Tesi sul tema "Cinéma – 2000-"
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Kautzmann, Maryline. "Vieillir : le point de vue du cinéma américain contemporain (2000-2010)". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC010.
The first decade of the 21st century marks a transition in the history of the representations ofaging and old age. In the 2000s, Hollywood started offering new images of aging : less alarmist, less stereotypical, they are, all in all, more positive. As he is no longer pushed in the background,the aging character finds his way amid Hollywood heroes. In those films, which are carried by an old hero, aging is no longer concealed, but it is put in the spotlight. By their mere presence and visibility in such commercial cinema, these new aging characters signal a major shift : in the2000s, aging has become bankable, especially since its new portrayals speak to a generation which stands out on many different levels, the baby boomers. Besides, a wider social transformation shows through these innovative representations of aging, that of a new relationship to aging. “New aging” thus discards ageist clichés and the idea that aging isdeclining, and supplants these conceptions with a positive discourse on aging. This study revolves around popular Hollywood movies released between 2000 and 2010. It offers to shed a light on these new Hollywood representations of aging and on the way cinema has thus echoed innovative discourses on the matter, while attempting to offer its own version of a new outlook on aging
Fdil, Abdellatif. "Regards croisés sur l'altérité et l'identité dans le cinéma français et marocain des années 2000". Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20100.
This thesis arose from a question about the representation of The Other in today's French and Moroccan filmic images; that is to say in the early 2000s (2000-2015). More precisely, it elaborates on what can allow the construction of a cross observation, which could clearly differentiate and identify the fictional and dramaturgical aspects of the subject. In this double perspective, the Other would be both French and Moroccan, the North and the South, the Maghreb and the West. This will lead to a comparison between representations which are sometimes convergent, sometimes divergent, and even antagonistic. For those crossing the Mediterranean are not only brought to call into question the supposed superiority of the colonizers and denounce the condition of the immigrants, but are also faced with a new vision of the world: the openness to the Other and its foundations implying mutual respect and the fruitfulness of a cultural mix. It is therefore necessary to contextualize the French and Moroccan cinematographic meeting points in order to understand how bodies, their movements and the way they are interpreted on the screen, are at the core of our cross observations. Thus a Franco-Moroccan cinematographic “correspondence" appears. A crossroad of linguistic and cultural diversity, raising undoubtedly complex questions related to these rich encounters and worthy of scientific interest. How can the Moroccan contribute to the French film narrative, corresponding to an inner quest, or on the contrary confirming a radical disenchantment? How does France enter Moroccan contemporary cinema? How do French characters fit in? This work also examines the consecutive dangers of that kind of representation which amount to mere picturesque film narratives, inventories full of cliches revealing a stereotypical view of the Other and their space. Because in the 2000s, some movies and thinkers still have this attitude, so they often feel derided. However, French cinema and Moroccan films, far from being reduced to this challenge, offer today an original and distanced vision of themselves, their culture, and most certainly the Other
Lupetti, Elisa. "L’analyse des dialogues dans les scènes de dispute familiale du cinéma français (2000-2010)". Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20122/document.
This work aims to bring together two different areas: French linguistics and film studies. Topics covered include the analysis of conversation discourse analysis in interaction and analysis of film dialogue to reflect on a theme that has been discussed previously as psychologically : family conflict.The originality of these pages are based on the intention of using film and its dialogues to analyse nine French movies made between 2000 and 2010 :Ressources humaines (2000, Laurent Cantet)Tout va bien, on s’en va (2000, Claude Mouriéras)Aime ton père (2002, Jacob Berger)Père et fils (2003, Michel Boujenah)Je vais bien, ne t'en fais pas (2006, Philippe Lioret) Nue propriété (2007, Joachim Lafosse)Un conte de Noël (2008, Arnaud Desplechin) Non ma fille, tu n’iras pas danser (2009, Christophe Honoré)Mères et filles (2009, Julie Lopes-Curval)These films were examined in order to distinguish the relevant domestic dispute scenes for the analysis. Thus, having transcribed replicas of the forty- two selected scenes , I highlighted the recurring linguistic acts in a conflict situation . To do this , I resumed the work of Austin and Searle and , more recently, C. Kerbrat - Orecchioni . I then focused my attention on the stage of the conflict , developing a fairly detailed analysis of what has been defined dispute. It should be noted here that the body showed the existence of two large cinema dispute typologies ( restraint and manifest) , which are subdivided into dilogale dispute, and trilogale polylogal depending on the number of participants.The application of the interactionist tools to cinematic corpus also revealed that the conversation of the films can be considered as a simplified representation of authentic verbal exchanges, two types of conversations with the same structure : an opening, a body, a fence interaction.The last part of the thesis deals with the prototypical scene of the corpus ( 2009_MF_DisputeBAGARRE ), so defined since it brings together key verbal and non- verbal elements arising in a conflict situation. I properly focused my attention on these elements in the first part of the thesis in order to define the object of the study and its inclusion in the theoretical framework
Crémona, Laëtitia. "Cinéma et histoire en Irlande de 1916 à 2000". Paris 3, 2004. http://www.theses.fr/2004PA030047.
This dissertation attempts to trace the reasons why history was such a crucial preoccupation in Irish cinema between 1916 and 2000. As it examines the relation between cinema and history alongside the historiographical debates in Ireland, it seeks to show how cinematic representations of Irish history evolved throughout this period. During the first half of the twentieth century Irish films mainly conveyed a mythic vision of Ireland's past, the aim being to legitimise the institutionalised national identity. From the 1970s onwards, in a double movement of openness and closure, historical films have under the influence of revisionist and postcolonialist theories challenged traditional representations while asserting the latter's relevance when it comes to rebuilding a new identity
Mabrouki, Anwar. "La société tunisienne contemporaine à travers la production cinématographique entre 2000 et 2007". Strasbourg, 2011. http://www.theses.fr/2011STRA1023.
I wanted to start work on contemporary Tunisia. I then examined whether the image proposed by the Tunisian cinema truly reflects the reality of Tunisian society, or if the image, by contrast, is a distorted, embellished or blackened. Tunisian filmmakers have they gained enough maturity and artistic skills in order to claim some authority that allows them to act as a spokesperson of the people ? In the first part, in order to situate the place and role of contemporary Tunisian cinema, I first examined the history of Tunisian cinema as a whole. In the second part of my research, i wondered about the nature of the relationship between film and contemporary Tunisian society today. Why chose to analyse twenty films through a sociological light, by selecting the films on criteria related the social problems. I devoted the third part of my work at a theme by which i have classified the film analysis : this is the theme of women. Finally, in part IV, I considered the locations ant the sets of films. I think in fact that the locations and sets play an important role in the relationship that developped between a film and its audience. Therefore, there is a real debate on the credibility of the Tunisian cinema today, and its abiility to touch audiences deeply and awaken the consciences of the current state of Tunisian society. This problem cannot be solved only when the restrictions on freedom of expression are lifted
Loscos, Carmen Gustrán. "El franquismo en el cine espanol (1975-2000)". Nantes, 2014. http://www.theses.fr/2014NANT3012.
This doctoral dissertation analyses how the Franco regime was portrayed on the big scree in the twenty-five years that followed the death of the dictator. It investigates the depictions of the dictatorship, the most recurrent topics and periods represenetd and the movies' reception by critics and the general public. The thesis aims at exploring the interferences between cinema and history, between culture and the historicel contexts in which the latter is produced and consumed. , as a way of understanding how spanish ociety dealt with its recent past. The doctoral dissertation is divided into three parts, according to three different political eras in recent spanish history. The first covers the tarnsition to democraty (1975-1982). The second deals with the four consecutive terms that the spanish socialist workers party (PSOE) was in power (1982-1996). The third section explores the first term of the people 's party (PP) (1996-2000). The PhD thesis analyses more than 150 films. It zpplies Marc Ferro's concepts of "cinematic reading of history" and "historical reading of the film", Pierre Sorlin's ideas about filmic attachment points, together with filmic analytical series and filmic constants. This study aanlyses the cinematogarphic memory of francoism from the late 1970s to the beginning of the twenty-first century and thus spanish cociety throughout these years
Valmary, Hélène. "Origines et poétique d'un héroïsme intranquille : les super-héros dans le cinéma américain (2000-2009)". Paris 1, 2011. http://www.theses.fr/2011PA010597.
Ramos, Alquezar Sergi. "Fantômes, slashers et monstres dans le cinéma fantastique espagnol (1993-2005) : une approche du cinéma fantastique réalisé par les jeunes metteurs en scène espagnols des années 1990 et 2000". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20107/document.
This thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre
Guieu, Julien. "Esthétiques de l'indice dans le cinéma américain des années 2000". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030141.
A few American films released between 2000 and 2007 (David Lynch’s Mulholland Drive and INLAND EMPIRE, Sofia Coppola’s The Virgin Suicides, Christopher Nolan’s Memento, Sean Penn’s The Pledge, Jim Jarmusch’s Broken Flowers and David Fincher’s Zodiac) question the function, inner workings and representation of the clues on which detective fiction and film rely. These movies, which take up certain tropes of the genre without necessarily being detective films per se, all revolve around an investigation which is left incomplete and eventually turns against the investigator, to the point of shattering his or her sense of identity. They thus follow in the footsteps of metaphysical detective fiction (novels such as Thomas Pynchon’s The Crying of Lot 49 and Paul Auster’s City of Glass), in that the clue, instead of bringing about the closure of the narrative, becomes the instrument of its open-endedness. Its one correct interpretation is replaced by a proliferation of possible readings and stories. Once transparent, it turns opaque; once fluid, its circulation becomes problematic – which leads to new ways of filming it. The codes that detective films use to point out the clue, increase its legibility and foster identification with the investigator (close-up insert, eyeline match, shallow focus…) are subverted through a number of strategies such as inversion and exaggeration. These aim to deceive the spectator’s expectations and to unsettle him or her by reinstating the fundamental uncertainty of detective fiction, which detective films normally tend to repress, and which is here incorporated into aesthetic projects that otherwise differ widely
Le, Poullennec Annael. "L'espace post-apartheid dans le cinéma sud-africain : état des lieux de la fiction (2000-2010)". Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3053.
This study focuses on the representation of post-apartheid space in indigenous South African fiction films. I work towards a definition of cinematic post-apartheid space, putting forth its ambivalent relations to the apartheid past, between heritage and rejection, on the levels of geographical space, socio-economic space and, mostly, represented space. I situate myself at the intersection of South African cultural studies and reflections on post-apartheid space, and of the study of the new South African cinema. I focus on fiction since it gives most room for filmmakers to represent space as they perceive it, or desire it, to be, and on feature films which carry most of the South African industry’s ambitions in terms of international recognition.I first look at the heritage of apartheid in terms of the South African film industry, the divisions of the national territory and the structure of the South African city. I argue that post-apartheid cinematic space is first and foremost defined in relation to apartheid space, whether in opposition or in terms of heritage. However, recurrent representations of individual trajectories clash with that inherited geography and are a means for filmmakers to distance themselves from the previously prescribed relations between characters and space. I also argue that the definition of a new South African identity is crucial to the characterization of post-apartheid space in films. The ambiguous representations of township space or African foreigners in South African films and the emphasis on the nationality of films in film reception put forth how deeply paradoxical the reinvention of space and identity is in post-apartheid South Africa
Landron, Fabien. "Images de la Sardaigne dans le cinéma sarde des années 2000". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030125.
An exotic territory with archaic standards, populated by bandits and marked by vendetta : this is how has mainly been represented Sardinia for many years, by so called “Sardinian” movies inspired by the classics of deleddian literature and some news items, usually directed by non-Sardinians. The image of the island and its people was forged by using a large number of stereotypes, sometimes seen as outrageous by Sardinian spectators. In the late 80‟s had appeared the first significant signs of a Sardinian cinema “reappropriation” by the Sardinians themselves. Progressively (and especially in the 2000‟s), several directors propose new approaches to filmed representations of their island, until the more or less conscious constitution of an informal movement called “new Sardinian cinema” : G. Cabiddu, G. Columbu, P. Sanna, S. Mereu and E. Pau are its main representatives. This study aims to analyze, through the treatment of major works and a sociological approach to the movement, the collective phenomenon of “new Sardinian cinema” and the individual efforts of the authors who make it up, placing the identity to the heart of the matter. Leaving from the model imposed on Sardinia by literature and cinema, the “new” Sardinian directors have created a Sardinian film-making based on the interpretation and re-development of stereotypes, whose wants to offer a new vision of the island, its people and their practices, to a heterogeneous spectatorial instance, through the various forms of distribution of their works
Ponze, Adrian. "La crise argentine de 2001 et ses conséquences : un regard à travers la littérature et le cinéma argentin des années 2000". Thesis, Paris Est, 2017. http://www.theses.fr/2017PESC0080/document.
This work is the result of multidisciplinary research in which, using the theoretical and methodological framework of literary and film theory, and the sociology of culture, we have demonstrated that the boundaries between fiction and social science writing are porous. A corpus of fifteen fictional texts identified with the New Argentina Narrative (NAN) movement, and fifteen films made by the New Argentine Cinema (NAC) was analysed. New Argentina Narrative and NAC represent the production of a new generation of Argentine writers and filmmakers between 2000 and 2010. These works included the following topics: migrations from Argentina and immigration, poverty (the villas miseria inhabitants), and gender and sexual diversity in Argentina. The objectives of this study are to evaluate the transformations of Argentine society and how these were represented by a new generation of Argentine writers and filmmakers. Additionally, we have studied the influence of the socio-economic context on artistic expression. Thus, we have analysed not only the aesthetic dimension, but also the modes of production and distribution of Argentina literature and cinema, encompassing the processes of creation, editing and distribution. The observation of these processes through novels and films has allowed us to conclude that some literary and film fiction may have a documentary or testimonial value for research in social science disciplines such as history and sociology
Bento, Ribeiro Ana Carolina. "Bâtir un nouveau cinéma : figures et participations des femmes dans le cinéma roumain contemporain". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100039/document.
This PhD dissertation centers on women's participation and representation in Romanian cinema, as a means of understanding the multiple social, economic and institutional stakes intervening in the renewal of the Romanian film industry in the early 21st century. Our research focuses on the post-communist era, when the Romanian film production falls into its most critical state, before achieving unprecedented international recognition. We articulate our analysis around three chronological moments, aiming to perceive how social and historical ruptures and continuities pervade the treatment of female characters on screen and the women's presence in the film industry. We aim our attention at the New Romanian cinema of the 2000's. By tracing the genealogy of this « new cinema », we concentrate on the shaping of female characters in both auteur and commercial Romanian cinema. We illustrate the primary grounds conducing to the rise and consolidation of this renewed film industry by observing the career paths of Romanian female filmmakers
Augé, Étienne F. "L'illusion culturelle : le monde de Hollywood 1990-2000". Paris, EHESS, 2002. http://www.theses.fr/2002EHES0031.
Rousseau, Olivier. "Les formats larges dans le cinéma français de fiction (1953-2000) : histoire des techniques, production, exploitation, esthétique". Paris 1, 2007. http://www.theses.fr/2007PA010522.
Baldacchino-Gauthey, Martine. "Vers l'abstraction de l'image cinématographique : (Quatre films de fiction d'Europe du Nord de 1978 à 2000)". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080028.
Lighting transcends it's entity which is to "Render objects visible". But what is the artistic experience and what are the intentions of a director who desires to communicate his subjectivity? What is this light that can render the invisible visible when according to Carl Theodor Dreyer :For the director, it's about the ability to share to the spectators one's own artistic experiences or interior feelings. Through abstraction it is possible to realize this because it replaces the truthful objective by it's own subjective interpretation. However, if the abstraction has to present itself on the screen, we must start to search for new principles of creation. I will emphasize that I am referring here only to the image*.To communicate one's own emotions is possible through abstraction according to the Danish director, because abstraction allows to transcend objectivity.To what conditions may lighting and it's inflections induce an abstraction of the image? How may one translate such an abstraction? What are the signifiers of an abstract lighting?This research analyze the tonality of the lighting of "Stalker", "Europa", "Three colors : Blue" and "The man without a past". Four films from northern Europe that are grouped around similar themes. The directors Andreï Tarkovski, Lars Von Trier, Krzysztof Kieślowski, Aki Kaurismäki, influenced by Carl Theodor Dreyer, are connected without a doubt to his vision. This thesis is set to demonstrate how the abstraction of an image is possible through a certain plasticity of lighting effects which is susceptible to express a virtuality, a dissonance, a magnetism and an enclosing. This paper interrogates directors of photography and the directors of the corpus on the demonstrated feelings generated by the aesthetics of lighting. Finally it brings to the surface multiple heterogeneous times working light that are behind of the abstraction of image. *DREYER Carl Th, Réflexions sur mon métier, réédition Cahiers du Cinéma, 1997, Paris, p 105
Damlaci, Ferry Pinar. "La narration classique dans le cinéma turc (1980-2000) : prémisses pour une étude structurale de la logique narrative et des principales figures héroïques". Paris 1, 2012. http://www.theses.fr/2012PA010521.
Lambert, Frédérique. "Permanences et variations du souffle épique numérique dans le néo péplum Hollywoodien (2000-2018)". Thesis, Paris 10, 2020. https://bdr-parisnanterre-fr.faraway.parisnanterre.fr/theses/intranet/2020/2020PA100076/2020PA100076.pdf.
Gladiator (Ridley Scott, 2000) inaugurates a renaissance of the peplum genre, blending post-modern aesthetics, heritage culture and blockbuster-type production, action cinema and cinephilia. Cyclical rebirths of this genre in the history of cinema are linked to technical innovations and « scriptwriting » of the genre. Here, the visual effects first revisit the key epic scenes (pitched battles, destruction, sets, crowds) and introduce new motifs (blast, explosions, destruction) using hybrid techniques and technologies (painting, archeology, video games). From 2009 to 2014, 3-D breathed new life into this neo genre (immersions, spurts). Biblical storytelling and the aesthetic of You Tube series or sports constitute the third phase of this rebirth. This peplum has traditionally been a remake-subject genre. Comparative literature studies shed light on these recovery practices, which they attribute to epos, in which the neo-peplum is inscribed. The practice of remaking then corresponds to a typical practice of the epic which allows us to think about the political crisis in the making. The neo-peplums therefore function generically as signs of the current crisis. These covers provide a framework for thinking about the unprecedented change in progress. The motif of the epic breath overused in these neo-peplums therefore becomes significant. In fact, the economic data and the chronology of the political and geo-strategic crises experienced by the United States confirm the communicational dimension of this kind intended for a now globalized interpretive community. In fact, the heroism conveyed and updated in super heroic mythologies translate the individual and collective issues of the global crisis : a digital "mediamorphosis" of which these neo-peplums reflect through their aesthetics, syntax and ideology
Carrée, Roland. "Gosses d'Italie : les représentations d'une enfance marginale dans le cinéma italien des années 1990 et 2000". Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20052.
The 1990s and 2000s were crucial years for Italian cinema and witnessed a relative rebirth following a very critical phase. During that period, a few filmmakers became known for their habit of depicting marginal children confronted with problemscharacteristic of their country and heralding a hopefully better future. They are characters that are handled in a way that differs from that of neorealism, especially on an aesthetic level. The filmmakers’ attitude to the children’s gaze forms part of what defines their marginality but also suggests a degree of interaction, questioning, judgment, or even some difficulty of coming to terms with the world. Most of the films focus on the issue of childhood imagination – more specifically play and dreams – regularly put to the test of reality and existing in parallel with the world of the adults, who are indifferent to it. Thefilms thus suggest the marginality of children of all ages – the child-adult being very much a character of this period of Italian cinema – in a society that does not seem to care about their fate. They also suggest their ability to overcome their problems and to go on living their lives, growing up and perhaps changing the course of Italian society for the better at a time when it is in need of directions
Vu, Cong Minh. "Les super-héros américains comme formes symboliques : étude d’un genre cinématographique contemporain". Caen, 2016. http://faraway.parisnanterre.fr/login?url=http://www.harmatheque.com/ebook/les-superheros-marvel-un-art-du-mythe-77819.
The multiplication of super heroes’ movies during the last decade is not a meaningless fact but indicates an important phenomenon within occidental societies. These films belong, in one hand, to the culture industry’s mass production but in the other hand, they also reflect an attempt to represent the current American society. From this double status, they are the very exact image of the liberal society today. Thus, it is appropriate to wonder how super heroes’ movies allow us to understand our own actuality. In order to answer to this question, my researches were concentrated around three points. Firstly, my inquiry was about the particular situation of super heroes being a representation, a sign in different media. Secondly, using Georges Dumézil’s works concerning the trifunctional structure of Indo-European myths and epopees, I have tried to demonstrate the mythological sources of super heroes’ movies, at the same time in their narrative structure and their characters’ construction. Finally, I concentrated my researches on the religious themes, mostly christian, developed in these films
Isabel, Thibault. "La fin de siècle du cinéma américain (1981-2000) : une évaluation psychologique et morale des mentalités contemporaines". Lille 3, 2004. http://www.theses.fr/2004LIL30044.
Cao, Shuai. "La politique publique du cinéma en France (1981-2012)". Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCH005.
The cinema was born in France. As art and industry, cinema had ups and downs in France during the period 1981-2012. It faced many internal and external challenges, which gave rise to the crisis of cinema which is recurrent during these thirty-one years. The public authorities, for their part, refer to financial, regulatory and political means to seek to save the national cinema from the crisis, to ensure its survival and to make it prosper. Our historical research, based on archives, thus deals with the context, the springs, the precise measures and the influences of the public policy of the cinema during this crucial period for the French cinema.From the arrival of the left in power in 1981 until the end of the first seven years in 1988, French cinema recorded a drop in attendance, and the radical changes in the French and European audiovisual landscape become a great threat to the cinema. To solve these problems, Jack Lang first led a film reform by implementing anti-trust measures and enriching the film support system. In order to harmonize the relationship between small and big screen, the State, through the laws of 1982 and 1986 on the audiovisual communication, proceeds to a regulation according to which the television must invest in the cinema. At the same time, the French government is trying to export and promote this model of audiovisual and cinematographic policy in Europe and around the world.European and international issues dominate during the next period, from 1988 to 1999, a decade marked by the "cultural exception". If the "cinema plan" put in place by Jack Lang can strengthen the aid scheme, France gives priority to the promotion of this regime in Europe, while defending the interests of the cinema profession in the “Television Directive without borders" and by promoting the creation of audiovisual Eureka, the Eurimages fund and the MEDIA program. During the GATT negotiations in 1993, with the joint efforts of the public authorities and professionals, the audiovisual and cinema file was excluded from the negotiations because "culture is not a commodity like the others". Although this standard is being challenged with the MAI and the WTO round of negotiations in Seattle, France has managed to defend it. In this context, French cinema has seen a revival, especially since the mid-1990s, but imbalances and destabilization remain and the effectiveness of film policy is nuanced.The last phase, from 2000 to 2012, is notably characterized by the acceleration of globalization and the advent of IT. The cinematographic policy, matured during the two preceding decades, must adapt to the new stakes of the new millennium. Generally, French cinema is in an ambivalent situation: on the one hand, it is doing well in many respects, especially in terms of attendance and production, on the other, it is weakened by events in the sector: the appearance of the Unlimited subscription cards, the Vivendi-Universal merger, the piracy ... The State plays a role of "firefighter" by setting up a computer policy and the tax credit and by elaborating the HADOPI law to fight against piracy. Local and regional authorities are investing more and more in the cinema. However, since 2008, in a context of budgetary rigor, the State has been modernizing the CNC and restructuring the aid system, which puts public film policy and French cinema in an uncertain future
Ben, Ameur-Darmoni Kaouthar. "L'univers féminin et la drôle de guerre des sexes dans quelques films tunisiens". Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/ben-ameur_k.
Main, Elizabeth. "Quand les concierges balaient l'écran (1895-2000). . . : figures de concierge dans le cinéma français : essai d'analyse de la représentation à partir d'un corpus de films de fiction de long métrage". Paris 1, 2007. http://www.theses.fr/2007PA010503.
Pachot, Christine. "Le cinéma des années 30 et la culture télévisuelle à l'ère de l'An 2000 : de l'efficience culturelle de la télévision : Fiction ou réalité ?" Université Pierre Mendès France (Grenoble ; 1990-2015), 1997. http://www.theses.fr/1997GRE29014.
Cinema action doesn't exist but through the public's eyes. The cinema is in constant and close contact with television nowadays. Both partners and opponents, they only find common ground when the television broadcasting substitutes for cinema showing so that the film endures. It's definitely because television regularly shows works from the "poetic realistic movement" if this cinema movement of the thrities remains fresh in our minds. The latter is still widely appreciated and it's only through television that it finds most of its audience. Television takes over from the cinema and thus gives a new life to films which had disappeared from the screen. By passing this patrimony on to its public, television becomes object of culture. Will it aim at this target much longer or will it change course for the sake of business?
Sánchez, Rivera Sonia. "Regards cinématographiques et corps adolescents. Une lecture poétique et socio-politique des représentations de l’adolescence dans six films contemporains". Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC0069/document.
This work focuses on the representations of adolescence in contemporary independent cinema. It is a question of examining the presentation in images and in discourse of this social phenomenon in six films coming from Europe and America and released in room between 2009 and 2014. By situating ourselves in the domains of Sciences of the Information and Communication, we articulate a semiotic and pragmatic approach to account for the plastic, aesthetic and communicational aspects of the films of the corpus. Our poetic and socio-political analysis simultaneously explores the cinematographic language, the conditions of production and the horizon of expectation to which the works refer.The first part sets out the theoretical categories and the method to follow to detect the relations between adolescence, cinema and representation. The second part captures the forms and effects of meaning of the films. The body is taken as the foundation of the representation of adolescence, a semiotic, social and political object. The third part focuses on the emergence of images of adolescent bodies and discourses likely to engender a look at cinematographic adolescence as a symbolic and social construction.The thesis concludes that these films constitute discourses on the adolescent universe, invite to deliberation, using a set of filmic forms that lead to reflections on the social, historical and cultural world that is deployed there. The semio-pragmatic angle makes it possible to interpret the messages that feature films want to deliver on the content of these representations in the frameworks of societies, the way in which the discourses on adolescence conform to social discourses that advocate a stance on this phenomenon
Orain, Hugo. "Images et Révolution en mouvement : représentations fictionnelles de la Révolution française au cinéma, à la télévision et dans le jeu vidéo entre 2000 et 2020". Thesis, Rennes 2, 2022. http://www.theses.fr/2022REN20013.
Our thesis questions the contemporary mythologies which transform our perception of the past, by nourishing a social imagination, and by colliding with historian narratives. For this, we studied 23 fictional representations of the French Revolution in cinema, television and video game, in France, between 2000 and 2020. The Revolution is a memorial object that persists largely thanks to fictions. Contemporary mythologies, such as the focus on the Terror and revolutionary violence, feed a dark vision of history, and oppose a positive republican memory. The fictions that we have analyzed are seen and played by millions of individuals, thus fictional narratives constitute a "parallel school" which competes with historical works. Until this day, no historical research has really been conducted on these issues. Our approach is unique because it is intermedia, that is to say that we have combined three media (cinema, television and video games), according to the idea that there is a media hybridization in design process. In this thesis, using sources of conception and reception (interviews, making-off, art work, reviews...), have deconstructed contemporary to understand mechanisms of representation of the past. Historians must bring fictions into their laboratory
Guillaume, Cédric. "Genèse et construction d'un "empire ludo-industriel" : la Walt Disney Company (1923-2000)". Bordeaux 3, 2010. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2010BOR30086.
Leisure has become a global phenomenon which logically comes with an industrial and urban society. They are a social phenomenon because it is the mirror of the society. Walt Disney had understood that in the early 40ies. Our survey deals with a long time (of about 80 years) between the creation of the Disney Brothers Studio and the beginning of the twenty first century. Therefore we can study how Walt Disney Company turned from a small family business into the leader of cinema, television, communication and of course amusement parks. Innovation has always been at the heart of all Walt Disney Company’s actions. At first sight, this company which was founded by a self-made-man can match with Schumpeter’s model: innovating in one field and keep focusing on it to always improve. However, another point of views can be explored. The economist Paul A David has worked on it ans his work is a true example of other possibilities. During almost twenty years after the founder’s death, the company has fallen into a soft torpor which was almost lethal until the arrival of Michael Eisner in 1984 which made out of Disney, one of the third biggest amusement and communication companies in the world. He also created a corporate culture which permits a deep change inside the company. This is why The Walt Disney Company, can be more than any company, influenced by the lock in effect and especially by the Path Depandancy. The Walt Disney Company is eventually a particular and complex company. We can even say that it is a very complex organization. This distracting machine, which employs 150 000 persons in the whole world is defined by one thing, the eternal balance between its creator’s legacy and the total marketing orientation. The company’s motto is “where the magic lives”, but can we sell dreams?
Davila, Andrés. "Les formes de la transe dans le cinéma expérimental ethnographique contemporain". Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030026.
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
Grignon, Prisca. "Le champ d'existence de la novélisation francophone actuelle (10 dernières années) : la novélisation, un nouveau genre ?" Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30031/document.
Though omnipresent in youth publication or for the general public, novelization is not very visible in the French literary field, probably because it is closely associated to its most mercantile editorial production. Hence a shortage of critical studies about it. Only two researchers, Monnique Carcaud-Macaire and Jan Baetens, are studying these texts, defined a minima as a type of adaptation of a screenplay and/or audiovisual one to fictitious texts. We can observe that the way they chose to spell it : « novellisation » is accepted as an authority in the critics (as rare as they can be). If they globally designate the genre as such, they deal above all with published novels in a marginal way-the writing and publishing contexts of which-is asking for us the question of their belonging to the genre. This means leaving aside a consequent part of the actual production, as every actor in the process of these texts production(author, publishers, producers,etc.)speak of «novelisation ». We shall therefore map out the state of contemporary French novelisation regardless of pre-established literary criteria, meaning, without breaking the continuum of literature called industrial to the Literature. Based on specific examples and the testimonies of the professionals we have met, our analysis on the procedures ofconception , writing and the diffusion of different corpus will enable us to clarify the generic specificities of novelization. Hybrid, intermedial in essence, the genre is emblematic of a cultural era where the works constantly flow to and fro different media
Bareille, Laurent. "Les représentations du « mauvais garçon » dans le cinéma japonais de 1955 à 2000, ou le questionnement à propos de l’évolution de la société japonaise par ce paradigme". Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30016/document.
Since the end of the War, Japanese society has gone through important changes; Japanese cinema dealing with its history is, we could say, as other forms of artistic expression, an indicator of customs, fluctuations in society, through the eyes of an author.We shall see in our development, in which we will focus in particular on «key» works, how, by the means of the «bad boy» character, the vision of an artist, here a film-maker, usually takes root in a social and generational reality, and in the case of Japan, whether it is revealing or not of a specific Japanese narrative process.We have chosen a socio-historical approach to our work, thus the two parts of this thesis can be divided as follows:The various forms of representation of the different groups of Japanese youth sub-culture, and then identifying the characters ruled out by the group, either by ostracism or by their own will.First, we shall study the so-called Taiyôzoku (tribe of the sun) films, based on Ishihara Shintarô’s written works. Next, some Japanese new wave films, notably of Shôchiku genre (from the studio of the same name). Then we shall deal with films featuring young people from Futenzoku (hippies) and Bôsôzoku (biker gangs) sub-cultures.In the second part, we shall study Oshima Nagisa and Suzuki Seijun films profiling «bad boys». To end, we have studied the yakuza eiga (ganster films), in particular Jingi no hakaba (Graveyard of Honor) directed by Fukasaku Kinji in 1965.We conclude our research by reviewing and analysing 1990-2000 films, those of Iwai Shunji, Toyada Toshiaki or Kitano Takeshi
Bykova, Dognon Oksana. "La mafia russe et le crime organisé dans le cinéma : (1988-2010) : représentation, communication et esthétique". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH034.
Today, although the Russian mafia and organized crime community is officially defeated, it continues to influence, transform the identity of his « faithful » viewers through by the way of cinema. It's necessary to understand the exchanges between the cinema said « criminal fiction » and its influence on the public reality. On the one hand the Russian mafia identity of cinema was built across the international market and international audiovisual film.The originality of Russian fictional crime genre, in particular, that it was in some cases produced, directed and performed by former criminals, who also faced historical changes, and were influenced by Hollywood mafia movies lived a period of transformation in « cinema professionals », as also the professionals in the field of other arts such as literature, publication, music, television. Such was the case of Vitaly Demochka 1, the former criminal, who became director, producer, actor and writer. The particularity of his case, that he directed and performed his own « life story » on the screen, as well the members of his former criminal team became the fictional heroes of his film « Spets ».In parallel, our work is focused on the study of “communicating objects”, such as a music, behavior, language, dress code, tattoos. Which have become representative as the 'weapon' of mafia propaganda, projected in the cinema and widely recycled in reality, and vice versa. It operates not only the mythification of public communication but therefore, the evolution of the social representations and even transformation of the spectators
Jolivet, Anne-Marie. "Marcelino pan y vino : l'enfant au cinéma dans l'Espagne franquiste". Paris 4, 1999. http://www.theses.fr/1999PA040164.
Marsaud, Gael. "Prendre position en documentaire : une sociologie politique des films documentaires tournés dans le Centre-ville de Saint-Denis et à la Joliette à Marseille (2000-2010)". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080067.
This thesis analyzes the process of politicization and de-politicization of documentary films that focus on stigmatized urban areas. It is based on 42 films made between 2000 and 2010 in the neighborhoods of Centre-ville Basilique in Saint-Denis and La Joliette in Marseille. This research draws from open-focused interviews with directors and content analysis of the studied films, as well as of other promotional or theoretical productions by the same directors. This thesis aims at understanding the structure and logics of a “documentary world” which is gaining structural autonomy towards other social fields. At the intersection of the sociologies of art, cinema, journalism and politically involved professionals, this study analyses the ambiguous positioning of the filmmakers when it comes to taking a political stand in the light of their social and professional backgrounds, of the professional collaborations that develop around the making and distribution of the films, and of the structural divisions organizing the documentary world. This approach allows us to question several dimensions of documentary film making that are often taken for granted: from the creative power of the director and his/her place in the creative process, to the opposition between cinema and journalism, and the relationship between documentary and politics generally speaking. By placing professionalization mechanisms and the relationships that directors develop with filmed participants and the public at the center of the study, this work sheds new light on the process of political commitment by and through cinematographic productions
Ezzat, Elborhamy Shaimaa. "Télévision, cinéma et pouvoirs en Egypte sour le règne de Moubarak". Thesis, Paris 2, 2015. http://www.theses.fr/2015PA020086/document.
Canet, Marie. "Pour une histoire à rebrousse-poil de la production cinématographique contemporaine : body Double (x) (1997-2000) de Brice Dellsperger, la transgression du modèle". Thesis, Metz, 2007. http://www.theses.fr/2007METZ005L.
This work is a film commentary, based on the critical analysis method introduced by Walter Benjamin. The starting point is an essay written in 1941, "About the concept of history", in which he puts forward a certain number of points leading to redifining the position and vocation of the historian in a sociolagically, technologically and politically shattered modern context. He asks the historian to rub history up the wrong way, by holding and saving moments, by moving points of views and envisaging the meaning of this moment in History. From this basic premise, Brice Dellsperger's film, Body double (x), is cast as a manifest and specific time, model of a type of film-making. Experimental, as well as formal, it was born from the remake, a phenomenon already known in modern arts between 1990 and 2000. For Body double (x) is a copy, frame for frame and word for word, of L'important c'est d'aimer (1976) directed by A. Zulawski. In this commentary, I use Benjamin's concepts : the thing content and the truth content. The thing content corresponds to the film material analysis, that is, the formal analysis of all the constituents of the picture, as well as the process, peculiar to the re-directing of the original movie. The truth content corresponds to the philosophical, historical and political angle on the film and performative process. The film, as a remake, questions about Copy and Original notions on a relational mode. Finally, by focusing looks on the body of one unique actor, Jean-Luc Verna, it restores an aesthetic and ethical link between the human figure and its representation
Kasprowicz, Laurent. "Contribution à une sociologie de la consommation cinématographique : la réception des films à Longwy (France) au début des années 2000". Thesis, Metz, 2008. http://www.theses.fr/2008METZ012L/document.
Begun in 2002, my thesis supports the interest, from an understanding point of view, of a localised observation of the cinematographic practice, in total counterpoint of the national studies (standard C.N.C.) who separate public and films or from the theories of the semiological cinema of inspiration which neglect the social anchoring of the cinematographic experiment. The plebiscite granted to films of entertainment to the box office of multiplexes of Longwy (54), celebrates working city of North East of France, less seems to result from absolute preferences that practices differentiated as regards cinematographic consumption. My statistical surveys (270 questionnaires) and qualitative (70 discussions with spectators and 10 with professionals of the city) and my observations of the practices of the spectators (at Theaters and consumption in residence) testify to a profusion of the kinds to films, supports of viewing and modes of attention to films. This heterogeneity of the practices of the spectator reveals pleasures differentiated from films ("to see a film with the cinema, it is not similar which to see a film at the house") and the importance of the typically local way of life (the city is a dormitory town where people leave downtown very little in week and work at Luxembourg-city to 50 km). The vitality of the local sociability which is tied around films (especially when it’s written with Internet), just as the contact repeated with the latter clarifies a capacity of expertise on behalf of the "ordinary" spectator. These results thus seem to me to validate the interest of a located observation, in measurement to only restore at the same time the richness of the cinematographic experiment of the spectator and his determinants. It calls, I hope for it, other studies of the same kind
Gharbi, Aymen. "Le roman, le cinéma et la télévision dans Les Soprano : la série télévisée entre art et industrie". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100152.
The aesthetic pretensions of the television series The Sopranos have convinced us that it is part of a significant period in the history of the media: the migration of cinema and literature towards televised seriality with all that this implies of social, aesthetic and economic transformations. We will put this period in parallel with that of the twentieth century cinema and the nineteenth century novel to show that the work is inhabited, both voluntarily and involuntarily, by certain multidimensional contradictions inherent in the mutations cultural industry. These contradictions imply the pathological contamination of the story by interruption and repetition, which connotes a fundamental passivity of modern man
Canet, Marie. "Pour une histoire à rebrousse-poil de la production cinématographique contemporaine : body Double (x) (1997-2000) de Brice Dellsperger, la transgression du modèle". Electronic Thesis or Diss., Metz, 2007. http://www.theses.fr/2007METZ005L.
This work is a film commentary, based on the critical analysis method introduced by Walter Benjamin. The starting point is an essay written in 1941, "About the concept of history", in which he puts forward a certain number of points leading to redifining the position and vocation of the historian in a sociolagically, technologically and politically shattered modern context. He asks the historian to rub history up the wrong way, by holding and saving moments, by moving points of views and envisaging the meaning of this moment in History. From this basic premise, Brice Dellsperger's film, Body double (x), is cast as a manifest and specific time, model of a type of film-making. Experimental, as well as formal, it was born from the remake, a phenomenon already known in modern arts between 1990 and 2000. For Body double (x) is a copy, frame for frame and word for word, of L'important c'est d'aimer (1976) directed by A. Zulawski. In this commentary, I use Benjamin's concepts : the thing content and the truth content. The thing content corresponds to the film material analysis, that is, the formal analysis of all the constituents of the picture, as well as the process, peculiar to the re-directing of the original movie. The truth content corresponds to the philosophical, historical and political angle on the film and performative process. The film, as a remake, questions about Copy and Original notions on a relational mode. Finally, by focusing looks on the body of one unique actor, Jean-Luc Verna, it restores an aesthetic and ethical link between the human figure and its representation
Kressmann, Martin. "Le premier film dans le cinéma français des années 1960 à 2000 à travers l'exemple de six cinéastes : (Jacques Demy, Maurice Pialat, Christine Pascal, Claire Denis, Xavier Beauvois, Alain Guiraudie)". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100053.
This thesis proposes to study the evolution of French cinema threw the concept of ''the first movie'' from the New Wave to the beginning of 21st century on a historic, esthetic and economic point of view. This research tries to analyse the beginning of the career if six French singulars directors whitch are iconic of a period or a generation, tries to understand and be interested on their course before their first movie, their youth, their influences, the financial and humain helps they found, their connections with the French critique and the presence of their first movie in all their future work
Thabet, Mezghani Wafa. "The voice of silence as echoed by female filmmakers : reading between the shots". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3108.
The current research aims to explore several of the manifold states of silence represented in film and to investigate how silence and silencing have been perceived and conceived by female filmmakers from a Critical Discourse Analysis (CDA) perspective.This is achieved by examining the case studies of four feature films produced in the twenty-first century by four female filmmakers from two different cultural backgrounds–namely the USA and Tunisia. Research questions are qualitatively applied to a corpus of four films, following Fairclough’s (1989) three analytic stages: description, interpretation and explanation, using pragmatics combined with semiotic analysis. The thesis also introduces the concept of ‘voicing’ with reference to the semiotic signs and film techniques that underpin the meaning of silence and its pragmatic dimension.The findings of the study show that using ‘voicing’ has proved to be effective in creating a systematic method of analyzing silence in films. They also show that even though the cinematographic practices, the themes dealt with and the socio-cultural background of the filmmakers may be different, there is a common denominator between the four films: their feminist or pro-feminist agenda.Further, it argues that the films under discussion may be considered as barriers of resistance to the hegemonic patriarchal mainstream cinema and that these barriers are strongly influenced by the filmmakers’ own individual perceptions, personal experiences and cultural background
Semonsut, Pascal. "La représentation de la Préhistoire en France dans la seconde moitié du XXe siècle (1940-2000)". Paris 4, 2009. http://www.theses.fr/2009PA040001.
When Lascaux reappeared to people, in September 1940, prehistory had been well known for almost a century. The purpose of this thesis is to relate how French people pictured it during the second half of the twentieth century. To do so, we have focused on fire main media: teaching, through school books and curricula, literature (from Rosny to Jean Auel), comic strips (mainly Rahan and Tounga), cinema and painting (Zdenek Burian’s work). We’ve added five further ones: popularization, places of interest, museums, the written press and television. The first part of this work assesses the part these different media play in the representation we have of prehistory. The second part shows the stereotypes of prehistorian and prehistoric. The next part shows the natural and anthropologic environment picture in ancient times. Finally, the last part analyses the alleged prehistorical men's thought and technology. What emerges from this study is that the picture we have of this period makes it an ambiguous time: a dark period, with many dangers, and a more luminous one with progress and promises
Zalila, Ikbal. "Les mises en scène du politique dans les actualités cinématographiques tunisiennes entre 1956 et 1970". Paris 1, 2010. http://www.theses.fr/2010PA010524.
Pasquier, Aurélien. "L’influence de la résurgence des questions mémorielles sur la représentation du Japon dans les blockbusters sud-coréens : analyse de la répétition de l’Histoire dans « Fantôme » (1999), « 2009 Lost Memories » (2002) et « Péninsule » (2006)". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3024.
This work explores the pattern of the repetition of the history between (South) Korea and Japan in several South Korean blockbusters since 1998. The 1990s, which was prophetised to mean the disintegration of the nation-state, marked the return of "ethnic nationalisms". The comeback of nationalisms that follows the end of the confrontation of the two blocs is manifested in the case of South Korea and Japan by a resurgence of memorial issues between the two countries. In the first part, we analyze how the issues from the colonial period that reappeared in the early 1990s transformed Japan into the new "national enemy" of South Korea at a time when relations between the two countries are developing and the consumption of cultural goods producted by the other side is unprecedented. The reaffirmation of the state in certain sectors that accompanies the South Korean nationalism of the 1990s is realized, among other things, by the establishment of policies in favor for the development of the national film industry. The alliance of the state and several chaebol (South Korean family conglomerates) allows the South Korean film industry to regain popularity through the production of South Korean blockbusters. After brought to light the proximity between Hollywood, Chinese, Argentinean blockbusters and South Korean blockbusters, we establish the existence of what we call a "national aura" at the center of the consumption of these films and which makes it possible to consider them as national films, for in spite of its fictitious character, the nation has real effects on the populations of the nation-states. The South Korean blockbusters staging the national history have become the mirror of the national spectacle and we devote our last part to the representation of the repetition of history in the three films at the center of our problematic. The analysis of the films allows us to understand that the struggle to defend national history in the resurgence of memorial issues is staged, like Louis Bonaparte described by Karl Marx, in the past struggles for the defense of sovereignty National level
Trice, Jasmine Nadua. "Transnational cinema, transcultural capital cinema distribution and exhibition in Metro-Manila, Philippines, 2006-2009 /". [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380147.
Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4494. Advisers: Gregory Waller; Barbara Klinger.
Pointeau-Lagadec, Erwan. "Les Écrans de fumée : consommation de cannabis et fiction française : de la représentation filmique à l'imaginaire social (1969-2002)". Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H088.
At the start of the twenty-first century, it became apparent that cannabis had turned into a common consumer product in France, partly due to the massive spread of drug use since the late 1960’s. The French population seems to be getting used to cannabis consumption, developing a certain level of individual and collective tolerance despite its illicit nature. To assess the later hypothesis, this doctoral thesis studies the national imaginary of the practice through the lens of fiction feature films. We built up a database of cinematic and televisual sequences depicting cannabis use that we grouped under the concept of “cannabis moment”. We perform a visual, textual and cultural analysis to derive social representations and link them to the filmic ones. This approach led to two main outcomes : a diachronic description of the three steps of the cultural accommodation of the French society to cannabis from the early 1970’s to the beginning of the twenty-first century, and a synchronic examination of the main rhetorical processes having led to this inflexion point, distinctive of our modern world. Finally, this work adds to a deficient national historiography of drugs outlined in the first part of the thesis
Cohen, Grégory. "Un cinéma de recherche entre fiction et documentaire : retour sur une expérience de film autour des relations filles-garçons avec des jeunes d’une cité HLM". Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLE018.
Starting from a filmic research on young people and love in a working-class neighborhood, this thesis, between social sciences and cinema, research and creation, raises a question of society - how young people deal with the social norms imposed by their groups of belonging? - and a question of cinema - how does the detour through fiction and improvisation allow us to investigate social realities and to imagine other ways of working with the surveyed ? It is based on a multi-year ethnographic survey in a working-class and immigration district of Paris suburbs (Les Mureaux - Yvelines), as well as on film workshops and the shooting of a film (The court of whispers) between fiction and documentary with young inhabitants aged 15 to 20 years old. In this space, where acquaintanceship is highly developed and each ensures his reputation, young people have difficulty showing their feelings and are often forced to play a social role. We wanted to study the specificity of this theatrical self-presentation, which is both a constraint - the injunction to adopt an attitude specific to the morality of the neighborhood - and a mode of survival and resistance, since it also allows to escape the eyes of others and more broadly the social norms that weigh on these young people. The film is an opportunity to create a privileged space of speech that allows reflexivity. It becomes a way of co-constructing research with the filmed and to release dominant representations of young people from working-class neighborhoods. The writing goes back to the social issues and cinema issues that have led this research. It reflects the thought in the film, both sociological and cinematographic. He goes back on his conditions of fabrication, his choices of realization, his theoretical inspirations, the "moments of cinematographic life" that emerged in this research
Caoduro, Elena. "Interconnected memories : left-wing terrorism in postmillennial German and Italian cinema (2000-2010)". Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/374393/.
Lacoue-Labarthe, Mathieu. "La représentation des Indiens dans le western américain, des années 1930 à nos jours". Paris 8, 2009. http://www.theses.fr/2009PA083144.
The study of a sample of 600 American western movies realized between 1930 and 2005 shows the evolution of the Native Americans' portrayal. Till the mid-50s, he is mostly absent and almost always depicted in a negative way. These prejudices are due to the roots of the western movie, inspired by different literary and artistic forms used between the XVIIth and the beginning of the XXth century. From 1945 on, the way Native Americans are shown becomes more positive because of the consequences of World War II. Nevertheless, it's not before the mid-50s that we can see a deep change in the way they are treated on the screen. Sometimes the bloodthirsty savage becomes the noble red man, but all the stereotypes, positive or negative, about the Indians are questioned in some movies. This new image of the Native American is due to the success of the civil rights movement and to the protest against productivism, consumerism, and the Vietnam war ; it is also due to the growing care for environment, the change and the new blood injected into the American society
Cello, Serena. "La "littérature des banlieues" : quel engagement contemporain ?" Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2022.
In the course of the last 30 years, the word banlieue has evoked the territorial movement of a social problem as the historical expert of the Parisian suburbs, Annie Fourcaut, substantiates. The banlieue which have been much in vogue in the mass media and political debates especially since the first 1990 mass media covered urban disorders, up to the more violent ones in 2005, are to be understood as sensitive working-class areas. During the past few decades the latter seem to gather around each other and, above all, around the juveniles who inhabit them in the most oddly assorted and detrimental situations : abject social/economic poverty, residential segregation, urban decay as well as violence and delinquency. As the years have gone by, the rhetoric and the representation of those sites has become the expression of a disadvantage that the specialists call: “epicentre of the contemporary social problem”. This work of thesis deals with these current events. It sets its objective as contemplation on the contemporary literary representation of these places. Indeed, the delicate and marginal situations of banlieue during the recent urban riots, are the essential conditions that have favoured the production of an emerging literatur classified by critics as the "banlieue literature" of "cités" or urban areas"
Negli ultimi trent’anni la parola banlieue evoca la trasposizione territoriale di una questione sociale come evidenzia la storica esperta della periferia parigina Annie Fourcaut. In voga nei dibattiti mediatici e politici, in particolare dopo i primi moti urbani conosciuti attraverso le reti d’informazione negli anni 1990 fino ad arrivare alle sommosse del 2005, le banlieue intese come quartieri popolari “sensibili”, sembrano attirare attorno ad esse e soprattutto attorno alla gioventù che vi ci abita, le situazioni più diverse e negative: pauperizzazione socio/economica, segregazione residenziale, degrado urbano nonché violenza e delinquenza. Con il passare degli anni, la retorica e le rappresentazioni legate a questi luoghi sono diventati l’espressione di un malessere riconosciuto dagli specialisti come “epicentro del problema sociale contemporaneo”. Il presente lavoro di tesi s'inserisce in tale contesto d'attualità politica e sociale; Esso si pone come obietivo la riflessione sulla rappresentazione lettaria contemporeana di questi huoghi al margine e marginalizzati. In effetti, la situazione delicata delle periferie urbane durante le recenti rivolte, costituirebbero il contesto determinante che ha favorito la produzione di una letteratura emergente classificata dalla critica francese come "letteratura della banlieue" delle "cites" o "urbana"