Thèses sur le sujet « Transe – Au cinéma »

Cette recherche se concentre sur le travail de cinéastes contemporains dont la pratique artistique reprend l'un des thèmes centraux du cinéma ethnographique : le phénomène de la transe. Des artistes tels que Marc et Éric Hurtado (Jajouka, quelque chose de bon vient vers toi, 2012), Tiane Doan na Champassak et Jean Dubrel (Natpwe, le festin des esprits, 2013), Vincent Moon (Collection Petites Planètes), Soundwalk Collective et Patti Smith (Illuminations, 2018) ou Susana de Sousa Dias (Fordlandia Malaise, 2019), explorent de nouvelles voies de recherche ethnographique à travers le cinéma expérimental. Bien que relativement éloignés dans leurs champs d'expérimentation respectifs, ces artistes abordent différentes dimensions de la transe dans un même esprit de découverte. Pour ce faire, ils ont principalement recours à l'invention formelle et aux processus de production et de distribution en dehors de l'industrie cinématographique. Les œuvres de ces artistes relèvent d’une approche spécifique du cinéma et se caractérisent par l’utilisation de la pellicule (Super 16mm, 16mm, Super 8 et 8mm), l’exploration des particularités de la perception, le dédain pour les formats numériques standardisés et l’utilisation des pouvoirs du son et de la musique pour créer une expérience sensorielle. En outre, dans ces œuvres, nous voyons comment les cultes de transe dans le monde contemporain, pour la plupart populaires, continuent de résister à la subordination aux systèmes religieux. Dans de nombreux cas, les formes de transe de ces cultes trouvent de fortes résonances avec les mythes, la poésie et la musique de traditions qui s'écartent de l'orthodoxie religieuse. Ainsi, le caractère marginal et parfois transgressif de ces pratiques, par rapport aux religions institutionnelles, leur confère souvent une dimension subversive et libertaire. Ce travail de recherche utilise une méthode interdisciplinaire et interroge la relation entre ce groupe de films et l'ethnomusicologie, l'ethnographie de la possession, le cinéma ethnographique et le cinéma expérimental
This research focuses on the work of contemporary filmmakers whose artistic practice takes up one of the central themes of ethnographic cinema: the phenomenon of trance. Artists such as Marc et Éric Hurtado (Jajouka, quelque chose de bon vient vers toi, 2012), Tiane Doan na Champassak & Jean Dubrel (Natpwe, le festin des esprits, 2013), Vincent Moon (Collection Petites Planètes), Soundwalk Collective & Patti Smith (Illuminations, 2018) and Susana de Sousa Dias (Fordlândia Malaise, 2019), explore new avenues of ethnographic research through experimental film. Although relatively distant in their respective fields of experimentation, these artists approach different dimensions of trance in the same spirit of discovery. To do so, they mainly resort to formal invention and to production and distribution processes outside the film industry. The works of these artists have a specific approach to cinema and are characterized by the use of film (Super 16mm, 16mm, Super 8 and 8mm), the exploration of the particularities of perception, the disdain for standardized digital formats and the use of the powers of sound and music to create a sensory experience. Furthermore, in these works we see how trance cults in the contemporary world, mostly popular, continue to resist subordination to religious systems. In many cases, the trance forms of these cults find strong resonances with the myths, poetry, and music of traditions that depart from religious orthodoxy. Thus, the marginal and sometimes transgressive character of these practices, in relation to institutional religions, often gives them a subversive and libertarian dimension. This research work uses an interdisciplinary method and questions the relationship between this group of films and ethnomusicology, the anthropology of possession, ethnographic cinema and experimental cinema

Dans les annees 60 le cinema novo bresilien a occupe en france une place particuliere parmi les nouveaux cinemas. Cela fut rendu possible par la promotion de ce mouvement accomplie par certains critiques des revues cinematographiques specialisees. Les revues rendirent possible l'attribution d'une valeur culturelle aux oeuvres du cinema novo, permettant ainsi sa reconnaissance en tant qu'invention d'une conception originale du cinema. Les interpretations du cinema novo ont ete reperees a travers les textes parus dans les revues. L'orientation du travail est surtout historique et socioculturelle. On y esquisse une methode pour rendre compte des particularites des situations de communication etudiees sans pour autant engager une etude des medias ou une etude semiolinguistique (bien qu'on utilise certaines procedures relevant de ces disciplines). Ce travail demontre d'abord comment la circulation des idees a permis la conception d'un modele culturel pour le cinema novo. Ce modele fut elabore a partir d'une recherche de significations communes, suggerant une correspondance des codes entre les cultures francaise et bresilienne, et il fut legitime a partir des accords ideologiques prealables etablis entre les partenaires de ce processus. On demontre ensuite que le cinema novo, pour etre convaincant comme modele de cinema social et politique convenant aux besoins de la critique francaise et aux strategies promotionnelles qu'elle convoque, jouait des roles determines par les a priori redactionnels des revues, roles dont le principal fut celui de substitut du neorealisme italien et de la nouvelle vague francaise
In the 1960s, as a result of the promotional movement carried out by critics writing for specialised cinema periodicals, the brazilian cinema novo held a privileged position among the new cinemas. Those periodicals provided the means through which the cinema novo films were given their particular cultural value. As a consequence, this body of films gained recognition as a movement that created an innovative conception of film-making. The interpretations of the cinema novo propounded were elaborated form the observation of the discursive reality perceptible in the periodicals. The approach given to the present work is mostly a historical and socio-cultural one. An analytical method has been draw up in order to account for the particularities of the communication categories examined. However it is neither a media or a semiological and linguistic study, even though both these domains have provided useful techniques. Firstly, this study shows how the spread of ideas produced a cultural model for the cinema novo based on the research of signs common to both the french and the brazilian cultures, so that a pattern off corresponding codes uniting these two cultures could be set. The legitimacy of this cultural model was to be found in ideological agreements previously established between the parties involved in the process. Then, we show that in order to meet the needs of the specialised french critics, who searched for a convincing model of social and political cinema, and those of their promotional strategies, the cinema novo had to fit in the roles determined by editorial tenets upheld in the periodicals. Thus, the main role the cinema novo had to play was that of a replacement for the italian neorealism and for the french new wave

Esta dissertação se limita a registros de experiências e relatos documentais para evidenciar como as novas tecnologias alteram a prática religiosa, e refletir sobre a ressignificação de imagens sagradas do candomblé quando transitam entre meios audiovisuais e seus processos. A pesquisa objetiva seguir por trajetórias de registros do corpo humano em transe por diferentes dispositivos em diversos meios eletrônicos, para reuni-los em uma exposição de fotografias, vídeo e documentário expandido em múltiplas telas e diversos espaços dentro de uma série de instalações. O estudo amplia fronteiras entre o registro documental do evento religioso e sua reconstrução dentro do espaço expositivo, criando teias de relações entre as linguagens do cinema, fotografia, artes visuais e antropologia em espaços arquitetônicos complexos para potencializar uma experiência imersiva e sensorial.
This dissertation focuses on documentary records of experiences and interviews to examine how new technologies are changing religious practices, and how sacred images in the African-Brazilian religion of candomblé are being re-signified in transit between different eletronic and digital media. The research aims to chart the visual documentation of the human body in trance, generated by a wide variety of different devices, as it journeys through different media. The result of this study will generate an exhibition in which photography, video and documentary film will roam freely over multiple screens and various spaces within a particular venue. The study wishes to expand the boundaries between the documentation of a religious event and its reconstruction within the exhibition space, exploring multi-tiered relationships between cinema, photography, visual arts and anthropology in complex environments, in order to maximize the potential of an immersive, sensory experience.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.
Includes bibliographical references (p. 42-45).
On December 15, 1996, from 1:30 to 4:30, cinem-a-crobatic was formally presented at Columbus Park, New York City. The park is located at the intersection of China town and the Federal Court district. cinem-a-crobatic attempts to amplify the complex and shifting relationship between the urban landscape and the experience of its inhabitants, through the introduction of a new form of urban cinema production. Unlike most conventional cinematic productions, cinem-a-crobatic is a cinema-production-like "play." Its participants are the production crew and the public who interact with the crew at the site of production. The production crew consists of a director, a camera person and actors. I have also included a person who interviews the director and actors to question their motives behind each scene. The roles of the production crew are interchanged among the participants. cinem-a-crobatic not only stimulates new possibilities of cinematic story tel ling by integrating the realities of urban life as a structural basis for its narrative construction, it also attempts to serve as a new method for generating social interaction. Central to the production of cinem-a-crobatic was the use of a new video device that was specifically developed for the project . It was mounted on a standard film dolly and functioned as a nomadic instrument which was pushed around the park by the participants. It functioned both as a sculptural matrix for the production and as a visual lure for drawing the public into its performative arena. This device recorded, edited, and projected the captured video image on the surface of a transparent glass screen that simultaneously framed the real landscape. This thesis text is in two parts. The first part describes the project in detail, including a brief history of how the project evolved, who the participants were, and the nature and use of the video device. The second part discusses the autobiographical and philosophical framework for the project.
by Iki Nakagawa.
M.S.V.S.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.
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Terra em Transe, Tropicália. É já conhecida a relação criadora, propulsora entre o filme e a canção. Em retrospectivas tropicalistas, é oficial esta associação: o longa-metragem de Glauber Rocha ? a música que desencadeou o tropicalismo ? a instalação de Hélio Oiticica - a montagem do texto de Oswald de Andrade, O Rei da Vela, pelo teatro Oficina. Pretendemos aqui, além desse reconhecimento, compreender de que forma a obra cinematográfica de Glauber Rocha e a cena, o momento, o comportamento tropicalista, em alguns de seus aspectos, abrem pontos de aproximação e distanciamento, (des)encontram-se. Propomos, para isso, algumas leituras que partem primeiramente da análise de Terra em Transe, filme de 1967; seu impacto, fissura aberta em contexto, cenário cultural/estético/político, e dentro do próprio cinema do diretor; sua relação com os desdobramentos do conceito Tropicália, de Hélio Oiticica, vinculados às ideias políticas em torno da construção/arquitetura de Brasília, que desembocam na letra da composição de Caetano Veloso. Em um segundo momento do trabalho, é a análise mais detida de Deus e o Diabo na Terra do Sol (longa-metragem de Glauber, de 1964) que abre uma série de diálogos - em transe pela terra - com os processos de criação-invenção de Hélio Oiticica: os Penetráveis (marcadamente os de sua Tropicália); os Bólides (a proposição de obra aberta no Contra-Bólide N°1 Devolver a terra à Terra, e o "momento ético" no Bólide B33 Caixa 18 Homenagem a Cara de Cavalo); o Parangolé. É este que, através da dança, leva/conduz ao corpo, como elemento de desestruturação da linguagem cinematográfica, da música popular brasileira, e dos parâmetros estabelecidos do que seja arte. Nesses exercícios de aproximação e distanciamento, muitas vezes, o que entendemos por "teoria" sobressai dos escritos, críticas, pensamentos dos próprios criadores, colocados em (des)espelhamento no processo de apagamento das fronteiras entre vivência do cotidiano/criação artística, vida/obra.

A presente pesquisa busca empreender um mapeamento de produções cinematográficas, nacionais e internacionais, que abordam a transgeneridade. A partir desse procedimento, observamos as regularidades que emergiram desse conjunto de produções. Objetivamos traçar um percurso que inscreve esse esforço num plano micropolítico, uma vez que interroga criticamente as práticas comunicacionais e discursivas do cinema hegemônico. Para tanto, exploramos aproximações e tensionamentos provocados pelos estudos queer considerando, aqui, que é esse conjunto de noções que melhor dá conta de pensar a condição trans enquanto um deslocamento que se impõe ao sistema binário masculino/feminino e, como consequência, ao sistema sexo/gênero. Esse percurso conduzido, ainda, sob um viés discursivo/foucaultiano, traz como implicação um profundo questionamento daquilo que configura o humano ao interrogar os biopoderes, os limites do corpo e os regimes de verdade que o produzem. Desse modo, essa pesquisa guia-se pela seguinte questão: como se configuram os discursos que produzem e expressam os corpos trans no cinema? Partimos das análises dos filmes Meninos Não Choram (1999), Tomboy (2011), Num Ano de 13 Luas (1978), Tirésia (2003), Lado Selvagem (2004), Vera (1987), Tangerine (2015), Paris is Burning (1991) para examinar as regularidades observadas, supondo ser possível interrogar as condições de possibilidade de novas formas de expressar a transgeneridade, no sentido de configurar linhas de fuga significativas para as audiovisualidades.
The present research seeks to undertake a mapping of cinematographic productions, national and international, that deal with transgender characters. From this procedure, we observe the regularities that emerged from this set of productions. We aim to trace a path that inscribes this effort in a micropolitical plan, since it critically questions the communicational and discursive practices of hegemonic cinema. To do so, we explore approximations and tensions provoked by queer studies, considering here it is this set of notions that best account for thinking the trans condition as a displacement that imposes itself on the male / female binary system and, as a consequence, on the sex / gender system . This course, conducted even under a discursive / Foucaultian bias, entails a deep questioning of what constitutes the human being when interrogating biopowers, the limits of the body and the regimes of truth that produce it. Thus, this research is guided by the following question: how are the discourses that produce and express trans bodies in cinema? We start from the analysis of the films Boys Don’t Cry (1999), Tomboy (2011), In a Year of 13 Moons (1978), Tiresia (2003), Wild Side (2004), Vera (1987), Tangerine (2015) and Paris is Burning (1991) to examine observed regularities, assuming that it is possible to interrogate the conditions of possibility of new ways of expressing transgender experiences, in order to configure significant escape lines for audiovisuals.

Cinéma interactif, film jouable, actable : toutes ces désignations sont le reflet de tentatives visant à définir un cinéma où le spectateur aurait la possibilité d’intervenir sur le déroulement de l’histoire à partir d’alternatives proposées. Un cinéma où le spectateur serait capable de corriger et de modifier le déroulement du récit en fonction de ses choix et des conséquences de ses choix. Depuis son officialisation en 1967, le cinéma interactif n’a cessé de se chercher une forme stable, en épousant respectivement celle du cinéma, celle d’Internet et enfin celle du jeu vidéo où ce dernier semblerait se cristalliser depuis plusieurs années. Le cinéma interactif est en cela, une forme filmique interactive en devenir. Cette thèse propose de partir sur ses traces, d’en délimiter les traits et contours et ainsi mettre en lumière un objet marginal qui témoigne des mutations du champ du cinéma. Il est question d’établir une histoire du cinéma interactif et de comprendre comment ce phénomène complexe, sortant du champ traditionnel des disciplines artistiques, semblerait avoir un rôle à jouer dans la convergence entre le cinéma et le jeu vidéo. Il s’agit également d’étudier comment le récit interactif se déploie et fait participer le spect-acteur, de s’interroger sur sa viabilité dans le contexte actuel autant que sur les conditions qui prévalent à la création de telles œuvres, et enfin, de mettre en avant les enjeux socioculturels de cet objet inscrit dans un paysage artistique où la convergence des médias est devenue chose commune
Interactive cinema, playable movies, interactive movies: all these denominations are the demonstrations of attempts to define a cinema where the spectator would have the possibility to interact with the narration by choosing alternatives. In this kind of cinema, the spectator is able to correct and modify the narration proceeding, because of the consequences of his choices. Since its creation in 1967, interactive cinema has not stopped searching for a stable form to define itself. Throughout the years, it has respectively taken the shape respectively of cinema, Internet and finally video games. This latter seems to have been the more stable form and has been for several years. Interactive cinema is, therefore, a promising interactive filmic form to be. This thesis leads us on its traces, bounding the lines and outlines and so highlights a marginal object which shows the transformations of the field of cinema. By establishing the story of interactive cinema, we will try to understand how this complex phenomenon, which is out of the traditional field of artistic disciplines, could have an effect on the convergence between cinema and video games. It is also question of studying how the interactive narration deploys itself and how it makes the spect-actor participate; to wonder about its viability in this current context, about the creation’s conditions of such works, and finally, to highlights the sociocultural stakes of this object registered in an artistic landscape where convergence media has become a common thing

Depuis la fin de la guerre civile libanaise en 1991, le cinéma libanais décline le mal existentiel et le sentiment de mélancolie d’une génération dont les personnages étrangers au monde comme à eux mêmes, sans repères, font face à la répétition des violences, la séparation, le deuil, ou l’exil, trainent leur mal-être dans une ville en éternel chantier et où les morts tels des fantômes réapparaissent d’entre les ruines. Entre un monde qui s’effondre et un passé qui s’efface, la mélancolie habite ces films dont les récits fragmentés et éclatés ne s’achèvent jamais. Avec Ghassan Salhab, Michel Kammoun, Joanna Hadjithomas, Khalil Joreige, Mohammad Soueid, Danielle Arbid, Christophe Karabache, Waël Noureddine, Nigol Bezgian, Borhane Alaouié, Jocelyne Saab... un nouveau cinéma s’invente
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

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O presente trabalho teve por objetivo analisar como a ocupação da Amazônia brasileira na década de 70 foi abordada no filme Iracema Uma Transa amazônica, de Jorge Bodansky e Orlando Senna. A análise está relacionada às teorias culturais e análises históricas do período da ditadura militar. Esse viés possibilita um debate sobre as representações da identidade cultural e os conflitos ocorridos dentro desse processo que marcou a história recente do Brasil. O filme é tratado como um documento histórico, um elemento de produção e reprodução de determinados valores culturais e políticos vigentes na sociedade.
This study aims to analyze how the occupation of Brazilian Amazonia in the 70s was addressed in the film “Iracema Uma Transa Amazônica of Jorge Bodansky and Orlando Senna. The analysis is related to cultural theory and historical analyzes of the period of the military dictatorship. This bias allows a discussion of the representations of cultural identity and the conflicts that occurred within that process that marked the recent history of Brazil. The film is treated as a historical document, an element of production and reproduction of certain cultural and political values prevailing in society.

FundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
Os cinemanovistas produziram narrativas audiovisuais sobre a teoria e a aÃÃo revolucionÃria, em concomitÃncia com as narrativas escritas no seio da militÃncia e da intelectualidade, consagrando-se, assim, como alguns dos principais formuladores da ideologia da revoluÃÃo brasileira. Com base nessa premissa, analisa-se como o filme "Terra em transe" (1967) problematiza o ideÃrio revolucionÃrio hegemÃnico em trÃs contextos distintos, separados pelo golpe civil-militar de 1964 e o AI-5: o primeiro marcado pela defesa de uma ârevoluÃÃo democrÃtico-burguesa de conteÃdo antifeudal e anti-imperialistaâ, levada a efeito pela alianÃa entre burguesia nacional, PCB, operÃrios e camponeses contra os latifundiÃrios e as multinacionais, inspirada nos postulados da III Internacional (1919), difundidos no Brasil pelo PCB; o segundo celebrado pela relativa superaÃÃo do etapismo revolucionÃrio e a aÃÃo armada de grupos guerrilheiros influenciados pelo foquismo cubano e o maoÃsmo, e cujos princÃpios remontam Ãs recomendaÃÃes da IV Internacional (1938) acerca do carÃter desigual e combinado do capitalismo e da ârevoluÃÃo permanenteâ; o terceiro fundado na modernizaÃÃo conservadora engendrada pelos militares, sob as diretrizes da doutrina de seguranÃa nacional, com ressonÃncias sebastianistas e contrarreformistas. Outrossim, crÃ-se que, transpondo os fundamentos e estratÃgias revolucionÃrias no contexto brasileiro, a pelÃcula de Glauber Rocha enseja a problematizaÃÃo da prÃpria mentalidade revolucionÃria, entendida por Leszek Kolakowski como a crenÃa na redenÃÃo integral do homem, mediante a negaÃÃo absoluta do mundo existente, no fim do qual se subordinariam todos os outros valores, transmutados, por conseguinte, em meios.
Brazilian Cinema Novo producers designed audiovisual narratives on revolutionary theory and action at the same time as narratives were written within the pale of militancy and intellectuality, therefore being consecrated as some of the chief designers of Brazilian revolution ideology. Based on such premise, this study analyzes how the movie Entranced earth (1967) renders hegemonic revolutionary ideas problematic, within three distinct contexts, disconnected by both 1964 military blow and AI-5: the primer, marked by the defense for âan anti-imperialist and anti-feudal democratic-bourgeois revolutionâ, accomplished by the engagement between national bourgeoisie, PCB, workers and peasants against landowners and multinational companies, inspired by the III Internationalâs (1919) postulates, distributed in Brazil by PCB; the second, celebrated by the relative overcoming of revolutionary stagism and armed actions of guerrilla influenced by Cuban foquist approach and the Maoism, and whose principles retake the IV Internationalâs (1938) recommendations on uneven and combined nature of capitalism and the âpermanent revolutionâ; the latter, embedded on the conservative modernization that militaries triggered, under the guidelines from National Security Doctrine, with Sebastianist and counter-reformer resonances. Moreover, the study shows that over revolutionary grounds and strategies in Brazilian setting, Glauber Rochaâs film brings into light the problem of the very revolutionary mentality, that Leszlek Kolakowski points as the belief in the entire manâs redemption through his absolute denial of the existing world, in the end of which would be subordinated all the other values, transformed hence in means.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018.
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Terra em Transe são os nomes dos três roteiros de cinema que fizeram parte do processo de criação do filme homônimo, de 1967. Tais roteiros são o objeto de estudo deste presente trabalho, que visa contribuir com a história e a teoria do roteiro mundial. Estes roteiros se diferenciam do modelo de roteiros do cinema industrial canônico. Os roteiros e o filme foram criados por Glauber Rocha, cineasta brasileiro que participou do movimento do Cinema Novo no Brasil. Este cineasta pensava criticamente o cinema e, dentre seus textos críticos, escreveu importantes textos-manifestos, como o Estetyka da Fome e A revolução é uma Estetyka que consistem em um esforço de aproximação do cinema a uma ideia de função política necessária ao cinema. Os roteiros e os textos-manifestos formaram a base para o delineamento de conceitos que perpassam todo o trabalho. Tais conceitos são o choque e o transe, que compõem parte da estratégia política de Glauber Rocha para a construção do pensamento; e a precariedade, que faz parte de todos os elementos e etapas de criação dos roteiros. Estes três roteiros foram colocados em um encontro com a filosofia imanente de Baruch Espinosa, com o intuito de pensar o que é a superstição e por que ela pode afetar o corpo de modo a diminuir sua potência. Nos roteiros de Glauber Rocha há um transe que não é supersticioso, mas desalienante. Este transe é aqui interpretado a partir da teoria da montagem de Sergei Eisenstein, cineasta russo, que pensa a montagem para além das imagens: como caminho de pensamento. Mas, tanto em Glauber Rocha quanto em Eisenstein, há uma precariedade que persegue o cinema, um silêncio, um espaço imprevisível, que se abre, como se fosse um questionamento, ao leitor do roteiro. Mas a precariedade está também e de maneira intimamente interligada, com a técnica de todo o processo de criação do cinema de Glauber Rocha, através de recursos escassos para a produção. A precariedade é também pertencente aos corpos que necessitam, com urgência, mostrar sua real potência.
Entranced Earth is the name of the three movie scripts that were part of the process of creating the eponymous film of 1967. These scripts are the object of study of this present work, which aims to contribute to the gobal history and theory of the cinematic script. These scripts differ from the canonical model of industrial movie scripts. The screenplays and the film were created by Glauber Rocha, a Brazilian filmmaker who participated in the Cinema Novo movement in Brazil. This filmmaker was a critical thinker of cinema and, among his critical texts, wrote important texts-manifestoes, such as Aesthetics of Hunger and The Revolution is an Aesthetic that consist of an effort to bring cinema closer to an idea of a necessary political function. The scripts and the manifestos formed the basis for the delineation of concepts that run throughout this work. These concepts are shock and trance, which compose part of Glauber Rocha's political strategy for the construction of thought; and precariousness, which is part of all the elements and stages of script creation. These three scripts were brought together with the immanent philosophy of Baruch Spinoza to question the meaning of superstition and why it diminishes the body’s power. In the scripts of Glauber Rocha there is a trance that is not superstitious, but de-alienating. This trance is here interpreted through the theory of Sergei Eisenstein, a Russian filmmaker, who understands the picture montage beyond the images, as a path for thought. In both Glauber Rocha and Eisenstein, there is a precariousness that haunts cinema, a silence, an unpredictable space that opens up, as if it were a question, to the reader of the script. But the precariousness is also closely intertwined with Glauber Rocha’s process of cinematic creation because of the scarcity of resources for production. Precariousness also pertains to bodies that urgently need to show their real and possible power.

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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente tese resulta de uma captação de forças que procura esboçar, pelo uso que faz da cartografia, um mapa de possibilidades para um possível ato de (trans)formação docente. Uma vez que já se sabe dos tantos métodos para “formar” um professor, métodos esses que, em sua maioria, privilegiam a memória, o retorno ao mesmo e a identidade, nesta tese pergunta-se: Como trabalhar a (trans)formação docente buscando encontrar o que não se sabe? Como permitir um encontro quando se quer apostar no esquecimento? Como a imagem do cinema pode potencializar o conceito de arte como sensação e do próprio cinema como memória curta e imagemcristal? Considera-se que a própria escrita da tese, em suas rupturas, fragmentos e reflexões, pode ser um modo para se pensar em educação como criação e invenção. A cartografia aqui traçada fundamenta-se em autores da filosofia, da arte, do cinema e da formação docente. A tese que se assume e deseja-se demonstrar com essa cartografia é que a educação de um professor pode ser afetada pela concepção de arte como sensação, de educação como esquecimento e de cinema como imagem ótica e sonora pura, trazendo deslocamentos importantes para a formação de professores. Processo que tomado como invenção e criação é sempre perigoso, inesperado e imprevisível.
This thesis is a result of a collection of energies that try to outline, through the use of cartography, a map of possibilities for a possible action in teachers (trans)formation. Since it is already known about the many existing methods to “form” a teacher, methods that in most of the cases privileges the memory, the return to sameness and the identity, in this thesis we ask: How to work a (trans)formation in teachers, trying to find something that is not known? How to allow an agreement when forgetfulness is what people want to bet on? How does the image of cinema strengthen the concept of art as feeling as well as its own image as short memory and crystal-image? It is considered that the way in which this thesis itself was written, with its ruptures, fragmentations and reflections may be a way of thinking about education as creation and invention. The cartography used here is based in philosophy, art, cinema, and teacher training literature. The thesis that we assume and want to demonstrate with such cartography is that the education of a teacher may be effected by the conception of art as feeling, of education as forgetfulness, and of cinema as optical image and pure sound, therefore bringing about important changes in teacher training, a process that when believed as invention and creation is always dangerous, unexpected and unpredictable.

CASTELO, Sander Cruz. A ética revolucionária: utopia e desgraça em Terra em transe (1967). 2010. 345f. Tese (Doutorado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2010.
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Brazilian Cinema Novo producers designed audiovisual narratives on revolutionary theory and action at the same time as narratives were written within the pale of militancy and intellectuality, therefore being consecrated as some of the chief designers of Brazilian revolution ideology. Based on such premise, this study analyzes how the movie Entranced earth (1967) renders hegemonic revolutionary ideas problematic, within three distinct contexts, disconnected by both 1964 military blow and AI-5: the primer, marked by the defense for “an anti-imperialist and anti-feudal democratic-bourgeois revolution”, accomplished by the engagement between national bourgeoisie, PCB, workers and peasants against landowners and multinational companies, inspired by the III International’s (1919) postulates, distributed in Brazil by PCB; the second, celebrated by the relative overcoming of revolutionary stagism and armed actions of guerrilla influenced by Cuban foquist approach and the Maoism, and whose principles retake the IV International’s (1938) recommendations on uneven and combined nature of capitalism and the “permanent revolution”; the latter, embedded on the conservative modernization that militaries triggered, under the guidelines from National Security Doctrine, with Sebastianist and counter-reformer resonances. Moreover, the study shows that over revolutionary grounds and strategies in Brazilian setting, Glauber Rocha’s film brings into light the problem of the very revolutionary mentality, that Leszlek Kolakowski points as the belief in the entire man’s redemption through his absolute denial of the existing world, in the end of which would be subordinated all the other values, transformed hence in means.
Os cinemanovistas produziram narrativas audiovisuais sobre a teoria e a ação revolucionária, em concomitância com as narrativas escritas no seio da militância e da intelectualidade, consagrando-se, assim, como alguns dos principais formuladores da ideologia da revolução brasileira. Com base nessa premissa, analisa-se como o filme "Terra em transe" (1967) problematiza o ideário revolucionário hegemônico em três contextos distintos, separados pelo golpe civil-militar de 1964 e o AI-5: o primeiro marcado pela defesa de uma “revolução democrático-burguesa de conteúdo antifeudal e anti-imperialista”, levada a efeito pela aliança entre burguesia nacional, PCB, operários e camponeses contra os latifundiários e as multinacionais, inspirada nos postulados da III Internacional (1919), difundidos no Brasil pelo PCB; o segundo celebrado pela relativa superação do etapismo revolucionário e a ação armada de grupos guerrilheiros influenciados pelo foquismo cubano e o maoísmo, e cujos princípios remontam às recomendações da IV Internacional (1938) acerca do caráter desigual e combinado do capitalismo e da “revolução permanente”; o terceiro fundado na modernização conservadora engendrada pelos militares, sob as diretrizes da doutrina de segurança nacional, com ressonâncias sebastianistas e contrarreformistas. Outrossim, crê-se que, transpondo os fundamentos e estratégias revolucionárias no contexto brasileiro, a película de Glauber Rocha enseja a problematização da própria mentalidade revolucionária, entendida por Leszek Kolakowski como a crença na redenção integral do homem, mediante a negação absoluta do mundo existente, no fim do qual se subordinariam todos os outros valores, transmutados, por conseguinte, em meios.

In this thesis I analyse visual traces of digital technologies in narrative cinema as a way of exploring broader questions about the medium and the cultural status of its technological constituents. In so doing, I not only identify a number of areas of filmmaking that are currently under-researched or overlooked, but move the focus away from the questions of what digitisation means for cinema’s ‘identity’, and towards a consideration of how the implications of digitisation are at once exaggerated in rhetoric and tempered in practice by aesthetic, ideological, and economic factors. To do this, I focus on recent narrative films (1998-2013) in which digital filmmaking technologies are themselves salient features of the cinematic image. I argue that initial appearances of these digital traces are presented and received as disruptive, in that they appear to symbolise both a break with the ontological assumptions of cinema, and the potential to re-imagine the very notion of the medium itself. However, I demonstrate how each of these disruptions are, to differing extents, soon absorbed into the conventional formal structures of narrative cinema, such that their ultimate effect on the medium is to broaden its stylistic palate rather than to radically transform its identity. In so doing, I make four main scholarly contributions. Firstly, I provide an account of digital cinema contextualised in relation to the broader use of digital image technologies over this time period. Secondly, I use the technological trace as a locus for exploring intersections of aesthetic, ideological, and industrial factors in the production of these films. Thirdly, I temper hyperbolic reactions to digitisation by stressing continuities with, and echoes of, the history of analogue narrative cinema. Finally, I demonstrate how digital ontologies are shaped by popular discourses, and how these reinforce, qualify, and in some instances, contest, existing scholarly debate.

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Este trabajo pretende abordar la cuestión de las imágenes audiovisuales del culto a Shangó en vista del cine documental. Al considerar la imagen como la contabilidad en el ámbito de la historia científica, utilizado como soporte teórico, la sede del cine etnográfico y cine vérité que dio lugar a la Cine-Trance.Basado en el estudio científico de sincretismo religioso en Brasil, que incorpora en su contenido histórico de la resistencia de la cultura africana, se muestra cómo la escritura cinematográfica, la pieza titulada Ayrábeji como la tesis de Xango audiovisuales a fin de que nuestras reflexiones sobre el enfoque metodológico adoptado en la investigación de la imagen campo y su función heurística en la representación de la historia. Por lo tanto, se utilizó el método etnográfico para guía de observación científica y la lectura de las representaciones del Candomblé, que presupone la película conceptual, científica como una categoría audiovisual modelos culturales específicos y que revela en la producción de conocimiento.
O presente trabalho de qualificação tem como escopo o questionamento audiovisual na abordagem da imagética do culto de Xangô na perspectiva do cinema documental. Ao considerar a imagem como escrituração científica no campo da História, utilizamos como suporte teórico, as matrizes do cinema etnográfico e do cinema verdade que deram origem ao Cine-Transe. Com base no estudo científico do sincretismo religioso brasileiro, que incorpora em seu conteúdo histórico a resistência da cultura africana, apresentamos como escritura cinematográfica, a peça intitulada Ayrábeji de Xangô como dissertação audiovisual a fim de tecer nossas reflexões acerca do percurso metodológico adotado na pesquisa imagética de campo e sua função heurística na representação da história. Desta forma, fizemos uso do método etnográfico visando à orientação científica da observação e leitura das representações do Candomblé, tendo como pressuposto conceitual, o filme científico como uma categoria audiovisual específica e reveladora de modelos culturais na produção do conhecimento.

What do Salvador Dalí, Federico García Lorca, Val del Omar, Alejandro Jodorowski, Néstor Perlongher, Clarice Lispector, and Octavio Paz have in common? To the naked eye, they seem to feature more differences than similarities: besides the fact that all of them are Ibero-American artists, filmmakers and writers, their birthplaces, origins, generations, styles, and artistic disciplines are quite dissimilar. But there is at least one thing they share: their output was a perfect vehicle to reflect how they were all enthralled by ecstasy, epiphany, illumination, rapture, grace. In Psychology, these events are categorized as “Modified States of Consciousness”, a melting pot that comprises heteroclite mental states like medium trances, ritual possessions, REM states, effects of hallucinogenic substances, orgasm, and so on. The common factor is that in all those cases subjects experience a new way to perceive the world and their self, far away from the one provided by the ordinary state of consciousness. Also, most of them seem to take place in a dimension where rationality is mostly an obstacle. Friedrich Nietzsche certainly believed so, as he associated these irrational events with Dionysus, the god of wine and ritual madness in the classic Greek civilization. The Dionysian cult involved rupturing the bounds of the participants’ self and the collective communion between them as well as with the cosmos. On the other hand, one criterion to distinguish between the experiences that are confusedly grouped in that psychological miscellany is to examine where does it drive us to. There are events that can potentially change our ordinary state of conscience into another that could be described as an illuminated state and could be associated to perceptions of happiness, harmony, and mindfulness. These positive sensations would help explain why, since the dawn of civilization, human beings have used various techniques (such as yoga, ritual dance, the use of narcotics, etc.) in an attempt to recreate the mystical manifestations they previously had lived solely as spontaneous experiences. It must be recognized, though, that ecstatic experiences can be associated not only to a positive dimension, but also to a negative one. Following Nietzschean thesis, Néstor Perlongher (an Argentinean writer who is central to my dissertation) points out that Dionysian experiences can be self-destructive and dangerous, as well as illuminating and liberating. Nietzsche, and Perlongher, contemplate art as the necessary complement of ecstasy, a discipline which can help avoid the negative consequences of these experiences. Salvador Dalí and Octavio Paz (another two authors studied in my dissertation) also link art to ecstasy. Dalí believes in the power of pictorial images to provoke the non-ordinary mental state associated with ecstasy. Nevertheless, Octavio Paz considers poetics one of the best artistic vehicles to express the “instant”, through which a poem breaks the linearity of time while it also creates an “eternal present”. What I exposed above could be considered a sample of what I am doing in my dissertation. I aim to establish a dialogue between diverse “texts” (in the wide sense) and authors in order to delimitate the meaning of the ecstatic phenomenon, as well as their characteristics and particularities.
Romance Languages and Literatures

La mia tesi approfondisce le dinamiche della cinefilia su Facebook: quali relazioni s'instaurano tra lo spettatore cinefilo, e dunque il suo particolare sguardo, e la moltitudine di frammenti di cinema dispersi nella rete; come si sono modificati i rapporti, gli atteggiamenti, i processi di negoziazione, le abitudini e soprattutto i discorsi dei cinefili al cospetto di tracce di cinema sui social network e in particolare su Facebook. Inoltreprovo a dimostrare che la cinefilia è un'esperienza costitutivamente autobiografica, cui il web permette il perpetuare potenzialmente infinito della (auto)narrazione di sé.
My thesis aims at analyzing the relations that occur between the cinephile member of the audience and the multitude of cinema fragments that populate the web. In addition, I'll investigate the way in which relationships, behaviors, processes of negotiation, and habits of cinephiles have been modified by the encounter with on-line cinema traces: the definition of the various typologies of classic/traditional cinephile behaviors; the mapping of the contemporary on-line behaviors of cinephilia: status updates, video uploads, creation of fan-pages and of bottom-up groups, etc; creation of fan-groups and of groups with the purpose of advertising Festivals and studios; diffusion of reviews and usage of one’s own “wall” to publicize personal reviews, etc. The massive development of the systems of on-line social networking highlight the emergence of new and ambiguous figures of cinephiles. Whilst these contemporary figures maintain some characteristics deriving from the evolution of classic cinephilia, on the other hand they show completely original typologies of experience, socialization and taste. The web, and in particular the programs of video sharing and the social networks, feed and trigger the characteristics of classic cinephilia, amplifying its consequences: the unity of the film-text has been definitively compromised, for cinephilia can now overcome the boundaries of the dark élite-oriented cinema halls. A one and a half hours long movie can now be watched in pieces, it can be arbitrarily reconstructed, its scenes can be shared on YouTube according to one’s taste and preferences, it can be preliminarily evaluated by having watched nothing but a fragment of it being shared by a friend on Facebook, whereas the varieties of video shared by a friend on Facebook can help one understanding that friend. In the study of contemporary culture, cinephilia helps understanding some of the internet-related phenomena, such as video sharing websites and social networks.

La mia tesi approfondisce le dinamiche della cinefilia su Facebook: quali relazioni s'instaurano tra lo spettatore cinefilo, e dunque il suo particolare sguardo, e la moltitudine di frammenti di cinema dispersi nella rete; come si sono modificati i rapporti, gli atteggiamenti, i processi di negoziazione, le abitudini e soprattutto i discorsi dei cinefili al cospetto di tracce di cinema sui social network e in particolare su Facebook. Inoltreprovo a dimostrare che la cinefilia è un'esperienza costitutivamente autobiografica, cui il web permette il perpetuare potenzialmente infinito della (auto)narrazione di sé.
My thesis aims at analyzing the relations that occur between the cinephile member of the audience and the multitude of cinema fragments that populate the web. In addition, I'll investigate the way in which relationships, behaviors, processes of negotiation, and habits of cinephiles have been modified by the encounter with on-line cinema traces: the definition of the various typologies of classic/traditional cinephile behaviors; the mapping of the contemporary on-line behaviors of cinephilia: status updates, video uploads, creation of fan-pages and of bottom-up groups, etc; creation of fan-groups and of groups with the purpose of advertising Festivals and studios; diffusion of reviews and usage of one’s own “wall” to publicize personal reviews, etc. The massive development of the systems of on-line social networking highlight the emergence of new and ambiguous figures of cinephiles. Whilst these contemporary figures maintain some characteristics deriving from the evolution of classic cinephilia, on the other hand they show completely original typologies of experience, socialization and taste. The web, and in particular the programs of video sharing and the social networks, feed and trigger the characteristics of classic cinephilia, amplifying its consequences: the unity of the film-text has been definitively compromised, for cinephilia can now overcome the boundaries of the dark élite-oriented cinema halls. A one and a half hours long movie can now be watched in pieces, it can be arbitrarily reconstructed, its scenes can be shared on YouTube according to one’s taste and preferences, it can be preliminarily evaluated by having watched nothing but a fragment of it being shared by a friend on Facebook, whereas the varieties of video shared by a friend on Facebook can help one understanding that friend. In the study of contemporary culture, cinephilia helps understanding some of the internet-related phenomena, such as video sharing websites and social networks.

Conselho Nacional de Desenvolvimento Científico e Tecnológico
Os poderes hipnóticos e sensoriais do cinema foram encenados em vários filmes e teorizados, de diferentes modos, por diversos pensadores e cineastas. Desde seu início, o cinema tem sido assombrado por vampiros, fantasmas, duplos, sonâmbulos, loucos e alucinados que metaforizam a experiência espectatorial e suas metamorfoses. A partir deste tema, o trabalho consiste em discutir as relações entre cinema e percepção através de uma analise das metáforas do espectador como autômato e da experiência cinematográfica como fenômeno dissociativo, ligada à hipnose, a alucinação e a telepatia. Para investigar estas conexões, parte-se de um estudo da modernização da percepção e do espetáculo ocorridos na sociedade industrial. Neste contexto, a imaginação cinematográfica esteve vinculada ao imaginário óptico de um modo ambíguo: por um lado, com a automatização da percepção através dos atos reflexos propagados pelos choques espaço-temporais da modernidade; e por outro, com a emergência de uma cultura espectral que fez a imagem técnica dialogar com os debates psicofísicos acerca dos fenômenos da dissociação e com a imaginação fantástica da segunda metade do Século XIX. A partir deste quadro as metáforas do autômato e dos fenômenos dissociativos servirão como instrumentos teóricos para a análise de alguns filmes que abordam as transformações do dispositivo cinematográfico sob o de novas tecnologias, processos de automação e demandas perceptivas.
Various films have staged the hypnotic and sensorial power cinema has, just as several thinkers and film directors have theorized about it in many different ways. Since the very beginning, cinema has been haunted by vampires, ghosts, doppelgangers, sleepwalkers, insane and hallucinated people who turn the audiences experience and its metamorphoses into metaphors. These issues have been taken as the leading theme for this work which will deal with the exploitation of the connection between cinema and perception through the analysis of both the metaphors of the spectator seen as an automaton and of the cinematographic experience seen as a dissociating phenomenon, linked to hypnosis, hallucination and telepathy. The starting point for the exploitation of these connections is the study of the modernizing trend as to perception and performance in the industrial society. In this context the bond between the cinematographic imagination and the optical imaginary activity is an ambiguous one: on one side the bond goes with the automation of perception through reflexive acts spread by spatial-temporal clashes of modernity; on the other side, the bond goes with the emergency of a ghostly culture which led the technical image into a dialogue with psycho-physical debates on dissociation phenomena and with the fantasizing imagination of the second half of the 19th century. In this setting the metaphors of the automaton and of the dissociating phenomena will supply a theoretical device to analyze some films that deal with the transformations of the cinematographic tool under the impact of new technologies, automation processes and perceptive demands.

Orientador: Maria Celeste Tommasello Ramos
Banca: Álvaro Luiz Hattnher
Banca: Maria de Lourdes Baldam
Resumo: O presente trabalho faz uma análise do diálogo intersemiótico estabelecido entre a obra literária Il Decameron (1348-1353), de Giovanni Boccaccio (1313-1375), e o filme homônimo, de Pier Paolo Pasolini (1922-1975), tendo como principal objetivo elucidar a transcriação artística operada por Pasolini, sobretudo no que diz respeito às construções metalingüísticas presentes no texto literário, que são cinematograficamente retomadas pelo cineasta. No texto sincrético, a metalinguagem está intrinsecamente ligada à poeticidade, seguindo os pressupostos teóricos do próprio Pasolini, expostos em Empirismo Eretico (2000). Os conceitos presentes nesse livro, como o famoso cinema de poesia ou a linguagem da realidade, norteiam a nossa escolha de outros teóricos, os quais nos auxiliam na tarefa de comprovar que tanto Boccaccio quanto Pasolini realizam operações metalingüísticas, sendo que as molduras narrativas por eles criadas explicitam a auto-reflexão acerca do fazer artístico, funcionando, desse modo, como marcas autorais. Assim, as duas versões de Decameron não se comunicam apenas pelo tema, mas pelo modo como as narrativas são estruturadas, pois Pasolini constrói a sua obra por meio de soluções cinematográficas que remetem à construção do discurso realizada por Boccaccio
Abstract: The present work does an analysis of the intersemiotic intercourse established between the literary work Il Decameron (1348-1353), of Giovanni Boccaccio (1313-1375), and the namesake movie, of Pier Paolo Pasolini (1922-1975), regarding as the main objective to find out the artistic transcreation operated by Pasolini, above all, in what touches the metalinguistic constructions present in the literary text that are cinematographically retraced by the film maker. In the syncretic text, the metalanguage is intrinsically bound to the poetical, following Pasolini's own theoretical conceptions exposed in Empirismo Eretico (2000). The concepts in this book, like the famous cinema of poetry or the language of reality, guide the selection of other theorists, who help in the quest to prove that both Boccaccio as well as Pasolini make metalinguistic operations, as the narrative frames created by him expound the introspection of the artistic labour, working, this way, as authorial marks. Thus, the Decameron's two versions do not communicate only through the theme, but through the way their narratives are structured because Pasolini's work is built hereby cinematographic solutions which allude to Boccaccio's discourse construction
Mestre

Ce travail de recherche tente de redéfinir l’émancipation intellectuelle et sensible que permettent certaines expériences cinématographiques. « Le spectateur, pour l’auteur, n’est autre qu’un autre auteur » écrivait Pasolini. Danièle Huillet et Jean-Marie Straub, Harun Farocki et Pedro Costa (mais également Jean-Claude Rousseau,James Benning, Robert Kramer, ou parmi les jeunes cinéastes, Wang Bing, Albert Serra et Lisandro Alonso) inventent des dispositifs cinématographiques qui profanent le cinéma. En déconstruisant le langage cinématographique, en mettant au jour leur« armature artistique », les films profanes libèrent et transmettent des énergies, des capacités d’imagination et de production (ou création). Les cinéastes profanes ne se déclarent pas éducateurs ou enseignants. Leur fonction n’est pas de communiquer un message, de donner une leçon ou de transmettre un savoir au spectateur. Ils considèrent le spectateur comme un égal, « un collègue éventuel ». Ils disséminent les traces de leur travail dans leurs films. Le spectateur peut alors recueillir ces traces afin de reconstruire une méthode de production, de fabrication, d’un film. La transmission d’une méthode (ou d’une énergie créative) nécessite une rencontre entre un cinéaste qui a l’intention de transmettre – par la bande – un savoir faire, une manière de représenter, de mettre en image une expérience, et un spectateur qui reconnaît dans les traces la maîtrise de l’auteur et souhaite l’exproprier de ce savoir faire
This research work tries to redefine sensitive and intellectual emancipation that allows some cinematographic experiments. "The Viewer, for the author, is other than another author" wrote Pasolini. Danièle Huillet and Jean-Marie Straub, Harun Farocki and Pedro Costa (but also Jean-Claude Rousseau, James Benning, Robert Kramer, or among young filmmakers, Wang Bing, Albert Serra and Lisandro Alonso) invented cinematographic devices that profane film. By deconstructing the film language, by updating their "artistic frame", profane films release and transmit energy, imagination and production (or creation) capabilities. Profane filmmakers do not declare themselves educators or teachers. Their function is not to communicate a message, give a lesson or to transmit knowledge to the Viewer. They consider the Viewer as an equal, "a potential colleague. They spread the traces of their work in their films. The spectator can then collect these traces in order to reconstruct a method of producing, manufacturing, a film.The transmission of a method (or a creative energy) requires an encounter between a filmmaker who intends to pass - band - know-how, a way to represent, implement image a viewer who recognizes in traces the mastery of the author and wishes to expropriate this know-how and experience

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This work arose from the need to think about the ways in which national cinema seeks to deconstruct a particular worldview. From this, the objective of this study was to analyze the deconstruction of the myth of a Transamazônica the progress of a military government, from the intellectual traditions and representations of Jorge Bodanzky and Orlando Senna, in Iracema: uma transa amazônica. We opted for the choice of film for its hybrid cinematic language that mixes the fictional to the documentary, it brings a denunciativo and demystifying tone of government propaganda that was the Transamazônica highway in the Brazilian dictatorial period. When doing this exercise, the filmmakers bring in their influences some elements of the New Cinema (German and Brazilian), the Italian neorealism, the Nouvelle Vague, the environmental film and a leftist militant political discourse. Through this path, appropriating from the work of filmmakers such as Jean Rouch, John Nicholas Cassavetes and Arne Sucksdorff to develop the narrative of a half-breed girl who prostitutes herself on the banks of the Trans-Amazon Highway. Methodologically, this work covers the influences and trajectories of these filmmakers and articulates every scene of the film, trying to understand the times in which the Trans Myth deconstruction appears. In this wide range of filmic readings linked to the social reality of the people who inhabited the region where they built the Trans-Amazon highway, there is the look the filmmakers about the neglect of the population, such as checking neglect appears.
Este trabalho surgiu da necessidade de pensar as formas pelas quais o cinema nacional busca desconstruir uma determinada visão de mundo. A partir disso, o objetivo deste trabalho foi analisar a desconstrução do mito de uma Transamazônica que simboliza o progresso de um governo militar, a partir das tradições intelectuais e representações de Jorge Bodanzky e Orlando Senna, no filme Iracema: uma transa amazônica. Optou-se pela escolha do filme por sua linguagem cinematográfica híbrida, que mescla o ficcional ao documental, traz um tom denunciativo e desmistificador da propaganda governamental que se fazia da rodovia Transamazônica no período ditatorial brasileiro. Ao efetuar esse exercício, os cineastas trazem em suas influências alguns elementos do Novo Cinema (Alemão e Brasileiro), do Neorrealismo Italiano, da Nouvelle Vague, do cinema ambiental e de um discurso político militante de esquerda. Por meio desta trajetória, apropriam-se do trabalho de cineastas, como Jean Rouch, John Nicholas Cassavetes e Arne Sucksdorff para elaborarem a narrativa de uma menina cabocla que se prostitui às margens da rodovia Transamazônica. Metodologicamente, este trabalho percorre as influências e trajetórias destes cineastas e as articula a cada cena do filme, buscando perceber os momentos pelos quais a desconstrução do mito da Transamazônica aparece. Nessa ampla gama de leituras fílmicas, atreladas à realidade social da população que habitava a região onde se construía a rodovia Transamazônica, destaca-se o olhar dos cineastas sobre o descaso com a população, verificando como tal descaso aparece.

La pensée hétéronormative n’admet que deux sexes, mâle et femelle, auxquels correspondent deux genres, masculin et féminin. Sur l’horizon contemporain qui est le nôtre, certains individus refusent toutefois ces fatalités et décident de changer de sexe et/ou de genre, ou alors de le choisir (dans le cas des personnes intersexuées). Ce mémoire se penche sur les représentations de ces identités dites problématiques dans quelques œuvres littéraires et filmiques contemporaines. Parmi les œuvres illustrant des personnages transitant d’un sexe et/ou d’un genre à l’autre, force est de constater que le passage du masculin au féminin est le plus souvent représenté. Ainsi en est-il des romans Le sexe des étoiles (1989) de Monique Proulx, Self (1998) de Yann Martel, Annabel (2010) de Kathleen Winter et du film Laurence Anyways (2012) de Xavier Dolan, qui mettent respectivement en scène les figures du transsexuel, du « transtextuel », de l’intersexué et du transgenre. Considérant que le statut des femmes est encore aujourd’hui plus précaire et plus globalement désavantagé que celui des hommes, nous cherchons à comprendre, dans ce mémoire, la façon dont la diégèse explique le choix des personnages masculins à vouloir performer le genre féminin. Nous identifions également les changements qui affectent le statut de ces personnages passant du masculin au féminin. Plus précisément, nous cherchons à vérifier si ce passage s’accompagne d’une déchéance et, si oui, sur quel(s) plan(s) cette déchéance s’exprime-t-elle. Mobilisant les théories féministes, constructionnistes et matérialistes, l’analyse de chaque œuvre s’articule autour des trois axes suivants: le discours entourant le système de sexe genre présent dans les « textes », le rapport au masculin et au féminin qu’entretiennent chacun des personnages et, finalement, les conditions économique, matérielle, sociale et symbolique de chacun de ceux-ci à la suite de leur transition.

Ce travail se pose pour objectif de démontrer la coïncidence de deux phénomènes, l'écriture subjective et le found footage film, tout en articulant des approches différentes autour des problèmes de l'autoportrait et de l'écriture subjective au cinéma, de la représentation de l'identité de genre, de l'histoire et de la critique du film d'avant-garde. Le rapprochement des notions de réécriture filmique (Marie-Claire Ropars) et d'entre-images (Raymond Bellour) conduit d'abord à la problématisation d'une question centrale concernant la pratique de l'autoportrait : le rapport de ressemblance entre le référent et l'objet de la représentation. L'analyse de films de remploi, réalisés dans le cadre de la production cinématographique féminine à partir des années quatre-vingt, articule ultérieurement la réflexion au vu des débats occasionnés autour de la valeur du remploi artistique du film d'archive – entendu en tant qu'outil de ré-évaluation générale du cinéma comme dispositif (Christa Blümlinger) – aussi bien que de la répétition (Judith Butler) entendue en tant que stratégie pour dévoiler et mettre en discussion les mécaniques sous-jacents à la représentation de l'identité de genre. En valorisant la nature physique et matérielle des travaux analysées et en prenant en considération le contexte bio-politique de la réflexion post et trans-féministe, cette thèse vise enfin à définir le corps comme support et modèle d'une « micro-politique du soi » dont la réécriture se ferait instrument spécifique dans la détermination d'une subjectivité à la fois intermédiaire et inter-médiale, associée par un lien charnel aux technologies mais, dans le même temps, libre de la « chair » de l'image
This work aims to study the coincidence between two phenomenons, subjective writing and found footage film, articulating different approaches around themes as filmic self-portrait and subjective writing, gender identity representation, the history and the critique of avant-garde film. Through the link between the notions of réécriture filmique (Marie-Claire Ropars) and entre-images (Raymond Bellour), this thesis problematise one of the main topic of self-portraiture practice: the resemblance bond between the referent and the object of representation. The analysis of “second hand” films – realized in the frame of woman's avant-garde cinema since the eighties – allowed me to articulate this theoretical reflexion in the light of recent debates around found footage film. Following the researches of Christa Blümlinger, I focused notably on the practice of reusing archive films as a form of analysis, critic, and reevaluation of cinema as a dispositif. Secondly, according to Judith Butler, I interpreted repetition as a strategy to discuss and dismantling the underlying mechanisms of gender identity representations. Finally, putting a specific emphasis on the physical and material nature of the work analysed, I highlighted a precise relationship between the material body of the filmic archive and the natural body of the artists. In this sense, the bio-political context of post and trans-feminist self-representation practices permitted me to conceive the natural body as both a surface and a medium of rewriting, shaping and determining an intermediate subjectivity which is linked “fleshly” to technologies as well as it is “freed” from the flesh of the image

Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed Jun 4, 2007). Available via ProQuest Digital Dissertations. Vita. Filmography : p. 264-270. Includes bibliographical references (p. 271-284).

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Based on gender studies, media representation and Queer Theory, this research discusses the construction of identities, bodies and sexualities of trans characters in Pedro Almodovar's films, on the assumption that the filmmaker uses in his work elements that create questions about the conception of subjects, showing new ways of thinking truths about individuals, presented in his films, from slippery and fluid optical that does not hold the intelligibility standards that try to crystallize the social understanding of the bodies, identities and sexual experiences.
Baseado nos estudos de gênero, representação midiática e Teoria Queer, a pesquisa discute a construção das identidades, corpos e sexualidades das personagens trans nos filmes de Pedro Almodóvar. O trabalho parte do pressuposto que o cineasta utiliza em sua obra elementos que criam questionamentos sobre a concepção dos sujeitos, mostrando novas formas de pensar as verdades sobre os indivíduos, apresentados, nas suas películas, a partir de óticas escorregadias e fluidas que não se prendem às normas de inteligibilidade que tentam cristalizar a compreensão social acerca dos corpos, das autoafirmações identitárias e das vivências sexuais. As personagens revelam que determinados saberes tidos como únicos são mais plurais e múltiplos do que as regras normativas tentam impor.

Trans Cinema and its Exit Scapes offers a critical and creative intervention into cultural representations of gendered body dissidence in contemporary film. The study argues for the possibility of finding spaces of “disidentification”, so-called “exit scapes” within the films. Exit scapes disrupt the dominant cinematic regime set up for the trans character, which ties them into stories of discrimination, humiliation and violence. In Trans Cinema, for instance films such as Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), scenes of singing, dancing and dreaming allow a different form of engagement with the films. As argued here, they allow a critical re-reading and an affirmative re-imagining of trans embodiment. The aim of this study is to investigate the utopian and hopeful potential within Trans Cinema from a critical transfeminist perspective. While focusing in particular on trans entrants as “spectators” or readers, this study draws on the work of a wide range of feminist and cultural scholars, such as Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad and Donna Haraway. The thesis etches out cinematic spatiotemporalities that unfold possibilities of utopian worlding and trans becoming through a set of conceptual innovations. By utilising a critical approach to audio-visuality and feminist film theory, the thesis re-conceptualises haptic spectatorship theory and its critique in western modernist ocularcentricism through a set of conceptual innovations. The methodological tools developed in this thesis, such as the “entrant”, the “exit scape” and “sensible cinematic intra-activity”, feature here as a multisensorial methodology for transdisciplinary transgender studies and feminist film theory as well as visual culture at large.
Trans Cinema and its Exit Scapes är en kritisk och kreativ intervention med fokus på kulturella representationer av kroppar som bryter mot en könsbinär ordning i samtida film. Studien argumenterar för möjligheten att hitta utrymmen för “disidentification”, så kallade “exit scapes” inom filmerna. Exit scapes stör den dominanta filmiska ordning som skapats för transkaraktären, en ordning som är förbunden med berättelser om diskriminering, förödmjukelse och våld. Inom Trans Cinema, i filmer som exempelvis Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), öppnar scener med sång, dans och drömmar upp för andra former av engagemang med filmerna. Som det argumenteras för i avhandlingen tillåter dessa ett kritiskt omformulerande av, och ett nytt affirmativt sätt att föreställa sig, transkroppslighet. Syftet med den här studien är att undersöka den utopiska och hoppfulla potential som finns inom transfilm utifrån ett kritiskt transfeministiskt perspektiv. Även om studien främst riktar sig till trans entrants som “åskådare” eller läsare, så har den en bred teoretisk bas hämtad från verk av en lång rad feministiska forskare inom kulturfältet, såsom Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad och Donna Haraway. Denna avhandling skissar filmiska spatiotemporaliteter, vilka öppnar för möjligheter av utopiska värdsliga och transsubjektiva tillblivelser genom utvecklandet av olika teoretiska begrepp. Genom ett kritiskt förhållningssätt till audiovisualitet och feministisk filmteori, revideras och omformuleras haptisk åskådarskapsteori och dess kritik i en västerländsk okularcentrism genom olika teoretiska innovationer. De metodologiska verktygen som utvecklas i avhandlingen, såsom “the entrant”, “the exit scape” samt “sensible cinematic intra-activity” utgör här funktionen som multisensorisk metodologi för transdisciplinära transstudier, feministisk filmteori samt för visuell kultur i stort.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente trabalho faz uma análise do diálogo intersemiótico estabelecido entre a obra literária Il Decameron (1348-1353), de Giovanni Boccaccio (1313-1375), e o filme homônimo, de Pier Paolo Pasolini (1922-1975), tendo como principal objetivo elucidar a transcriação artística operada por Pasolini, sobretudo no que diz respeito às construções metalingüísticas presentes no texto literário, que são cinematograficamente retomadas pelo cineasta. No texto sincrético, a metalinguagem está intrinsecamente ligada à poeticidade, seguindo os pressupostos teóricos do próprio Pasolini, expostos em Empirismo Eretico (2000). Os conceitos presentes nesse livro, como o famoso cinema de poesia ou a linguagem da realidade, norteiam a nossa escolha de outros teóricos, os quais nos auxiliam na tarefa de comprovar que tanto Boccaccio quanto Pasolini realizam operações metalingüísticas, sendo que as molduras narrativas por eles criadas explicitam a auto-reflexão acerca do fazer artístico, funcionando, desse modo, como marcas autorais. Assim, as duas versões de Decameron não se comunicam apenas pelo tema, mas pelo modo como as narrativas são estruturadas, pois Pasolini constrói a sua obra por meio de soluções cinematográficas que remetem à construção do discurso realizada por Boccaccio
The present work does an analysis of the intersemiotic intercourse established between the literary work Il Decameron (1348-1353), of Giovanni Boccaccio (1313-1375), and the namesake movie, of Pier Paolo Pasolini (1922-1975), regarding as the main objective to find out the artistic transcreation operated by Pasolini, above all, in what touches the metalinguistic constructions present in the literary text that are cinematographically retraced by the film maker. In the syncretic text, the metalanguage is intrinsically bound to the poetical, following Pasolini’s own theoretical conceptions exposed in Empirismo Eretico (2000). The concepts in this book, like the famous cinema of poetry or the language of reality, guide the selection of other theorists, who help in the quest to prove that both Boccaccio as well as Pasolini make metalinguistic operations, as the narrative frames created by him expound the introspection of the artistic labour, working, this way, as authorial marks. Thus, the Decameron’s two versions do not communicate only through the theme, but through the way their narratives are structured because Pasolini’s work is built hereby cinematographic solutions which allude to Boccaccio’s discourse construction

Orientador: José Leonardo do Nascimento
Banca: Milton Sogabe
Banca: Omar Khouri
Banca: João Eduardo Hidalgo
Banca: Paulo Roberto Monteiro de Araújo
Resumo: A análise do figurino no cinema brasileiro parte da construção do personagem no imaginário da figura do sertanejo na visualidade discursiva da obra cinematográfica a qual foi derivada da matriz literária. Tal análise tem a intenção de investigar até que ponto o figurino reconstrói o personagem no cinema, uma vez que o traje que veste (ou desnuda) o personagem literário e o cinematográfico faz parte dos signos simbólicos no sistema de comunicação. O figurino no cinema é entendido como um dos elementos primordiais para se construir a identidade dos personagens no que diz respeito à expressão da sexualidade, a identificação com uma classe social ou mesmo com o poder. Este enfoque pressupõe também refletir a visão da função da vestimenta face ao figurino do personagem do cinema e em relação à conjuntura da época em que os filmes foram exibidos. Pretende-se, então, analisar as seguintes transposições para a linguagem do cinema: o filme de Nelson Pereira dos Santos (1963), a partir do livro homônimo Vidas Secas, de Graciliano Ramos (1938), o filme Deus e o Diabo na Terra do Sol (1964), de Glauber Rocha, inspirado nas obras Grande Sertão: Veredas, de Guimarães Rosa e Os Sertões (1902), de Euclides da Cunha, e por último, a análise dos figurinos do filme Guerra de Canudos (1997), de Sérgio Rezende baseado na obra literária de Os Sertões, que inspirou o roteiro do filme. Os recortes foram feitos de maneira a possibilitar a análise da concepção estética dos três cineastas dos filmes el... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The analysis of costumes in Brazilian cinema comes from the construction of the character in the imaginary "country person" figure in the discursive visuality of cinema which was derived from the literary origin. This analysis is intended to investigate to what extent the costumes reconstruct the character in the movies, since the costume that wears (or bares) the literary and cinematographic character is part of the symbolic's signs in the communication system. The movie's costumes are understood as one of the key elements to build the identity of the characters concerning the expression of sexuality, identification with a social class or even with power. This approach also assumes to reflect the function of the garment over the movie character's costumes and in relation to the circumstances of the time period the movies were shown. It is intended, then, to analyze the following transpositions to the language of cinema: film by Nelson Pereira dos Santos (1963), from the eponymous book Vidas Secas, by Graciliano Ramos (1938), the film Deus e o Diabo na Terra do Sol (1964), by Glauber Rocha, inspired from the books Grande Sertão: Veredas, by Guimarães Rosa, and Os Sertões (1902), by Euclides da Cunha, and finally, the analysis of the film's costumes from Guerra de Canudos (1997), by Sérgio Rezende in relation to the literary work Os Sertões, which the movie was based off. The cutouts were made in order to enable the analysis of the aesthetic design of the three directors of t... (Complete abstract click electronic access below)
Doutor

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The restoration of motion picture films in Brazil became an increasing activity in the 90’s with the introduction of digital tools. At the same time that brought an almost unlimited ability to intervene in the movies, the digital tools have also introduced a debate about the ethical nature involving the restoration of films. In this context, we highlight the restoration projects dedicated to the films of Cinema Novo. This work aims to verify to what extent the digital restoration has to affect the language elements of Glauber Rocha’s Terra em Transe, a film marked by great formal inventiveness. The analysis of the restoration of the film was marked by some of the concepts of Cesare Brandi, an author who sought to work with the issue of ethics in the fine arts field. Some issues related to ethics and to the concept of restoration as well as the historical trajectory of film restoration in Brazil are also discussed in the text.
A restauração de filmes no Brasil se tornou uma atividade mais sistemática a partir dos anos 1990, com a introdução das ferramentas digitais. Ao mesmo tempo em que trouxeram uma possibilidade quase ilimitada de intervenção nos filmes, as ferramentas digitais introduziram também um debate acerca da natureza ética envolvendo a restauração de filmes. Nesse contexto, se destacam os projetos de restauração dedicados aos filmes do Cinema Novo. Este trabalho pretende verificar em que medida a restauração digital vem a afetar os elementos de linguagem de Terra em Transe, de Glauber Rocha, filme marcado por uma grande inventividade formal. A análise da restauração do filme foi pautada por alguns dos conceitos de Cesare Brandi, autor que procurou trabalhar com a questão da ética no campo das artes plásticas. Algumas questões relacionadas à ética e à conceituação de restauração, bem como à trajetória histórica da restauração de filmes no Brasil, também são debatidas no texto.

In a context of comparative theory this essay focuses on the myth of childhood in Pier Paolo Pasolini’s work. By analyzing his Friulan period in some of his films and several dreams, it can be noticed how some recurrent symbols of his work, realize that desire of retrogradation backward to barbarism, represented by his mother through a psychoanalytical perspective. The aim of the present dissertation is to present how Friuli is a constant presence in all Pasolini’s activity. For this persistence the poet shows a great interest in the past and in the otherness, embodied by the boys of Casarsa, the lowest among the roman classes and the poorest from the Third World. In this way Pasolini appears to the reader in all its phenomenological complexity, that only in virtue of the «concrete imagination» it can be made more clear.

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The aim of this study was to analyze horses? morphological traits and kinematics of pace, trot and gallop movements, as well as, upward and downward transitions on a high speed treadmill in horses without riders and mounted on a sand track. Thirteen Brasilian Sport Horses horses were used, 12 females and 1 castrated male with 9.0?2.8 years old mean age and 472.5?34.2 Kg mean weight, from the Army Cavalry School (EsEqEx). Linear, angular and perimeter measurements were performed with horses at forced statio. The animals were filmed at a standardized environment on the treadmill with black background and spotlights lighting. High-speed treadmill (Sahinco?) and sand track covered with flat and smooth floor were used. The images were obtained and processed by Simi Reality Motion Systems? and filmed by PiA640 Basler camera. The experiment was carried out in a completely randomized design with two treatments (horses on a high speed treadmill and mounted horses on a sand track) in paired data and 13 replications (animals). The results were submitted to variance analysis and means were compared by paired t test (P<0.05). At the day of filming, the animal performed a war up for 10 minutes at walking, trotting and galloping speeds. On the track, horses were mounted by three experienced riding instructors. Horses were classified as medium shaped and hypermetric, being the mean values for IC and IDT 0.87 and 0.11, respectively. In kinematics analysis, the following variables studied were stride length, speed pace, support time, sleep time and members foot prints on the left and right sides. In the standing-pace course just suspension time and right side foot prints presented difference (p<0.05) with the highest mean values on treadmill of 0.39s and -0.22cm (retro foot prints). In the meeting step on the treadmill analysis differences were observed (p<0.05) in stride length, support time, sleep time and members foot prints on left and right sides with the highest mean values from treadmill analysis when comparing to the sand track. In the elongated pace course, treadmill analysis presented the highest mean values for stride length and pace speed 2.1m and 1.98m/s while sand track analysis presented the highest values for support time and members foot prints on the left and right sides. In upward transitions, the same variables were significative (p<0.05) for treadmill analysis, speed pace, sleep time and members foot prints on the left and right sides, however, on two transitions, support time was higher (p<0.05) for sand track analysis. In the downward transition from gallop to trot lower (p<0.05) support time and higher suspension time were observed, being 0.21s and 0.38s, respectively. Stride length was similar (p<0.05) on horses evaluated on a treadmill and sand track, however, speed of transition was higher on treadmill being 4.03m/s in regarding to sand track 3.2m/s. In conclusion, regarding the morphometry, horses were framed on the saddle pattern for medium shape and hypermetric and; regarding kinematics, suspension time was the only variable presenting higher values for treadmill in all transitions, while stride length and speed pace presented the highest mean values for treadmill apart from for station-pace and pace-trot transitions, suggesting it may be related to influences undefined on this study.
Objetivou-se analisar as caracter?sticas morfom?tricas dos equinos e a an?lise cinem?tica dos andamentos passo, trote e galope, assim como as transi??es ascendentes e descendentes desses andamentos em esteira de alta velocidade com os animais sem cavaleiro e em pista de areia montados. Foram utilizados 13 equinos da ra?a Brasileiro de Hipismo, sendo 12 f?meas e um macho castrado, com m?dia idade de 9,0 ? 2,8 anos e peso m?dio de 472,5 ? 34,2Kg provenientes da Escola de Equita??o do Ex?rcito (EsEqEx). As medidas lineares, angulares e de per?metro foram mensuradas com os equinos em esta??o for?ada. Os animais foram filmados em ambiente padronizado na esteira e na pista, com fundo preto e ilumina??o com holofotes. Foi utilizada esteira de alta velocidade (Sahinco?) e pista de areia coberta de piso plano e regular. As imagens foram obtidas e processadas no aplicativo Simi Reality Motion Systems? e filmada com c?mera Basler piA640. O ensaio foi conduzido em delineamento inteiramente casualizado com dois tratamentos (equinos em esteira de alta velocidade e equinos montados em pista de areia), em esquema de dados pareados, 13 repeti??es (animais) e os resultados submetidos ? an?lise de vari?ncia e as m?dias comparadas pelo teste t pareado (P<0,05). No dia das filmagens, os animais realizaram aquecimento com tempo de 10 minutos, ao passo, trote e galope. Na pista os equinos foram montados por tr?s experientes instrutores de equita??o. Os equinos foram classificados em mediol?neos e hiperm?tricos, sendo as m?dias 0,87 e 0,11 para IC e IDT.Na an?lise cinem?tica, as vari?veis estudas foram comprimento da passada, velocidade da passada, tempo de apoio, tempo de suspens?o e pegadas dos membros em lateral esquerdo e direito. No andamento esta??o-passo s? houve diferen?a (p<0,05) para o tempo de suspens?o e pegada lateral direito com os maiores valores m?dios para an?lise na esteira, 0,39s e -0,22cm (retropegada). No passo reunido houve diferen?a (p<0,05) para comprimento da passada, tempo de apoio, tempo de suspens?o e para as pegadas dos membros em lateral esquerdo e direito com os maiores valores m?dios para a an?lise na esteira em rela??o a pista de areia. No andamento passo alongado a an?lise na esteira apresentou os maiores valores m?dios para comprimento da passada e velocidade da passada, 2,1m e 1,98m/s j? a an?lise na pista de areia apresentou maiores valores de tempo de apoio e para as pegadas em lateral esquerdo e direito. Nas transi??es ascendentes, apresentaram valores significativos (p<0,05) para an?lise na esteira, velocidade da passada, tempo de suspens?o e pegadas, por?m nas duas transi??es o tempo de apoio foi maior (p<0,05) na an?lise na pista de areia. Na transi??o descendente do andamento galope para o trote foi observado menor (p<0,05) tempo de apoio e maior tempo de suspens?o nos equinos avaliados na esteira, de 0,21s e 0,38s, respectivamente. O comprimento da passada foi semelhante (p>0,05) nos equinos avaliados em esteira e em pista de areia, por?m a velocidade de transi??o obteve maior valor nos equinos avaliados na esteira, de 4,03m/s em rela??o ? avalia??o em pista de areia, de 3,2m/s. Conclui-se a partir da morfometria os equinos foram enquadrados no padr?o de sela em mediol?neos e hiperm?tricos e na cinem?tica a ?nica vari?vel que se manteve com valor maior na esteira em todas as transi??es foi o tempo de suspens?o, j? o comprimento da passada e a velocidade da passada apresentaram maiores valores na esteira exceto nas transi??es esta??o-passo e trote-passo, o que pode esta relacionada a influ?ncias n?o definidas no estudo.

Denna uppsats behandlar porträtteringen av transmän i filmerna Pojkarna (2015) och Boys Don’t Cry (1999). Syftet är att undersöka hur karaktärernas könsidentiteter är porträtterade och även att kunna bidra med kunskap till filmskapare om hur man kan utveckla porträtteringar av transmän i film. Analysen skrivs ur ett queerteoretiskt och normkritiskt perspektiv och genomförs med hjälp av Jens Eders analysmetod Karaktärsklockan. Maskulinitetsteori används för att undersöka karaktärernas maskulina uttryckssätt. Resultatet av denna undersökning visar att karaktärerna är nyanserade men att filmskaparna berövar karaktärerna rätten till sina könsidentiteter genom att de ständigt behöver rättfärdiga sig själva och sedan avslutar de filmerna med en tragisk eftersmak. Att karaktärerna berövas ett lyckligt slut kan skapa reflektioner om att det är ouppnåeligt att leva ett bra liv som transperson.
This thesis will examine the portrayal of trans men in the films Girls Lost (2015) and Boys Don’t Cry (1999). The purpose is to analyse how the characters’ gender identities are portrayed, and be able to contribute with knowledge of how to further advance the portrayal of trans men in film. The analysis is written from a queer theoretical and norm-critical perspective, with support from Jens Eder’s method of analysis Clock of Character. Masculine theory is used in order to examine how the characters express their masculine traits. The result of this study shows that the characters are nuanced, though, the filmmakers deprive them of their right to their gender identities as they constantly need to justify themselves, as well as ending both films with a tragic aftertaste. As the characters are deprived of a happy ending, this might create reflections that a good life as a trans person is unachievable.

Using practice-led research methodologies, ten transgender men, who were at various stages of transition from female to male, were included in this study. The central research output is a feature-length documentary film called It's Not Just Me. The film project seeks to share the extraordinary and the mundane with specific focus on four individuals who were undertaking testosterone treatment. The aim of this research was to contribute to a wider understanding of the intricacies of gender transition for the individual, and their relationship to their surroundings and to document their agency in a space of perpetual transition. This research project was prompted by my interest in the way in which transgender men are shaped by, through and disrupt their psychological and physiological being within their established environments. Relationships between self and identity formation framed my primary research and it focuses on the notion of change as it relates to the transgender man’s experience of undergoing gender transition. Issues of individual self-identification/perception and social hetero-normativity as a performative statement were explored. There were four groups of participants. Ten transgender men were interviewed in the overall study and four of these featured in the documentary film. There were 24 supplementary participants, for example family and friends, who also appeared in the documentary film. In addition, one psychiatrist was interviewed. Thirteen filmmaking technical collaborators also assisted in the making of the documentary artefact. Methods of enquiry into and through (Frayling, 1993, p. 2) the art practice explored gender and identity formation. The research reviews the practice of filmmaking including investigating various techniques of documentary filmmaking from directing, writing, image capture and post-production. Main filmmaking theorists include Nichols and Aufderheide. The two main findings of my research are that: first, masculinity is a multi-layered and transitional pursuit and is not a fixed concept for all men, but specifically transgender men, and secondly, film can serve as a vessel in which to understand trans-masculinity from a space of agency and ethical engagement. This project adds to the extensive body of scholarship locating identity with emphasis to understanding masculinity and gender. It argues that human shifts are a constant process, with specific regard to understanding the transgender male’s transition experience in Perth, Western Australia where all transgender participants reside. The significance of the film and its meanings to the transgender community was profound. This in terms of visibility and the ability to share their personal journeys with an audience was an act of agency in action. This film as an outcome potentially changes the face and visibility of the transgender man and brings their humanness and experiences to the fore in a positive and collective way. The indirect impact of this work is where its power lies. The film provides a voice to marginalised communities and is fundamentally activist cinema.

This thesis confronts how, in Vincent Moon’s films, experience takes the spotlight in detriment of signification. I formulate that the director, rather than worrying about imbuing his films with an inherited sense, is instead searching that his work may express something unique each time it is encountered. To achieve this, his artistic practice is submitted through a set of procedures that are more in line with the field of sound than that of cinema. By transposing values that are deeply rooted into sound philosophy to film (particularly Listening by Jean-Luc Nancy), Moon’s work criticizes the predominant ocular-centric perspective where meaning and understanding is the ultimate goal. Questioning the implications of such a practice, I relate emerging studies related to sound with Deleuze’s Actual/Virtual circuit and Walter Benjamin’s auratic experience. I conclude by proposing that in Vincent Moon a new form of image surfaces, one that even though in its early stages, should be comprehended through its explosive capacity to deliver an experience and in its intrinsic transient and ephemeral nature—the encounter-image.
Esta tesis se enfrenta a cómo la experiencia es el centro de la atención en detrimento de la significación en las películas de Vincent Moon. Formulo que el director está buscando que su trabajo exprese algo único cada vez que se lo encuentre en vez de preocuparse por imbuir sus películas con un sentido. Para lograr esto, su práctica artística se somete a un conjunto de procedimientos que están más en línea con el campo del sonido que el del cine. Al transponer valores profundamente arraigados en la filosofía del sonido al cine (particularmente A la escucha de Jean-Luc Nancy), el trabajo de Moon critica la perspectiva ocular predominante donde el significado y la comprensión es el objetivo final. Al cuestionar las implicaciones de tal práctica, dialogo con estudios emergentes relacionados con el sonido con lo Actual y lo Virtual de Deleuze, además de la experiencia aurática de Walter Benjamin. Concluyo proponiendo que Vincent Moon propone una nueva forma de imagen, una que debe ser comprendida a través de su capacidad explosiva de ofrecer una experiencia de naturaleza intrínsecamente transitoria y efímera: la imagen-encuentro.

碩士
國立臺南藝術大學
動畫藝術與影像美學研究所
106
Over the past ten years, the concept of "ambiguity" in the cinema has interested cinema studies significantly. In the 1970s, we found a struggling seesaw power: on the one hand, an anti-illusionism which demanded the "reflexivity" (la réfléxivité) existed in the cinema theories; on the other hand, cinema theorists hesitated a little as they destructed the cinema purely. The unsatisfaction with the (cinematic) semiotics (and psychoanalysis) had brewed when some important theorists or thinkers in the 1980s articulated newer ideas. Therefore, in the 1990s, especially in France, we saw a figuration of the "plastic analysis" (l'analyse plastique) or the "figural analysis" (l'analyse figurale). Theorists no longer regarded the images as languages. However, when we try to connect "The Third Meaning" ("Le troisième sens," 1970) of Roland Barthes with Confronting Images (Devant l'image, 1990) of Georges Didi-Huberman, we will find that the arguments of Barthes in the 1970s, in fact, wagged with the apparatus theory. The latter shared the same preference for analyzing the ambiguity with the former after it was published 20 years later. Therefore, I find a puzzle: then, will the spirit which inquired the "reflexivity" be buried under the direct confronting of images? Is it possible for us to face an image reflexively? To be more specific, I try to retheorize "reflexivity" in today's cinema theories. Our hypothesis is: can a spectatorial status called meta-hypnosis exist? If we can compare film watching to a hypnotization, then we are going to discuss the in-between states of consciousness between wakefulness and non-wakefulness that are the subjects we are going to discuss. Built on the research above, this thesis uses trance as the underlying concept, and analyzes Made in Hong Kong (香港製造, 1997) of Fruit Chan (陳果), CURE (1998) of Kiyoshi Kurosawa (黒沢清), Lingchi - Echoes of a Historical Photograph (凌遲考：一張歷史照片的回音) of Chieh-Jen Chen, Shara (沙羅双樹, 2003) of Naomi Kawase (河瀬直美), The Sun (Solntse, 2005) of Aleksandr Sokurov, Syndromes and a Centuary (Sang sattawat, 2006) of Apichatpong Weerasethakul, Autohystoria (2007) of Raya Martin, I Wish (奇跡, 2011) of Kore-eda Hirokazu and 秘密金魚 (2016) of Gan Bi (毕赣). Our strategy is to divide the concept of trance into three Chinese concepts. We translate the trancelike state of the image-body, the body-image and the body-spectator into huang-hu, tong-ling, and chu-shen, respectively. The object is to develop an aesthetics of "altered state of consciousness" via the contemporary Asian cinemas being a touchstone. Under the "aesthetic regime of the art" (le régime esthétique de l'art) of French philosopher Jacques Rancière, we try to pick up a concept which has long be forgotten: an "autonomous segment" (segment autonome) called "bracket syntagma" (syntagme en accolade) by Christian Metz. We want to connect the concept of "bracket syntagma" to some moments that we hardly can express by words in a film. We conclude: huang-hu, tong-ling, or chu-shen, are all pensive (pensif) paroxysms. Doubtlessly, as Hubert Damisch said, the viewing of horror can be violent; however, a paroxysm of an image can also bring the "festival of affects" (le festival d'affects), which is in its another pole. In the end, we will find that the differentiation between normal and altered state during the screening process is indistinct. What is essential is the process of becoming one another, which is going to make us find that the world -- close to the "Whole" (le Tout) in Gilles Deleuze's sense -- seems to be different after we leave the cinema (sortir du cinéma).

O projeto desenvolvido no âmbito do mestrado de Ciências da Comunicação na vertente de Cinema e Televisão articula esta reflexão académica intitulada Transpor o Género: representação do corpo trans como um outro no cinema com a curta-metragem de nome Rute. A curta-metragem rodada em Setembro de 2016 e com pós-produção até Fevereiro de 2017, constrói uma narrativa em torno da sua personagem central – uma rapariga trans de nome Rute – e um rapaz (que lhe era antes desconhecido) com quem ela inicia um passeio por vários locais de Lisboa; procurando caminhar por locais abandonados ou vazios de pessoas, Rute mantém uma posição de distância face à sociedade em que vive, mas na qual não se sente enquadrada – essa mesma decisão de escolher locais menos povoados para o seu encontro com o rapaz, torna-a cada vez mais isolada e vulnerável ao estranho que a acompanha. A curta-metragem, fundada numa investigação e interesse sobre a teoria de género e sobre os sistemas binários impostos a pessoas trans, pretende também refletir várias e determinadas questões, por exemplo, como o voyeurismo e os espaços virtuais exclusivos do dispositivo do cinema – bem como uma série de inspirações e imagéticas que surgiram ao longo do mestrado. Articulando a curta-metragem com esta reflexão crítica, o problema que se pretende identificar é a ambiguidade ética que assiste à construção de personagens trans no cinema, maioritariamente, mainstream; pretende-se ainda identificar de que formas esta questão pode ser problematizada apoiando essas noções em vários exemplos de filmes produzidos pelo circuito comercial, tal como por um outro cinema de cariz mais independente 8 que por vezes incorpora, desde logo, algumas noções de género nas suas construções narrativas.

This dissertation examines the role of cinema as a conduit of black expressions of identity. It finds that since its inception, cinema has played an important part in generating, on the one hand, imaginary significations about black peoples, and, on the other hand; imaginative signifying(s) harmonized with black expressions of identity. This dissertation reviews the categories of cultural and-political identity in order to discern the reenacted practices of expression linking the socio-historical experience of black peoples to trans-geographical expressions of identity in film. It concludes that specific paradigms of communication, such as 'affectivity' and 'resilience,' determine the ways in which some black people articulate their practices of identity through the medium of cinema. Examination of these paradigms as discursive practices of ' détournement ' or ' marronage ' allows us to understand the more complex effects of Africanicity as a necessary reenactment and articulation of their social, cultural, and historical experiences

Dissertação de mestrado integrado em Arquitectura
During the Lebanese Civil War, and even after, Beirut was subject to devastation on many levels - social, political, economic, physical, and psychological. For more reasons than one, the end of the Civil War did not lead to any national dialogue or addressing of the trauma, but it slowly neutralised the Civil War by compromising or even erasing its Memory. Nevertheless, there are traces of the war still lingering on, mainly to be noticed, we believe, in Lebanese Cinema and in Architecture. It is in this sense that Lebanese Cinema is used in this dissertation as an architectural instrument and a primary means to address, assess, and revisit the war, its devastations, but mainly its legacies. It is also through Cinema that the work aims at recovering Beirut’s Architecture and Urban Space as important characters on the assessment of those devastations and legacies. Eventually, this dissertation suggests (but mostly wishes for it) that the role of Cinema -as an instrument of fiction- and the role of Architecture -as an instrument of desire- are both inherent to a missing and due process of Catharsis. To reach this suggestion (this wish), this dissertation brings to the fore a selection of Lebanese films from 1975 to 2010, and through them, interprets and reconstructs Beirut’s urban and architectural status and changes before, during and after the war. Whereas the ultimate purpose of this dissertation is to comprehend war from a perspective other than mere destruction, it is, ultimately, an attempt to understand the human complexity that creates Destruction, Cinema, and Architecture, all in the same place and all at the same time.
Durante a Guerra Civil Libanesa, mas também depois, Beirut esteve sujeita à destruição em muitos níveis – socialmente, politicamente, economicamente, psicológica e fisicamente. Por várias razões, o fim da Guerra Civil não levou a nenhum diálogo posterior ou a qualquer especial interpelação do trauma, mas, pelo contrário, levou a sua neutralização, comprometendo, ou até apagando, a sua Memória. Há, apesar de tudo, marcas da guerra que ainda subsistem, e que podemos melhor identificar, julgamos nós, a partir do Cinema Libanês e a partir da Arquitectura. É neste sentido que o cinema Libanês é utilizado nesta dissertação como um instrumento arquitectónico e como meio privilegiado para interpelar, analisar e revisitar a Guerra,as suas devastações e os seus legados. É também a partir do Cinema que o trabalho pretende recuperar a Arquitectura e o Espaço Urbano de Beirut como personagens importantes na análise dessas devastações e legados. Eventualmente, esta dissertação sugere (mas principalmente gostava que assim fosse) que o papel do cinema – como instrumento de ficção – e o papel da Arquitectura – como instrumento de desejo – são inerentes a um processo de catarse ainda em falta. Para alcançar esta sugestão (este desejo), a dissertação articula uma selecção de filmes Libaneses realizados entre 1975 e 2010 e, a partir daí, ensaia uma interpretação e uma reconstrução do status e das alterações urbanas e arquitectónicas de Beirut. Embora o propósito final desta dissertação seja o de compreender a Guerra a partir de uma perspectiva outra, que não a da mera destruição, pretendemos também que incorpore, no limite, uma tentativa de compreensão da complexidade humana capaz de criar Destruição, Cinema e Arquitectura, no mesmo lugar e ao mesmo tempo.

Notre travail s'articule autour du film Laurence Anyways (2012), de Xavier Dolan. Nous y explorons la représentation du personnage de femme transgenre. Dans un premier temps, nous procédons à une analyse filmique axée sur la transidentité, puis à une analyse de réception à deux volets : celle dans la presse, mais aussi celle des personnes trans. Enfin, nous précisons la démarche de recherche-création ayant mené à la réalisation d'un documentaire où figurent deux personnes trans qui témoignent de leurs rapports à la représentation des personnes trans dans les médias audiovisuels contemporains.
Our work revolves around Xavier Dolan’s film Laurence Anyways (2012), in which we will explore the transgender woman representation. First, we will proceed to a film analysis that focuses on trans identity, and then to a double reception analysis: reception in the press, but also reception by trans people. Eventually, we will detail the research-creation process that led us to direct a documentary film featuring two trans people speaking about their views on trans representation in the audiovisual media today.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007.
Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0624. Adviser: Andrea Goulet. Includes bibliographical references (leaves 320-337) Available on microfilm from Pro Quest Information and Learning.

ENGLISH VERSION This thesis analyses the works of Christopher Isherwood in search for narrative strategies influenced by film aesthetics. Since Isherwood’s oeuvre is very often autobiographical, his life is considered as one of key perspectives used to interpret his texts. A traveler, British expatriate living in Hollywood, a homosexual, and a follower of Vedanta, Christopher Isherwood can be often referred to as “the Other”. Complicated relations with the surrounding environment, and therefore a sense of alienation is a perfect reason to present Isherwood’s observations in a distanced, passive way, which is typical for a camera registering reality. Chapter one provides background for the analysis of Isherwood’s texts from a cinematic perspective, namely the technological milestones in the history of cinema and their reception by the audience. The changes in film techniques influenced the perception of reality and the sense of aesthetics both among regular cinemagoers and film critics. The chapter provides definitions of the described techniques in order to facilitate easier association of those with narrative techniques used by Isherwood. Another important aspect discussed in this chapter is the screenplay as an intermediary form between literature and film. The history of the genre is presented, which is followed by an overview of the situation of writers working for Hollywood at its heyday. Furthermore, the chapter outlines theories describing the impact of film on literature as well as the most prominent British and American writers inspired in their writing by the film form. Chapter two is an overview of Isherwood’s works and his biography. Particular focus is put on the writer's relationship with cinema i.e. his work for Hollywood. This is done by analyzing entries from his diaries and lectures as well as his film experiences described in the novelette Prater Violet, which is by far the most complete description of Isherwood’s relation with the world of film. The analysis of the aforementioned texts allows to present Isherwood’s attitude towards the film industry and film as a form of art. For the purpose of the analysis, references are made to the theories presented in chapter one related to writers working in Hollywood, the development of film script and the so-called Hollywood novel, which can be defined as a writers’ account of working for the film industry in Hollywood. Chapter three looks at Isherwood’s semi-autobiographical texts describing his travel experiences. The first person narrator in Isherwood’s texts, often carrying the author’s name, is a an atypical observer of reality, which is directly mentioned in in of the novels analyzed in the chapter i.e. Goodbye to Berlin where the narrator is compared to a camera passively registering the surrounding reality. The chapter analyzes camera traces in the following texts: Mr Norris Changes Trains, Down There on a Visit, Goodbye to Berlin, Christopher and His Kind. The aforementioned comparison to the camera is analyzed with the use of theories defining film aesthetics in a similar way to the famous “I am a camera” quotation, that is Impressionism (in painting and literature) and theories coined by Sergei Eisenstein and other Soviet directors on the art of montage. These theoretical references mention a direct and instant registration of reality. Such registered material might prove to be imperfect and require “editing”. Since a number of Isherwood’s texts describes the writer’s experiences in Berlin, a big European city undergoing turbulent changes in the times of the Nazi rise to power, one of the interpretation filters used in the chapter is a comparison to 19th century concept of flâneur, a persona whose perception of an urban space is twofold - deeply submerged in the city simultaneously being distanced towards the surroundings, which leads to the concept of distance and alienation thoroughly discussed in the following chapter. Chapter four focuses on the alienation of Isherwood’s characters, which can be considered as a frequent reason for Isherwood to use film language in his texts. The chapter looks at Isherwood’s characters, who mirror his own life experiences, so characters considered as “Others” - expatriates far from their homeland, homosexuals - not fitting to approved social norm at the times described by the writer, or characters on a spiritual journey in search for their identity in Vedanta. Chapter five focuses on the analysis of film adaptations of Isherwood’s texts in order to verify whether the film narration techniques described in previous chapters of this thesis have been used by directors of the said film adaptations. The scope of this chapter focuses on two adaptations of Goodbye to Berlin, as well as Chritsopher and His Kind and A Single Man. WERSJA POLSKA Praca analizuje twórczość Christophera Isherwooda w poszukiwaniu narracji obficie czerpiącej ze stylistyki filmowej. Ze względu na autobiograficzny charakter większości dzieł pisarza, jego życiorys stanowi jeden z kluczy, przy pomocy którego owe powieści są interpretowane. Isherwood jako podróżnik, brytyjski emigrant pracujący w Hollywood, gej oraz zwolennik hinduizmu jest postacią, o której zawsze można mówić jako o „obcym”. Skomplikowane więzi z otaczającym go środowiskiem (bądź ich brak) a zatem często i poczucie alienacji stanowi znakomity powód do ujęcia swoich obserwacji na temat rzeczywistości w zdystansowany sposób, typowy właśnie dla kamery rejestrującej rzeczywistość. Rozdział pierwszy przedstawia tło do analizy powieści Isherwooda. Przedstawione są kluczowe momenty w rozwoju technologicznym kina oraz ich odbiór przez publiczność, co wiąże się również ze zmianą wrażliwości, estetyki oraz postrzegania rzeczywistości zarówno u przeciętnego widza jak i pisarza oraz krytyka. W rozdziale zawarte są również definicje owych technik, w celu ułatwienia późniejszej ich identyfikacji ze strategiami narracyjnymi zaobserwowanymi w powieściach Isherwooda. Kolejnym ważnym aspektem omawianym w rozdziale jest kwestia scenariusza filmowego, będącego formą pośrednią pomiędzy literaturą a filmem. Autor przedstawia rys historyczny gatunku oraz opisuje sytuację pisarzy (między innymi Isherwooda) zwerbowanych do Hollywood w celu pisania scenariuszy. W rozdziale pojawia się również przegląd teorii opisujących wpływ filmu na literaturę oraz najważniejszych pisarzy uznanych jako zainspirowanych twórczością filmową. Rozdział drugi stanowi przegląd twórczości Isherwooda wsparty jego rysem biograficznym. Autor skupia się szczególnie na związkach pisarza z filmem, a więc jego pracy w Hollywood, analizując pamiętniki oraz wykłady Isherwooda, jak również jego doświadczenia filmowe opisane w powieści Prater Violet, która jest bodajże najbardziej treściwym zapisem spotkań pisarza ze światem filmu. Analiza wyżej wymienionych tekstów pozwala ustalić jaki był stosunek Isherwooda do przemysłu filmowego jak i filmu jako sztuki. Pod uwagę wzięte są również informacje z rozdziału pierwszego dotyczące pisarzy pracujących dla Hollywood, rozwoju scenariusza filmowego oraz tak zwanej powieści hollywoodzkiej, czyli takiej, która jest zapisem doświadczeń pisarza zaangażowanego w tworzenie filmu. Rozdział trzeci spogląda na twórczość Isherwooda z perspektywy jego powieści na poły biograficznych, które opisują doświadczenia pisarza z jego podróży. Pierwszoosobowy narrator Isherwooda o tym samym imieniu jest dość nietypowym obserwatorem rzeczywistości, co zresztą powiedziane jest wprost w jednej z analizowanych w tym rozdziale powieści Goodbye to Berlin gdzie narrator porównany jest do kamery pasywnie rejestrującej rzeczywistość. W rozdziale staram się prześledzić obecność kamery w powieściach Mr Norris Changes Trains, Down there on a Visit, Goodbye to Berlin oraz częściowo w Christopher and His Kind. Owo kluczowe porównanie do kamery zostaje zanalizowane w świetle teorii definiujących estetykę filmową w podobny sposób do sławnego cytatu z powieści Isherwooda a zatem chociażby Impresjonizmu (zarówno malarskiego jak i literackiego) jak i teorii montażu wypracowanych przez Siergieja Eisentsteina oraz współczesnych mu radzieckich twórców. Teorie te wspominają o natychmiastowej, bezpośredniej rejestracji rzeczywistości, która może się wydawać niedoskonała i wymagać „edycji”. Jako że znaczna część dzieł pisarza opisuje jego doświadczenia w nazistowskim Berlinie, a więc wielkim mieście ulegającym gwałtownym przemianom, jednym z filtrów interpretacyjnych jest próba porównania narratora Isherwoodowskiego do postaci dziewiętnastowiecznego flaneura a co za tym idzie jego postrzegania przestrzeni miejskiej oraz stanu zawieszenia w swoistej próżni, będąc jednocześnie częścią otaczającego środowiska oraz osobą spoza tegoż środowiska, co prowadzi do rozważań opisanych szerzej w rozdziale trzecim. Rozdział czwarty skupia się na zjawisku alienacji bohaterów Isherwooda, która według autora rozprawy jest bardzo często powodem, dla którego pisarz korzysta w swoich powieściach z technik filmowych. Wyliczone i przeanalizowane są przypadki, w których Isherwood pokazuje wyobcowanie swoich bohaterów przy pomocy języka filmu. Patrzymy na bohaterów Isherwooda odzwierciedlających jego własne życie, a więc na bohaterów „obcych” na emigracji, bohaterów homoseksualnych, a więc tych odstających od normy w czasach opisywanych przez pisarza oraz bohaterów uciekających od kultury zachodu poszukujących własnej tożsamości w kręgu kulturowym hinduizmu tak bliskiego w pewnym momencie pisarzom pracującym w Hollywood. Rozdział piąty skupia się na analizie filmowych adaptacji powieści Isherwooda celem sprawdzenia, czy opisane w poprzednich rozdziałach narracyjne techniki naśladujące język filmu znalazły odzwierciedlenie w artystycznych i technicznych rozwiązaniach zastosowanych przez reżyserów owych adaptacji. Analizie zostają poddane dwie adaptacje powieści Goodbye to Berlin jak również takich tytułów jak Christopher and His Kind czy A Single Man.

Ce mémoire vise à éclairer la conception bien particulière du cinema et de la spectature du cinéaste Raoul Ruiz, par le biais de l'analyse de l'art de la mémoire (ou « mnémotechnique ») dans son film Trois vies et une seule mort, réalisé en 1995. En tant que réalisateur, scénariste et théoricien du cinéma, Ruiz propose une réflexion théorique originale sur son médium, réflexion qui fait appel à plusieurs champs du savoir et met en relief les relations entre diverses pratiques artistiques. Le caractère multidisciplinaire de sa démarche expliquerait en partie la difficulté qu'éprouvent les critiques à aborder l'ensemble de l'oeuvre de Ruiz, qui paraît inclassable en termes d'écoles, de genres ou d'esthétiques cinématographiques. Trois vies et une seule mort, généralement ignoré dans les ouvrages consacrés à Ruiz, a pour particularité d'esquisser des liens entre l'art de la mémoire et le cinéma. Bien que les oeuvres Mémoires des apparences et Le Temps retrouvé, réalisées par le même cinéaste, témoignent également des possibilités qu'offre le médium cinématographique pour traduire la mémoire, Trois vies et une seule mort est le seul film de Ruiz axé sur la mémoire qui ne soit pas l'adaptation d'une oeuvre littéraire. Créée et scénarisée par Ruiz, l'oeuvre étudiée porte sur l'art de la mémoire, emprunte certaines de ses caractéristiques formelles et propose une expérience spectatorielle sollicitant un constant « travail de mémoire ». Trois vies et une seule mort établit ainsi de puissantes relations entre le caractère « défamiliarisant » (Victor Chklovski) de l'image cinématographique, le processus de réminiscence et les « traces d'oralité » (d'après la conception de l'oralité proposée par Walter J. Ong) au cinéma. Multidisciplinaire par essence, notre hypothèse interprétative de l'art de la mémoire prend appui sur l'ouvrage The Art of Memory (Frances Yates), qui se consacre à l'évolution de la mnémotechnique depuis sa naissance jusqu'à la Renaissance. Par conséquent, notre analyse du film fait appel à des notions liées à l'art de la mémoire qui sont issues de plusieurs champs d'études, notamment du cinéma, de la peinture, de la photographie, des médias, de l'histoire de la philosophie, des mathématiques, de la littérature, du théâtre et de la théologie. À travers l'analyse des diverses manifestations de l'art de la mémoire dans le film (et des conceptions du monde et de l'art qu'elles sous-tendent), nous accordons une attention particulière à l'intermédialité qui caractérise Trois vies et une seule mort, c'est-à-dire sa façon d'incarner l'interpénétration de qualités médiatiques propres à divers médias. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Trois vies et une seule mort, Raoul Ruiz, Cinéma, Mnémotechnique, Mémoire, Intermédialité, Défamiliarisation.