Tesis sobre el tema "Névroses de guerre – Au cinéma"
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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.
El-Horr, Dima. "Le cinéma libanais après la guerre civile. Un cinéma mélancolique et urbain (de 1990 à nos jours)". Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0029.
As the Lebanese civil war ended in 1991, a feeling of malaise and melancholy started to imprint the works of filmmakers. Between a collapsing world and a fading past, the films’ characters seem to drift aimlessly as they face constant violence, separation, mourning and exile. Their malaise lingers in a city crammed by massive construction sites where the dead, like ghosts, emerge from the ruins. While melancholy roots itself in the films, fragmented and never ending stories interlace.With Ghassan Salhab, Michel Kammoun, Joanna Hadjithomas, Khalil Joreige, Mohammad Soueid, Danielle Arbid, Christophe Karabache, Waël Noureddine, Nigol Bezgian, Borhane Alaouié, Jocelyne Saab... a new cinema is born
Eid, Robert. "Le cinéma libanais d’après guerre : Construction de mémoire et recomposition identitaire". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030128.
After the war in Lebanon [1975-1990 ], young film-makers refuse to ignore the past and work by means of their movies to restore a wholesome memory. The present research studies the new films configurations of the post-war Lebanese cinema, characterized by a memorial and countable retrospective within bygone days. By leaning on a cinematic corpus of about twenty movies, analyzed as material and symbolic tracks, the various parts of this research investigate the convergences and the problems which put the dialectic Memory - history through the representation. The study also scrutinizes the tracks of the memory by going through the processes relative to the conflict, to the work of mourning and the oblivion by questioning the capacities of the Lebanese cinema, to calibrate its potential of expression and its capacity to analyze the setbacks of a bruised society. The paths of this research will also examine the representation of Beirut, as anthropomorphic and symbolic city. In last part, the study approaches the profiles of a symptomatic subject in search of its identity at the end of the war in Lebanon
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.
El, Hajj-Hassan Elham. "La conduite auto-destructive et l'affirmation de soi : étude psychologique sur le vécu des libanais en temps de guerre". Paris 5, 1996. http://www.theses.fr/1996PA05H053.
Shavit, Avner. "Occupy Hollywood : la nouvelle subversivité du Cinéma américain". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA042/document.
This thesis examines American films which were made in response to US military involvement in the Middle East, since the beginning of the 2000s. It will seek to prove that these films are different than those made in the United States in response to previous conflicts. The historical study of American war cinema shows that it has undergone a process of evolution - from a cinema which views American wars as those of necessity, to a cinema which views American wars as wars of choice. Lately, it has gone even further than that – birthing films which present American wars as events caused by the American society, in order to fulfill the needs of the people who head it - fighting-addicted American men. This process can be said to have expanded the subjects dealt with by the American war cinema.Thus, the cinema about the Iraq War is much more poignant than representations of past wars, in its messages about the connection between American society and its militarism. It manages to surpass all previous war cinema, which in itself had been the most critical towards American army and society
Seknadje-Askénazi, Enrique. "Le realisme de rossellini - ethique et esthetique". Paris 8, 1996. http://www.theses.fr/1996PA081167.
It has been decided to analyse in this work, the period of roberto rossellini's career extending from 1941 to 1948, a period during which the italian filmmaker directed six long features taking place during the second world war. In order to understand it, we have followed the evolution of an artist who offered his services to fascist propanda, then directed three masterpieces of neorealism, in which is glorified the combat of the partisans and are denounced the crimes of nazi ideology. An evolution regarded as coherent by rossellini himself, something we deeply question here. Including a detailed analysis of the movies, this analysis allows us on one hand to understand the way rossellini represents the second world war and understands history, and on the other hand to determine the caracteristics of rossellini's style and to describe the developments of his aesthetic realism. Are considered, independently of the movies themselves, elements of interruption and continuity marking the transition from one to the other, also contributing to create the force that seems to be present in all of this movies
Lacour, Claude. "Image(s) de la Résistance ou résistance(s) à l'image : 1939 - 1945 : histoire et mythologies cinématographiques". Nancy 2, 2002. http://docnum.univ-lorraine.fr/public/NANCY2/doc136/2002NAN21026_1.pdf.
With bringing together and comparisons between the forty three films of the corpus, we are planning to analyze the relations between the film and the concept of resistance kept up by the society, between the film and the way that the resistance to look to itself. By bringing to the fore the different elements which compose the picture, the organisation of the picture in the narrative construction and the tremporal combinations that emerge out the many levels which constitute the film, it appears a narrow tie between the film and the memory, between the film and the history. History takes place in the film through it production context. This research, carrying out a systematic analisis of the films, results in the exposure of a representation of the resistance through a opposition system to the collaboration, which is destroyed by its representation and in the next verification : the film about the resistance subject to the historical writing and to the movements of our social memory and of our construction of identity
Tessier, Laurent. "Succès et représentations à vocation collective dans les films de fiction américains traitant de la guerre du Vietnam". Paris 4, 2004. http://www.theses.fr/2004PA040158.
The Vietnam war can be considered as one of the major traumatism endured by the American society during in the XXth century. After a period of relative calm during the decade 1970, the United States produced in the years 1980-90 a flood of artistic works, and in particular an incredible number of fiction films dealing with the question of the Vietnam war. The way this war (and those who participated in it) were represented in the United States has been at stake of interactions, conflicts and different kinds of negociations between the various groups involved in these cinematic productions : the film-makers and the producers of these films, the Vietnam veterans, as well as various political lobbies having interests in the way the war should be integrated into the American collective memory. This example of Vietnam War films thus presents the peculiarity to resist strongly to an interpretation of the success in term of pure entertainment. Either from the of the producers' point of view or from the publics', the meaning of these films seems to lie in their supposed "authenticity", more than in their capacity to entertain. In order to understand the success of these films, we tried to unveil their meaning : to show what makes certain individuals (who not necessarily belong to the “world of cinema”) consider that these films are worth being produced, distributed and promoted, and what makes the public consider that they are worth being seen
Meininger, Sylvestre. "Recherches d'une nouvelle masculinité dans le cinéma américain, 1977-1991". Paris 3, 2000. http://www.theses.fr/2000PA030063.
Duclaux, Véronique. "Effondrement des valeurs ou crise de générations ? : l'évolution du cinéma américain depuis la Deuxième Guerre mondiale". Paris 3, 1991. http://www.theses.fr/1992PA030034.
After the second world war and the closing of the frontier, the american movies echoed the identity crisis which shook the country and reconsidered values. The had traditionally conveyed. In the fifties and the sixties, the cinema's infrastructure was altered; the medium developed themes which illustrated the society's ill-being (stressing the youth rebellion) and tried out a new kind of writing which reflected the general incoherence of the time. Increased by the viet nam war, this crisis came to a "pseude" resolution in the eighties
Montarnal, Jean. "Cinéma français d'après-guerre et « tradition de la qualité » : du mythe critique à la réalité esthétique". Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC067.
The term « tradition of quality » usually refers to an important part of the French post-war cinema produced between 1945 and 1958. The fame of this French cinema fraction is generally derogatory, because of how it was first discredited by polemical articles published in the Cahiers du cinéma by young critics, then by the early movies of the « Nouvelle Vague ». However, the notion of « tradition of quality » or « french quality » is still difficult to define precisely. We shall first endeavour to dig for the roots of a fluctuating and unsteady yet unavoidable notion. We shall look for the origin of this concept and trace back its historical, semantic and rhetorical path, a path that navigates institutional, corporate, legal, cultural and critical spheres. The study of its use in the magazine Cahiers du cinéma also enables us to consider theoretical hypotheses on the meaning of « tradition of quality » for the reviewer groups called the « young Turks ». Moreover, the way these films regarded as « tradition of quality » were received also opens up an aesthetic analysis: we articulate critical speech with historical context, narratology and sociology in order to detail the features that give coherence to those films through the study of their generic, narrative and visual dimensions
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.
Poupou, Anna. "Représenter la Reconstruction : le paysage urbain dans les films grecs de la période 1950-1974". Paris 3, 2007. http://www.theses.fr/2007PA030150.
This thesis discusses the representation of urban landscape in Greek films during the urban reconstruction period (1950-1974). Considering the filmography of popular cinema as a primary source of collective memory of the cityscape before and after its reconstruction, this research explores the film images of the Greek capital landscape, which was characterized by historical discontinuity, architectural rupture and collective amnesia. The thesis seeks to examine both the city’s influence on cinema and the cinema’s impact on the city, exploring how cinema created a cinematographic geography, projected urban models, reflected city imageries and formed utopian visions of historical continuity. The thesis explores various topics relating to the theme of the city, such as the practice of shots in location and the recording of urban spaces, house description before and after the reconstruction, the plots about house demolition, replacement or construction, and the emergence of new symbols in Athens geography. The thesis explores both hegemonic and alternative representations of the city. The nostalgic utopia often found in post war films rejecting reconstruction, the emergence of a modernity discourse, critical views on working class spaces, and the city as a monument or as a showcase of the tourist industry are also examined. For the presentation of a panoramic view of Athens cityscape a corpus of 110 films, representative of various trends in Greek post war cinematography, has been examined
Bohler, Olivier. "Vestiges de soi, vertige de l'autre : l'homme de l'après-guerre dans l'oeuvre de Jean-Pierre Melville". Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10118.
Martinez, Laurent. "Approche clinique du concept de névrose traumatique en France pendant la première guerre mondiale". Bordeaux 2, 1995. http://www.theses.fr/1995BOR2M145.
Gaudenzi, Enrico. "Il cinema italiano e francese sulla prima guerra mondiale : una filmografia documentata (1914-2013)". Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100092.
The aim of my thesis was to create a catalog of fiction films related to the First World War produced in Italy and France between 1914 and 2013. Methodologically, 1 worked on a variety of sources (movie collections, specialized magazines, rating and direct viewing of picture show), depending on the availability of materials which came to us. I have tried to propose an analytical investigation that also includes movies concerning the war without showing it; I am well aware my work will be certainly incomplete but it tries to be the more comprehensive possible. I have devoted a special attention to the censorious intervention exercised by the government, particularly until the early Sixties, indeed those years political censorship was very strong. In addition to the analysis of general censorship, I added that of prior one (in Italy 1945-65, in France 1945-61) and I found two similar attitudes but with different methods of intervention. Although the investigation is centered on the two countries, more importance will be given to the Italian CBSE instead of French one. The choice of comparison with France was influenced by several considerations; not least, the main point of the First World War has in both film and French public history even today. These factors have not been strange to the will to compare with the history of this country, considered as one of the most interesting. The evolution of fiction story has been put in relation with the political, cinematographic, and legislative and historiography background; I also tried to understand the film reception through two factors: the results of the box office and the opinions expressed in specialized magazines
Kaloudi, Kostoula. "La catastrophe d'Asie Mineure dans le cinéma grec". Montpellier 3, 2003. http://www.theses.fr/2003MON30046.
The work present the Greek Turkish conflinct ( 1919-1922 ) out of the image in general and from the Greek cinema. It is divided in five parts. The first part refers to the historical events. After the historic frame the second part flows that refers to the Asia's Minors photographers who gave the first images from the arrival of the Greek army at Smyrni, as well as to the Greek painters, photographers and operateurs. The first cinematographic witnesses are the greek documentaires. The third part is devoted to the first cinamatographic productions. This part closes with a chapter dedicated to the melos of the period. The fourt part refers to the modern greek cinema and the new creators. The fifth part examins the way which the Greek immigrants and the Armenian stage makers saw the events and closes with the tele presentation and the theater of shadows. At the end is a reference to the Turkish cinema
De, courville Stanislas. "Le choc du cinéma. De l'apparition des masses métropolitaines à la Seconde Guerre mondiale". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3003.
Using the concept of “shock” that Benjamin develops under a Freudian influence, we observe how it emerges in nineteenth century’s literature which demonstrates the appearance of masses in the large modern city (Baudelaire, Nerval, Gogol, Zola, Huysmans, etc.). During this reflexion we always consider it in relation with its counterpart that is the aura, and we observe the dialectic which constantly re-enacts itself during the century between these two poles. It is through this channel that we approach the cinema as the art of shock, observing the genealogical lines which relate it to this aesthetic figure of modernity, true “modern beauty” (Baudelaire, Benjamin) or “new aura inclination” (Didi-Huberman). In this context, we analyse in detail the influence of The Fairground Booth of Alexander Blok, which is according to us, an emblematic work of the dialectic of shock and aura, as well as the influence of the debates which accompanied it – firstly involving the cinematograph (Bely) –, on the generation of Soviet pioneers in cinema, and more specifically on Eisenstein and his construction of the famous concept of “attraction”. Finally, we observe in Gilles Deleuze’s work the way the “shock”, partly conceived following Eisenstein and his “attraction”, which was meant to promote the birth of a new art and a new Thought, has been led astray by the war. We then use the philosopher’s apparent hesitation between taxonomy and history in his diptych on cinema to question the future of the figure of shock put to the test by the Second World War and we also question what remains of the hopes set on cinema as an art of the masses and a new Thought after this worldwide traumatic event
Wiener, Sarah. "Les représentations du conflit israélo-arabe-palestinien dans des films réalisés par des cinéastes européens et américains (1948-1994)". Paris 8, 2001. http://www.theses.fr/2001PA082046.
Dupont, Nathalie. "De La guerre des étoiles à La menace fantôme : l'évolution structurelle, conceptuelle et technologique du cinéma américain de 1977 jusqu'à nos jours". Paris 8, 2001. http://www.theses.fr/2001PA081895.
Behaghel, Sandrine. "Traumas et narcissisme : pour une critique des débriefings". Brest, 2008. http://www.theses.fr/2008BRES1001.
This research aims to improve the understanding of traumas and traumatisms according to the Freudian metapsychology, clarifying their narcissistic dynamics once more. Besides we think about how to adjust, in consequence, the accompaniment of (potentially) traumatized people. Individual stories support the investigation. First we examine the birth and evolution of debriefing methods. We develop a critical study of the systemization of the immediate and post-immediate accompaniment for both the Anglo-saxon and French approaches, military and civil (“forward psychiatry”, defusings and debriefings, CUMP. . . ). Then we present and criticize the work of French specialists on debriefings such as L. Crocq, F. Lebigot, L. Bailly. . . , as well as C. Barrois’s work. At the same time, thanks to analytic theories, we study the relations between death and traumas. The links between death anxiety, ego and super-ego are re-examined. Finally, the research focuses on the way the ego, and therefore the body, can react to fear. In this way, we suggest a resolution model of a traumatic fear
Robic-Diaz, Delphine. "La guerre d'Indochine dans le cinéma français (1945-2006) : image(s) d'un trou de mémoire". Paris 3, 2007. http://books.openedition.org/pur/91438.
The Indochina War is not merely the topic of several movies directed by former soldiers who enrolled in the “Army movie department” (Service cinématographique des armées) such as Pierre Schoenderffer or Claude Bernard-Aubert. For more than half a century, it has also been a mass phenomenon which tenuous but recurring presence can be felt in French fictions from all genres directed by such acclaimed filmmakers as Louis Malle, Claude Chabrol, Georges Lautner, Pierre Granier-Deferre, Yves Boisset, Gérard Corbiau, Bertrand Tavernier, Régis Wargnier, etc. The Indochina War is never clearly expressed in these films but it is never totally hushed as if it were a kind of cinematic repressed always attempting to return onscreen. As a cinematic blank mind, this conflict has been turned into a myth inherited from colonial cinema and renewed by the stakes of postcolonial representations. The many references to the Indochina War are thus often cryptic and always haunting. They point at a lapse or at a lack not only for the characters who tend to stigmatize this War (Indochina veterans) but also within the narratives that allude to it without staging it. To paraphrase the title of a book by Paul Ricoeur, the representation of the Indochina War in French cinema may be the perfect example of a potential link between History and Memory through Forgetfulness/Forgetting
Verret, Catherine. "La guerre du Golfe (1990-1991) et ses conséquences sur la santé : syndrome de la guerre du golfe, conséquences psychologiques et pour la descendance". Bordeaux 2, 2007. http://www.theses.fr/2007BOR21507.
Since 1993, many studies on the health of Persian Gulf War Veterans have been undertaken. These studies have concluded that there has been an increased mortality due to external causes, no excess of recognized diseases, and no effect of PGWV children. When compared with the non-deployed, PGWV have reported a higher frequency of infertility as well as different symptoms, but a specific GulfWar syndrome was not identified. This thesis is based on the first study on Gulf War and its health consequences. Its aims were to describe exposures and health outcomes of first Persian Gulf War (1990-1991), and particularly gulf war syndrome, psychological and reproductive consequences. The description of exposures and diseases reported by French veterans highlighted differences of exposures between service branch presented similarly symptoms and diseases. Apart from well-known symptoms associations (respiratory, neurocognitive, psychological and musculoskeletal syndromes), no other cluster was highlighted by our analysis. The frequencies of psychological and reproductive outcomes in French Gulf war veterans were similar to frequencies described by foreign studies. We found no evidence for a link between paternal exposure during the Gulf war and increased risk of birth defects among their children. This study showed difficulties to realize such a study 15 years after the exposures, in terms of subjects recruitments and recall bias in an important media context
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
Gauthier, Christophe. "Une composition française : la mémoire du cinéma en France des origines à la Seconde Guerre mondiale". Paris 1, 2007. http://www.theses.fr/2007PA010506.
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
Lefeuvre, Morgan. "De l'avènement du parlant à la seconde guerre mondiale : histoire générale des studios de cinéma en France 1929-1939". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030143.
Throughout this general study of the production facilities, the goal of the research is two fold. It aims first at establishing the centrality of the studios in organizing the French movie production in the 1930’s. It equally looks at showing what have been the impacts of the changes which had affected the functioning of the studios during this decade on the working conditions and sociability modes of the working class and technicians of the film industry. Not only this PhD gathers evidences and draws an inventory of the production facilities in the France between the two world wars, but it also studies the dynamics of a fast evolving branch of the film industry, the studios, while making of the human - workers and technicians of the film industry - the centre of the reflection. The analysis of the technical, economic and human dimensions of French movie studios in 1930’s, unfolds in three parts corresponding to three periods marked by different dynamics. The first part (1929-1930), discusses the transition to talking cinema favoring a descriptive approach of the facilities; it paints a picture of the situation in 1929 and analyzes the new economic and technical dynamics that profoundly altered the landscape of French studios at the beginning of the decade. The second part (1931-1933) , aims to highlight the daily operation of the studios, their role in the training and career of professionals but also their impact on economic and social life of the territories in which they are located. Finally, the third part, (1934-1939), raised the question of the development model of French studios. First victims of the crisis of 1934-1935 production year, workers and technicians of the film are the first to react, responding to the deterioration of their working conditions and compensation by a movement of demands and social struggles that stir the studios throughout the second half of the decade
Véray, Laurent. "Les actualités cinématographiques françaises de 1914 à 1918 : pour une culture (visuelle) de guerre". Paris 3, 1994. http://www.theses.fr/1994PA030150.
The war of 1914-1918 was the first to have been largely "covered" by cinematographic operators. Many of the scenes brought back from the front were shown behing the lines by means of topical news. During the four years, these images changed. They evolved and were perfected. They contributed to what the civilians formed as their mental universe in relation to the conflict and therefore to the edification of a (visual) culture of the war. The aim of this thesis, concerning french's production, is the study of conditions of realisation, broadcasting and public's reception. This detailed examination brings to the fore all the singularity of the cinematographic's war representations
Rahal, Ghada. "Images d’après : l’espace-temps de la guerre dans le cinéma au liban, du « nouveau cinéma libanais » (1975) aux pratiques artistiques contemporaines (de 1990 à nos jours)". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100214/document.
The thesis proposes less of an inventory of lebanese films, but more so it aims to collect and analyze the cinematographic forms and contemporary artistic practices that respond to tragedies, uncertainties, identity crises, and forced amnesia resulting from the incessant civil war (1975-1990.) using the notion of ‘images in the aftermath,’ the thesis explores the crisis of representation that impacts the modes of storytelling, addressing of speech, and figuration, as well as individual and collective forms of memory and history. from this ‘knot of tensions’ stems an art of erosion of language, space, and time. a seismic temporality problematizes and breaks the linear and factual, which shakes the core of categories that are linked to the real and the imaginary, documentary and fiction. this process is at firsthand questioned with lyricism and critical distancing by filmmakers such as borhane alaouié, maroun bagdadi, and jocelyne saab, then through the works of a generation including joana hadjithomas and khalil joreige, lamia joreige, jayce salloum, mohamed soueid, and akram zaatari. in addition to the fictional and figurative use of a spectral temporality leading artists such as ghassan salhab to exploit the fantastic, the lebanese artistic creations of the post-war era invent and explore a new syntax and complex aesthetic tools capable of recreating and renewing authentic ties with the real. the post-war works that are observed and studied transliterate a creative and discursive practice that is poetic, and characterized with the use of various media whose dynamics invoke the ability to think of, and apprehend, the traumatic events that may then be historicized
Morgan, Daniel. "Du crime de guerre au fait divers ˸ la justice pénale, un enjeu politique dans le cinéma français, 1945-1958". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA124.
Although French cinema from the period following World War Two is known for being largely apolitical, its images of criminal justice allow for a glimpse of the difficult questions that the postwar society was forced to ask itself about its return to the rule of law. As a point of conflict between the individual and the state—in a state attempting to reestablish its legitimacy—criminal justice was a delicate subject for filmmakers to address, especially since the cinematic medium, still seen as a means of propaganda and associated with totalitarian regimes, was strictly monitored and censored by public authorities. Using a corpus of 40 feature-length fiction films, this study attempts to analyze the representations of law enforcement, courts, prisons, crime, and punishment in the most important mass media of the era, before the transformation of the film industry by the New Wave and the spread of television to a substantial audience. A range of primary sources, from film reviews in the press to public censorship archives and newsreels dealing with similar themes, help to place the feature films’ images of criminal justice in their historical context. Often depoliticized, sometimes propagandistic, occasionally subversive, the films reveal the possibilities and the limits of expression on an intrinsically political topic, in the film industry and more broadly in 1940s and 1950s French society. They expose the morals, ideals, taboos, hopes and fears of a nation that had recently reestablished democracy but faced difficult questions about the violence of its own methods of maintaining order
Omari, Karima. "La folie du tirailleur sénégalais, fait historique et thème littéraire". Paris 4, 2001. http://www.theses.fr/2001PA040027.
Kirchner, Daniela. "Le mythe populaire de l'Amérique dans l'Italie de l'entre-deux-guerres à l'après-guerre : littérature, chanson, cinéma". Paris 10, 1992. http://www.theses.fr/1992PA100021.
The Italian myth of America permeates all the classes of Italian society and fascinates intellectuals and peasants alike. This thesis deliberately focuses on the popular myth of America and not on the intellectual one. It studies that dream which motivated many peasants to emigrate all the way from southern Italy to America. That same dream grew in the minds of those people who did not make it and were left behind to feed on it. A variety of real experiences, impressions and dreams are reflected through different media such as literature, popular songs, cinema, America jazz and italo-american jargon. These constitute an image, which is often ambiguous and contradictory. Dominated by the undeniable reality of emigration and by the hope of the emigrant for a better world, the popular Italian image of America reveals itself real and idealized, concrete and fantastic, bitter and sweet. The study in depth of this particular myth and its cultural reality helps us also to understand the existence and possible effects of similar myths which are present in other countries and other cultures
Courriol, Marie-France. "Cinéma et expérience totalitaire : le laboratoire du genre du film de guerre dans l'Italie fasciste (1935-1943)". Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30047.
This thesis analyses the fictional war films produced in Fascist Italy from 1935 to 1943, from the Ethiopian war to the end of WWII. It argues that this genre functioned as a laboratory for the anthropological renewal of Italy in the Fascist totalitarian experiment. Fascist critics celebrated it as a cinematic and social model that had to be applied to the whole Italian film world, and whose on-screen features were to become the mirror image of an ideal Fascist society. After tracing the foundations of the Italian war film genre (critical debates, international circulation), the thesis interrogates the positioning of film professionals in relation to Fascist cultural policies. Lastly, it redefines the genre in terms of its interactions with Italian viewers and through advertisement. This thesis shows that war films of the period constitute a contested site serving multiple purposes for multiple groups. Relying primarily on archival material from Italy’s state archives and filmmakers’ private papers, this work presents several case studies of producers (Scalera, Bassoli Film), directors (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis Augusto Genina, Romolo Marcellini, Roberto Rossellini), screenwriters (Asvero Gravelli, Gian Gaspare Napolitano) and reception of specific films. A study of the multiple responses to the demands of an aspiring totalitarian system, both from the point of view of film consumption and filmmaking, contributes to the historiographical debate on Fascism by broadening the parameters of the longstanding debate on popular consent for the regime. In addition, this work demonstrates the need to interpret these films in a transnational perspective and not as mere political and national products
Beaujeault, Camille. "Histoire culturelle d'une star de cinéma en France : Gérard Philipe, «le» jeune premier de l'après-Seconde Guerre mondiale (1946-1958)". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H048/document.
After World War II, Gerard Philipe is the only actor of the young generation emerged after the war to become a star. The aim of this thesis is to understand why and how the process took place. Exploring the historic context and inspired by «Histoire culturelle» and the star studies, I try to examine his cinematographic persona, his representation in media, the image of the man in the city. I submit the hypothesis that Gerard Philipe became a star because he offered a figure of young manliness opposed to dominant gender standards in French society and star system
Mayer, Hervé. "Guerre sauvage et empire de la liberté : prolongements du mythe de la Frontière dans le cinéma américain post-western". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100084/document.
The frequent use of frontier mythology in the political rhetoric of the “war on terror” calls for a reassessment of the common notion that it was marginalized in American culture after what Richard Slotkin identified as a crisis of public myth in the wake of the 1960s. This dissertation in American and Film Studies argues that the myth of the frontier did not wane in the American imagination, but rather diversified its forms and consolidated its influence in American culture. Considering cinema as the primary medium of a globalized American culture, this study is a socio-historical analysis of the representations of the frontier myth in American cinema after the 1960s. Its purpose is to underline the continuity, on a narrative and ideological level, existing between 19th-century American mythology of the frontier and 21st-century American cinema. The critical juncture is the turn of the 1960s, when criticisms of the frontier myth fostered a generic and aesthetic diversification of its representations in films. Based on a primary corpus of six films released between 1968 and 1986, taken from different genres and embodying different perspectives on the myth, this research adopts a transgeneric perspective to unpack the cultural responses to criticisms of the myth in the 1960s and the way those responses ideologically frame contemporary American cinema. We understand the frontier myth as the American expression of an ideology shared by all imperial nations of the late 19th century and, as such, adopt a transnational perspective on its emergence as well as its popularization. This study identifies two major paths connecting the frontier myth to contemporary American cinema: from Theodore Roosevelt’s Winning of the West to the representations of savage war; and from Frederick Turner’s frontier thesis to filmic celebrations of an empire of liberty
Murru, Matilde. "L'image et la culture de la Sardaigne dans la filmographie italienne du deuxième après-guerre à la fin des années 70". Paris 3, 2002. http://www.theses.fr/2002PA030100.
Land of bandits or exotic holiday paradise ? It seems that from its first appearances on the screen Sardinia offers only these two clichés. This paper intends to go beyond the commonplace to precisely analyse the image the cinema has given to Sardinian culture and reality, with its language and its peculiar features. During our study, documentary films and fictions concerning the island have been considered from the Second Post-War to the end of seventies. The documentary films have been divided in six thematic groups relating to historic periods and to the most important problems of Sardinian society. In terms of fiction, we sought to draw up an inventory of all films which recall, directly or indirectly, Sardinia from Cenere (1916) with Eleonora Duse to Marco Ferreri's Chiedo asilo (1979). Finally we point out two short interviews with Gavino Ledda and with the Taviani brothers, respectively author and directors of the most famous film abroad and probably the only one which was able to portray clearly some Sardinian reality
Ballion, Frédérique. "La représentation de l'ennemi dans le cinéma étasunien : de l'après guerre à la chute du mur de Berlin". Thesis, Bordeaux, 2014. http://www.theses.fr/2014BORD0073/document.
In order to study the various representations of the enemy conveyed during the ColdWar, we preferred to adopt a crossed-analysis of both the political andcinematographic discourses. The concept of enemy, which was inherent to theforeign policy at that time, took part in the process of legitimization of the actionscarried out by the American government. Its cinematographic representationscontribute to this process, cinema becoming a medium of diffusion of therepresentations of the enemy. However, it can also be the place where society'sinterrogations crystallize, thus attacking the dominant political discourse. Thecinematographic discourse can be comprehended at the same time as an ideologicalweapon, part of the designating and of the demonizing of the enemy, but also, in thetroubled context of the sixties and the seventies, as a contestation tool, saying a lotabout the social tensions
Cassam-Chenaï, Arnaud. "Représentations et réception des films sur la Seconde Guerre mondiale en France à la Libération (1944-1950) : la concurrence des victimes". Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30023.
In the immediate aftermath of the French liberation, theaters across the country began to project movies centered around the recent conflict. Between 1944 and 1950, World War II was the central theme of more than 302 films. However, these films came from different countries; they were not produced at the exact same time; they did not depict the conflict through the same angle; and more importantly, they did not cover the same class of war victims. Wide differences exist between a French chronicle of the Occupation and a U.S. war movie, a depiction of the homecoming of Italian prisoners and the story of soviet resistance or a narration of British citizens’ everyday life during the war. At the time, the response of the French audience and critics to these diverse movie releases varied greatly too. By studying these movies and their reception at the time of their releases, the present study informs our understanding of the emergence of the French mythology surrounding this major conflict. In three chapters, I analyze the cinematographic depictions of various groups of war victims in movies of this era, as well as the audience and critics’ response at the time. In the first chapter, I describe the theoretical underpinnings of the cinema history, as well as the narration of World War II as presented by these movies, using statistics specifically collected for this study. The two following chapters offer a series of representative case studies. I first focus on different groups of victims actively involved in the conflict: militaries on and off the front-lines, members of the resistance, and spies and assimilated individuals. I then study the non-fighting victims: civilians under the occupation, civilians living in the free zone, homecoming prisoners, members of the Jewish community and other victims of antisemitism, and finally, the children
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
Monvoisin, Frédéric. "Pour une approche géopolitique du cinéma en Asie (Hong Kong, Corée du Sud, Japon, Taiwan) : la fin du cinéma asiatique ?" Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030171.
The geopolitical issue, far from being a "mechanism" abstract part in the evolution of the local space, organization events that flow from them. The study of national film industries such as Hong Kong, South Korea, Japan and Taiwan is an opportunity to match the specific geopolitical alignment with each of these "countries" and certain elements of their respective theaters, which may play both in a historical dimension, and institutional or aesthetic. The geopolitical approach is presented as a proposal to cons-cultural uniformity proposed by the notion of "Asian cinema" and hears from a reformulation of the design Lefebvrian the notion of space (concrete, social, mental), exhume the specific qualities of each of the movies studied. Is there an Asian art? An Asian cinema?