artemiev, the author of the opera Crime and Punishment, his perfect knowledge of different styles (classical music, electronic music, rock and world music) allowed him to possess a wide range of possibilities in order to accomplish the most difficult tasks in creating the film music. This is the tandem of two incontestable masters in their respective fields, two artists who complement each other. This research aims to explore the musical language and the aesthetic choices of Edouard Artemiev, as well as the different functions of his music in the films of Nikita Mikhalkov. This study is based on the extracts of different scores, providing the concrete references to the reader
De, Oliveira Joao Alves. "La construction idéologique de la culture populaire comme une identité pour le cinema brésilien (1950-1975) : une synthese dialectique entre la chanchada et le cinema novo". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00949721.
Mullen, Elizabeth. "Malaise masculin, grotesque et adaptation filmique dans le cinéma américain des années soixante-dix". Phd thesis, Université de Bretagne occidentale - Brest, 2013. http://tel.archives-ouvertes.fr/tel-00925781.
Lavastrou, Marc. "La réception du cinéma allemand par la presse cinématographique française entre 1921 et 1933". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00793003.
Watier, Maxime. "Le VJing ou la visualisation du son dans les performances audio-visuelles contemporaines". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA023.
The subject of this thesis is VJing, a term referring to the work performed by the VJ (Video or Visual Jockey) consisting of creating and manipulating several visual sources in real-time through technological mediation and for an audience, in synchronization to music. This study intends to put this practice in perspective by considering it as a specific work made over the image, questioning its poietic paradigm based on synaesthesia as well as the performative context in which it takes place. Borrowing the concept of Remediation from Jay David Bolter and Richard Grusin, we study the various processes by which VJing re-appropriates, both in form and content, some constitutive properties of DJing and electronic music, as it also extends directly or indirectly some processes of union of the visual and the aural as it has been experimented in cinema and video. Based on a corpus of about a hundred of VJ works (performance extracts, mixes made for video distribution), our methodological approach consists of conducting several comparative analysis with different works taken from avant-garde cinema, experimental cinema, video art and music videos, in order to progressively defining the specific identity of VJing. By combining theoretical, historical and aesthetic perspectives, we analyze the means by which this practice has established a technological and projective device over time to achieve producing audio-visual objects in real-time based on the constant dialogue between moving pictures and music (or soundtrack) and we try to see how this kind of performance, taking place in the context of new media, mainstreamed remix and "expanded cinema", echoes with the avant-garde tradition and the pictorial, musical as well as cinematic legacy of Visual Music