Literatura académica sobre el tema "Névroses de guerre – Au cinéma"
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Artículos de revistas sobre el tema "Névroses de guerre – Au cinéma":
Ambroise-Rendu, Anna-Claude. "La guerre au cinéma". Le Temps des médias 4, n.º 1 (2005): 301. http://dx.doi.org/10.3917/tdm.004.0301.
Demaegdt, Christophe. "Traumatisme et travail dans l’étiologie des névroses de guerre". Travailler 33, n.º 1 (2015): 59. http://dx.doi.org/10.3917/trav.033.0059.
Doueiri, Ziad y Christiane Passevant. "Guerre civile et cinéma populaire". L'Homme et la société 154, n.º 4 (2004): 145. http://dx.doi.org/10.3917/lhs.154.0145.
Demaegdt, Christophe. "L'embarras du travail dans l'étiologie psychanalytique des névroses de guerre". L'information psychiatrique 89, n.º 8 (2013): 651. http://dx.doi.org/10.3917/inpsy.8908.0651.
Demaegdt, Christophe. "Traumatisme et travail : un siècle après les névroses de guerre". Champ psy 66, n.º 2 (2014): 81. http://dx.doi.org/10.3917/cpsy.066.0081.
Demaegdt, Christophe. "L'embarras du travail dans l'étiologie psychanalytique des névroses de guerre". L'information psychiatrique Volume 89, n.º 8 (24 de octubre de 2013): 651–59. http://dx.doi.org/10.1684/ipe.2013.1105.
Mehallel, Caroline. "L’enfant dans la guerre au cinéma". Cahiers de l'enfance et de l'adolescence 10, n.º 2 (12 de febrero de 2024): 223–30. http://dx.doi.org/10.3917/cead.010.0223.
Aslangul, Claire. "Guerre et cinéma à l’époque nazie". Revue Historique des Armées 252, n.º 3 (1 de agosto de 2008): 16–26. http://dx.doi.org/10.3917/rha.252.0016.
Haim, Monica. "L’industrie cinématographique allemande après la guerre… froide : année zéro, deuxième prise". Articles divers 7, n.º 1-2 (21 de febrero de 2011): 225–35. http://dx.doi.org/10.7202/1000941ar.
Lacasse, Germain. "William Maxwell Aitken, père tout-puissant du cinéma canadien". Cinémas 10, n.º 1 (26 de octubre de 2007): 13–35. http://dx.doi.org/10.7202/024801ar.
Tesis sobre el tema "Névroses de guerre – Au cinéma":
Rocipon, Antoine. "Retour(s) de guerre dans le cinéma américain contemporain : Essai de praxis historienne du cinéma". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080110.
Historians can learn some things from cinema : films not only offer an other point of view about past events, but also think and write history differently. In this dissertation, we studied four modern films about soldiers going back home after or during the war : Jacob’s Ladder (Adrian Lyne, 1991), Flags of Our fathers (Clint Eastwood, 2006), In The Valley of Elah (Paul Haggis, 2007) and Billy Lynn’s Long Halftime Walk (Ang Lee, 2017). We tried to determine what they really say about what it’s like to be at war and then come back to your country. In this regard, we showed that those ideas challenge historians and philosophers theories about war experience, traumatism, collective memory… In the meantime, they also offer themselves as the time and place in which images and narratives can participate in the nation’s need for mourning, and healing
Benmessaoud, Hamid. "La guerre d'Algérie dans le cinéma français". Toulouse 2, 1996. http://www.theses.fr/1996TOU20056.
The purpose of this work is the study as well as the analysis is of French films which, in one way or another, touch on Algeria war. This dissertation does not pretend to explore a subject which requires a dense thicket of commentary. It is about further reflexions on the way Algeria war and those who are fought in it were described by French films. In the light of the cinematographic art production. I will try to reveal an interest for Algeria and to determine some favorite topics for discussion in the cinema and especially in that historical period which stretched from 1954 to 1962. From the outset, I shall make a historical reminder of Algeria war in order to shed light on different events of that conflict and to have a good grasp of the French society as well as of the production of films related to that period. In the second chapter, my focus rests on the study of Algeria war in French film production. Under these circumstances, I will go over French films which evoke Algeria's entry into the war. So far as the rest of chapters are concerned, it will deal with topics which keep recurring in films studied
Godard, Marie-Odile. "Les rêves et les cauchemars dans les troubles dus aux situations traumatiques collectives : (Guerres et génocides)". Paris 13, 2000. http://www.theses.fr/2000PA131041.
Chéron, Bénédicte. "Le cinéma de Pierre Schoendoerffer, entre fiction et histoire". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040023.
Pierre Schoendoerffer burst into the media landscape in 1965 with La 317ème section (The 317th platoon), a film about a local auxiliary platoon at the end of the First Indochina War. In his next works, till the last one Là-haut – a movie released in 2004 –, the movie maker carried on a tale from Indochina to Algerian, from Vietnam at war to the Arctic Seas. Thus, the destiny of a whole generation has been screened by Pierre Schoendoerffer : officers who were in their teens during the Occupation have become men in Indochina War and, as such, faced decisive choices in Algerian. While no national mythe really emerged during this period, his work takes a special meaning. The very development of the director’s art fascinates critics as well as the audience: war led Pierre Schoendoerffer (he was born in 1928) to cinema as he was a cameraman for the Service Presse-Information des Armées en Indochine, i.e. the Military Information Department in Indochina, in 1952. Captured in Dien Bien Phu, he pledged above all those who were killed around him to testimony. The way his work was welcome and understood is a good illustration of how memory on decolonization evolved. Pierre Schoendoerffer’s cinema undoubtedly reached its audience, even though some movies happened to meet a lesser/minor success. In the context of lack of representations of Indochina War, and while Algerian War remained an open wound in the imagined community, his fresque contributed to build a mythology
Oms, Marcel. "La guerre d'Espagne vue par le cinéma : mythes et réalités". Montpellier 3, 1986. http://www.theses.fr/1986MON30006.
Chéron, Bénédicte. "Le cinéma de Pierre Schoendoerffer, entre fiction et histoire". Electronic Thesis or Diss., Paris 4, 2010. http://www.theses.fr/2010PA040023.
Pierre Schoendoerffer burst into the media landscape in 1965 with La 317ème section (The 317th platoon), a film about a local auxiliary platoon at the end of the First Indochina War. In his next works, till the last one Là-haut – a movie released in 2004 –, the movie maker carried on a tale from Indochina to Algerian, from Vietnam at war to the Arctic Seas. Thus, the destiny of a whole generation has been screened by Pierre Schoendoerffer : officers who were in their teens during the Occupation have become men in Indochina War and, as such, faced decisive choices in Algerian. While no national mythe really emerged during this period, his work takes a special meaning. The very development of the director’s art fascinates critics as well as the audience: war led Pierre Schoendoerffer (he was born in 1928) to cinema as he was a cameraman for the Service Presse-Information des Armées en Indochine, i.e. the Military Information Department in Indochina, in 1952. Captured in Dien Bien Phu, he pledged above all those who were killed around him to testimony. The way his work was welcome and understood is a good illustration of how memory on decolonization evolved. Pierre Schoendoerffer’s cinema undoubtedly reached its audience, even though some movies happened to meet a lesser/minor success. In the context of lack of representations of Indochina War, and while Algerian War remained an open wound in the imagined community, his fresque contributed to build a mythology
Uwanyiligira, Espérance. "La souffrance psychologique des Rwandais survivants du génocide et des massacres : pour une théorie locale du traumatisme". Paris 8, 2002. http://www.theses.fr/2002PA083718.
In this thesis, we propose to study the psychological problems presented by Rwandese survivors of the genocides and massacres which have occurred in Rwanda since 1994. We first briefly present Rwanda through a critical account of the specificities and contradictions linked to population settlement and the hutu-tutsi conflicts. We describe Rwanda rites connected with death and highlight their importance for peace of the living. We inventory the events of 1994 and present a few proposition towards repair. We evaluate the impact of trauma suffered by Rwandese living either in France (in and around Paris) or in Kenya (in and around Nairobi). We highlight the peculiarities of Rwandan culture. In this way, we hope to contribute to scientific research by elaborating a local theory of trauma in parallel with the general "Occidental" theory. In the clinical part of this research, which consists of psychological help sessions with Rwandese families living in France, we resort to the clinical resources of ethnopsychiatry. To us it appears necessary, in order to understand and help traumatized Rwandese people, to lean on historical, socio-demographical, anthropological and political notions in the earnest search of a meaning for the recent events. Individual psychotherapy in such a population is not only inadequate, but can even lead to worsening the trauma. The ambition of this research is to end up constructing an intervention tool to be used by all those who wish to bring some help to the Rwandese
Kalakech, Samar. "La guerre civile libanaise vue par le cinéma libanais". Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/out/theses/2007_out_kalakech_s.pdf.
The aim of this thesis is to reveal the representations that the Lebanese Cinema offers about an historical event: the Lebanese Civil War which devastated the country from 1975 to 1990. For this purpose, the study is based on four Lebanese fiction films produced in 1998, 1999 and 2000: West Beirut (Ziad Doueiri, 1998), Beirut ghost (Ghassan Salhab, 1999), Civilized people (Randa Chahal, 1999) and In the shadows of the city (Jean Chamoun, 2000). The choice of these films realized during the post-war period of time was done with the aim to pose a retrospective glance on the representation of the war. By calling upon the tools of the narrative analysis, we focused initially on the study of the narrative and enunciative structure of each film in order to determine the dominating point of view and the conveyed representation of this historical period. Then, we studied the relation between reality and fiction while trying to reveal the representation of the History that the films propose. As a completed event, the memory of the war was of paramount importance in these films. It is the subject of our final chapter. We tried to study "Which memory (ies)" the directors evoke in their films in a country where the society is composed of various confessional components
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
Ben, Ameur-Darmoni Kaouthar. "L'univers féminin et la drôle de guerre des sexes dans quelques films tunisiens". Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/ben-ameur_k.
Libros sobre el tema "Névroses de guerre – Au cinéma":
Rousselet, Francis. Et le cinéma britannique entra en guerre--. Paris: Cerf, 2009.
Sigg, Bernard W. Le silence et la honte: Névroses de la guerre d'Algérie. Paris: Messidor/Editions sociales, 1989.
combattants, Canada Ministère des affaires des anciens. Le syndrome de stress post-traumatique (SSPT) et le stress lié à la guerre. Ottawa, Ont: Anciens combattants Canada, 2001.
Bedjaoui, Ahmed. Cinéma et guerre de libération: Algérie, des batailles d'images. Alger]: Éditions Chihab, 2014.
Laroche, Josepha. La Grande Guerre au cinéma: Un pacifisme sans illusions. Paris: Harmattan, 2014.
Tatu, Laurent. La folie au front: La grande bataille des névroses de guerre, 1914-1918. Paris: Imago, 2012.
Véray, Laurent. La Grande Guerre au cinéma: De la gloire à la mémoire. Paris: Éditions Ramsay, 2008.
Véray, Laurent. La Grande Guerre au cinéma: De la gloire à la mémoire. Paris: Éditions Ramsay, 2008.
Sánchez-Biosca, Vicente. Les enjeux du cinéma espagnol: De la guerre à la postmodernité. Paris: L'Harmattan, 2010.
Denis, Sébastien. Le cinéma et la guerre d'Algérie: La propagande à l'écran, 1945-1962. Paris: Nouveau Monde, 2009.
Capítulos de libros sobre el tema "Névroses de guerre – Au cinéma":
Sellier, Geneviève. "Guerre des sexes au cinéma". En Dictionnaire du fouet et de la fessée, 375–78. Presses Universitaires de France, 2022. http://dx.doi.org/10.3917/puf.poutr.2022.01.0375.
Devictor, Agnès. "Chapitre IX. Le cinéma de guerre". En Politique du cinéma iranien, 201–35. CNRS Éditions, 2004. http://dx.doi.org/10.4000/books.editionscnrs.1844.
Pozner, Valérie. "Les actualités soviétiques de la seconde guerre mondiale". En Le cinéma « stalinien », 123–41. Presses universitaires du Midi, 2003. http://dx.doi.org/10.4000/books.pumi.19607.
Gallinari, Pauline. "Chapitre 5. Une Guerre froide cinématographique". En Les communistes et le cinéma, 99–125. Presses universitaires de Rennes, 2015. http://dx.doi.org/10.4000/books.pur.93315.
Voltzenlogel, Thomas. "Inscrire la guerre dans un corps". En Harun Farocki : une hantologie du cinéma, 99–120. UGA Éditions, 2023. http://dx.doi.org/10.4000/books.ugaeditions.32486.
Robic-Diaz, Delphine. "21 Le cinéma et la guerre d’Indochine". En Traumatisme et mémoire culturelle, 319–28. De Gruyter, 2023. http://dx.doi.org/10.1515/9783110420746-021.
Oms, Marcel. "Le cinéma français et la guerre d’Espagne". En Les Français et la guerre d’Espagne, 321–35. Presses universitaires de Perpignan, 2008. http://dx.doi.org/10.4000/books.pupvd.35727.
Berthier, Nancy. "16. Le cinéma pendant la Guerre Civile espagnole : miroir et arme de combat". En La guerre d'Espagne, 231–44. Armand Colin, 2016. http://dx.doi.org/10.3917/arco.canal.2016.01.0231.
Mrabet, Emna. "Filmer au Moyen Orient, villes et empreintes de guerre". En Écrire la ville au cinéma, 53–59. Presses universitaires de Vincennes, 2022. http://dx.doi.org/10.3917/puv.droin.2022.01.0053.
Gallinari, Pauline. "Le PCF, parti du cinéma français dans l’après-guerre". En Les communistes et le cinéma, 15. Presses universitaires de Rennes, 2015. http://dx.doi.org/10.4000/books.pur.93291.
Actas de conferencias sobre el tema "Névroses de guerre – Au cinéma":
Molina García, Erika Natalia. "Déversement du regard fluide. Esquisse d'une méthodologie pour approcher théoriquement le cinéma." En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3090.