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Artykuły w czasopismach na temat "Jungle – Au cinéma"
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Bernabei, Maria Ida. "La jungle du cinéma". 1895, nr 95 (1.10.2021): 60–87. http://dx.doi.org/10.4000/1895.8968.
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Lempereur, Johann. "Cinéma & séries". Revue Défense Nationale N° 870, nr 5 (16.05.2024): 120–26. http://dx.doi.org/10.3917/rdna.870.0120.
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La Légion étrangère et l’Indochine ont été des sujets de prédilection du cinéma. Le film Les derniers Hommes , sorti en France en février 2024, rappelle cette épopée dramatique où une poignée de légionnaires affronta les Japonais et la jungle. Derrière le scénario et les images bien tournées, se révèle toute la dimension humaine de la Légion, une « société multiraciale mais “monoculturelle” » au service de la France depuis 1831.
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Duhamel Muller, Marie-Pierre. "Les architectes le font sur la table". Le Visiteur N° 23, nr 1 (1.03.2018): 93–104. http://dx.doi.org/10.3917/visit.023.0088.
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La profession d’architecte, dans le cinéma commercial américain, et ce depuis un bon demi-siècle, semble être une de celles qui garantissent non seulement le respect de l’entourage, mais aussi et surtout, l’attention féminine. Du Gary Cooper du Rebelle de King Vidor au bouillant Wesley Snipes de Spike Lee ( Jungle Fever ), en passant par Paul Newman ( La Tour infernale ) ou Woody Harrelson citant Louis Kahn ( Proposition indécente ), l’architecte – de sexe masculin et strictement hétéro – est une figure de l’intellectuel idéalement « sexy », plus que l’écrivain, le peintre ou le professeur. Il est créatif et passionné, mais sans la triste mine du pauvre poète, et surtout, il est lié au business, à la circulation de l’argent, au marché, bref à la success story à l’américaine. Tropes scénaristiques et indispensables accessoires des décors (table, équerre, plans) semblent rassemblés pour mettre en valeur le glamour viril des stars et décorer une profession qui serait l’une des plus propices au maintien de l’ordre social et sexuel. Il y aurait donc lieu de chercher dans les genres cinématographiques les moins asservis au commerce une plus subtile idée des relations qu’entretiennent le métier et le désir.
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Betancourt, Manuel. "The Natural Order of Things". Film Quarterly 74, nr 4 (2021): 68–71. http://dx.doi.org/10.1525/fq.2021.74.4.68.
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Forced to slow down by the COVID-19 pandemic, Film Quarterly columnist Manuel Betancourt found himself drawn to films that embraced stillness. Marking a refreshing change from the urban settings that dominate much Latin American cinema, Los silencios (Beatriz Seigner, 2018), Selva trágica (Tragic Jungle, Yulene Olaizola, 2020), and Ceniza negra (Land of Ashes, Sofía Quirós Úbeda, 2019) are set in jungle and rural landscapes complete with lush, dreamy soundscapes. Privileging mood over plot, these films revel in their sense of being unmoored from familiar locales, becoming portals that open onto a different way of looking at the world.
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Ma, Sheng-mei. "Sino-Anglo-Euro Wolf Fan(g)s from Jiang Rong to Annaud // Fans lupinos sino-anglo-europeos de Jiang Ring a Annaud". Ecozon@: European Journal of Literature, Culture and Environment 7, nr 1 (15.06.2016): 76–93. http://dx.doi.org/10.37536/ecozona.2016.7.1.980.
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Fans of Jiang Rong’s Wolf Totem could arguably shapeshift into a wolf’s fangs, the sharp tips of China’s Social Darwinism today. Jiang mourns the killing of Mongolian wolves, erecting a literary totem there after wolves are gone. An elegy for the wild comes to justify the growing of fangs amid the jungle of the socialist-capitalist market. Wolf totem becomes a phallic symbol for power. A Sino-Anglo-Euro morphing materializes in global cinema as Annaud transforms the novel into The Last Wolf. Annaud’s romantic film downplays Jiang’s nationalistic tenor, avoiding to bare “red [in] tooth and claw” to the world.Resumen Los fans de Wolf Totem de Jiang Rong podrían discutiblemente transformarse en los colmillos de un lobo, las afiladas puntas del darwinismo social en China hoy en día. Jiang lamenta la muerte de los lobos mongoles, erigiendo un tótem literario allí tras la marcha de los lobos. Una elegía a los salvaje llega a justificar el crecimiento de colmillos en medio de la jungla del mercado socialista-capitalista. El tótem del lobo se convierte en un símbolo fálico de poder. Un Changling sino-anglo-europeo de algún tipo se materializa en el cine global cuando Annaud transforma la novela en El último lobo. La romántica película de Annaud resta importancia al tono nacionalista de Jiang, evitando mostrar "rojo [en] diente y garra" al mundo.
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Weaver, Heather A. "“The Teacher's Unexpected Bath”: Plumbing the Meaning of Mayhem in the Celluloid Schoolroom". History of Education Quarterly 54, nr 2 (maj 2014): 145–71. http://dx.doi.org/10.1111/hoeq.12055.
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Since the late 1930s, cinematic depictions of schooling have generally affirmed the necessity of school as a social institution and underscored the importance of formalized education for children and youth. Movies ranging fromGoodbye, Mr. Chips(1939) toDead Poets Society(1989) have represented school as a place of tradition and order, and films such asThe Corn Is Green(1945);Blackboard Jungle(1955);Good Morning, Miss Dove(1955);Up the Down Staircase(1967); andStand and Deliver(1988) have portrayed teachers as heroic figures. It could seem that the film industry has always portrayed schooling in idealistic terms. But that is not the case. This essay examines the familiar cultural genre of films about schooling, but it does so by looking backward beforeBlackboard Jungle, even beforeGoodbye, Mr. Chips, to the first four decades of cinema—a period when schooling was rendered not as a necessity, but as a joke.
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Ingawanij, May Adadol, i Richard Lowell MacDonald. "Blissfully whose? Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur". New Cinemas: Journal of Contemporary Film 4, nr 1 (1.05.2006): 37–54. http://dx.doi.org/10.1386/ncin.4.1.37_1.
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Rountree, Cathleen. "Cinema". Jung Journal 1, nr 4 (październik 2007): 97–100. http://dx.doi.org/10.1525/jung.2007.1.4.97.
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Yebra, José María. "Transmodern Motion or the Rhizomatic Updated in In a Strange Room, “Take me to Church” and Babel". Anglia 136, nr 3 (6.09.2018): 508–29. http://dx.doi.org/10.1515/ang-2018-0050.
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Abstract The article aims at exploring how the concept of the transmodern fits, comprises and helps to understand transcultural events from a wider perspective. To do so, three metaphors will be addressed, namely Enrique Dussel’s ‘jungle’, Gilles Deleuze’s and Félix Guattari’s ‘rhizome’ and Sarah Dillon’s ‘palimpsestuous palimpsest’. In all three cases, issues like multiplicity, connectedness and a sense of motility are present. And, the article proves, they prove valid to render the aesthetic, ethical and political possibilities of contemporary texts that range from literature, Damon Galgut’s In a Strange Room (2010), to music, Hozier’s hit “Take me to Church” (2014), and to cinema, González Iñárritu’s Babel (2006).1
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Gordon, Robert J., i Glen Elder. "In Darkest Hollywood: Cinema and Apartheid/ In Darkest Hollywood: Exploring the Jungles of South Africa's Cinema:In Darkest Hollywood: Cinema and Apartheid.;In Darkest Hollywood: Exploring the Jungles of South Africa's Cinema." American Anthropologist 100, nr 4 (grudzień 1998): 1018–21. http://dx.doi.org/10.1525/aa.1998.100.4.1018.
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Pistone, Marianne. "L’autrement qu’être dans le cinéma d’Apichatpοng Weerasethakul : une étude de l’apparaissant". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMC009.
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Ce travail de thèse se propose de considérer le cinéma d’Apichatpong Weerasethakul sous l’angle du visible et de l’invisible et du mouvement qui va de l’un à l’autre. Cet angle est celui de l’apparaissant, c’est-à-dire de ce qui, entre la divulgation, l’émergence et l’occultation, a lieu ou se retire. Il n’est pas seulement – posément – apparent mais bien apparaissant, c’est-à-dire entrevu dans l’inquiétude de l’acte d’apparition. En se concentrant notamment sur les espaces cruciaux des films que sont les jungles, une prospection mésographique est engagée dans les champs de la spatialité et de la corporéité. La phénoménologie (et ses concepts, ses interrogations, son vocabulaire, ses outils) est mobilisée comme moyen de recherche, comme biais, guide ou méthode, pour analyser ces films qui semblent bien observer les propositions principielles phénoménologiques : libération des concepts de substance, du temps comme constance, et du primat théorique de l’intériorité de la conscience, pour un autrement qu’être, une instabilité ontologique qui ouvre à des mondes autres et aux autres du mondeThe aim of this thesis is to consider Apichatpong Weerasethakul's cinema from the angle of the visible and the invisible, and the movement from one to the other. This angle is that of the appearing, i.e. of that which, between disclosure, emergence and concealment, takes place or withdraws. It is not only apparent but in appearing, i.e. glimpsed in the anxiety of the act of appearing. Focusing in particular on jungles, which are crucial spaces in the films, a mesographic exploration is undertaken in the fields of spatiality and corporeality. Phenomenology (and its concepts, interrogations, vocabulary and tools) is mobilized as a means of research, as a bias, guide or method, to analyze these films, which seem to observe phenomenological principal propositions: liberation from the concepts of substances, of time as constancy, and from the theoretical primacy of the interiority of consciousness, for an other-than-being, an ontological instability that opens to other worlds and to others of the world
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Zanatta, Maria Cecilia. "As metáforas alquímicas no cinema". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284950.
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Orientador: Elisabeth Bauch ZimmermannDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T23:07:36Z (GMT). No. of bitstreams: 1 Zanatta_MariaCecilia_M.pdf: 1501616 bytes, checksum: 734e8edc11754f019e326f0e22610e78 (MD5) Previous issue date: 2010
Resumo: Dentre os teóricos que buscaram uma visão mais abrangente de ser humano em relação às manifestações culturais de todos os tempos, C. G. Jung (1875-1961), foi quem se dedicou ao estudo da alma humana através de imagens de sonhos, mitos e símbolos da cultura, por acreditar que a atuação do inconsciente se dá através de várias formas de expressão. O processo de criação segundo Jung diz respeito à tradução feita pelo artista de imagens primordiais, vindas espontaneamente do inconsciente, para a linguagem do presente. Ao criar uma obra de arte, o artista transforma sua conexão com o inconsciente em algo acessível a todos, possibilitando que cada um de nós possa também estar reconectando consigo mesmo. Desta forma é que é considerado que o cinema pode atuar como fonte de projeção e transformação interna do indivíduo. O cinema, como qualquer forma de expressão humana, oferece total condição para que elementos culturais se expressem, mesmo quando utiliza elementos arcaicos da cultura que não se alinham aos transmitidos pela tradição corrente. Este é o caso da alquimia e por este motivo ela foi escolhida como foco do trabalho. O desafio proposto foi olhar para o cinema procurando por estes elementos e o resultado foi uma forma de resgate da antiga alquimia em produções humanas atuais. Nesta dissertação analiso quatro filmes como ilustração da discussão principal: A Festa de Babette, Navigator, uma Odisséia no Tempo, Um Beijo Roubado e Stalker. Foi utilizada uma abordagem que, ao mesmo tempo em que procura identificar uma imagem dentro do imaginário tradicional, pretende ser respeitosa no que diz respeito à dimensão simbólica inatingível da obra de arte
Abstract: Among the theoreticians that sought a wider view of the human being in relation to worldwide cultural manifestations, C. G. Jung (1875-1961), chose the study of the human soul through dreams, myths and cultural symbols, because he believed the unconscious acted through several expression forms. The Cinema, as other forms of human expression, offers a good medium for the expression of cultural elements, even when it uses archaic elements that are dissimilar to those transmitted through tradition. This is also the case of Alchemy, which therefore was chosen as the focal point of this Dissertation. We revisited, thus, alchemy through moving pictures. According to Jung, the creative process is related to the translation, made by the artist, of primordial images, spontaneously originated in the unconscious, to the contemporary language. When an artist creates a work of art, she transforms her connection to the unconscious into something accessible to everyone, making it possible for us to also reconnect to our own selves. In that way, we can consider the cinema as a source of projection and internal transformation of the individual. In this dissertation I discuss alchemy through the illustrative analysis of four movies: "Bebette's Feast", "Navigator, a Medieval Odissey", "My Blueberry Nights" and "Stalker". The approach used was to search for images of the movie within the traditional imaginary at the same time as due respect was paid to the unattainable symbolic dimension of the works of art
Mestrado
Mestre em Multimeios
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Rubio, Marin Miguel Federico. "Ciné-mythe : analyse de l'expression contemporaine du mythe dans l'audiovisuel". Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20063/document.
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Ce travail étudie les rapports que les mythes (considérés du point de vue de la psychologie analytique) entretiennent avec le cinéma et la vidéo, supports devenus, grâce à leurs caractéristiques techniques, discursives et esthétiques propres, des moyens idéaux à l’expression moderne du mythe, lui apportant en même temps de nouvelles possibilités de construction ainsi que des dynamiques nouvelles. En comparant d’une part, la conception du mythe chez Carl Gustav Jung, Joseph Campbell et autres auteurs, et d’autre part, les techniques et structures cinématographiques, on montre que le mythe continue de se produire de nos jours au sein de notre société tout en se métamorphosant et en se nourrissant des possibilités qu’offre le cinéma. Les outils et techniques cinématographiques, de par leurs caractéristiques, amplifient les traits caractéristiques fondamentaux du mythe, donnant lieu à des dynamiques particulières entre cinéma et mythe. Les médias audiovisuels diffusent un nombre important de productions que l’on appellera ici cinéma-mythe. Par la comparaison parallèle de la structure cinématographique et les techniques audiovisuelles d’une part, et de la structure du monomythe (Campbell) d’autre part, il est montré que les caractéristiques inhérentes au cinéma et à la vidéo rendent ceux-ci des moyens idéaux à l’élaboration du mythe. Le schéma narratif du mythe, selon Jung et Campbell, s’exprime essentiellement au travers du signe, qui fuit la pure appréhension intellectuelle. Ce sont les rapports entre les signes qui déterminent le discours et le message du mytheThis thesis analyses the relationship between myths (according to analytical psychology), films and video, cinematographic forms who became the ideal medium of modern myth expression due to their technical, aesthetical and discursive characteristics. This relationship allows new dynamics and construction possibilities in cinema and myth.By comparing Carl Gustav Jung’s and Joseph Campbell’s conception of myth and cinematographic techniques and structures, it is shown that myth production goes on nowadays, in our society, nourished and metamorphosed through cinema possibilities. Cinematographic techniques and tools, by their characteristics, magnify myth’s essential elements, allowing particular dynamics between myth and film. Audiovisual productions feature some examples of what we should call cine-myth.By comparing cinematographic structures and techniques, and monomyth’s structure (Campbell), it is shown that inherent characteristics about cinema and video make them ideal mediums for myth creation. According to Jung and Campbell, the narrative schema of myth is essentially expressed through symbol, who is not merely reduced to intellectual understanding. The relationships between symbols create the message and meaning of myth
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Wade, Tom H. "Circulation of the Light: Mandalas, Alchemy, and Non-Linear Cinema". Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors149441657291478.
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Hong, Sora. "La génération des centres culturels (Munhwawon sedae) et la nouvelle vague du cinéma sud-coréen des années 1980-1990". Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0051.
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Depuis les années 1980, la Corée du Sud a observé un processus de légitimation culturelle du cinéma. En prenant appui sur ce phénomène, cette thèse attire l’attention sur le rôle des cinéphiles regroupés sous l’expression, « Munhwawon sedae » : la génération des centres culturels. Dans cette thèse, nous la définissons comme un réseau social de cinéphiles sud-coréens qui émerge à partir de la fréquentation des centres culturels européens à Séoul sur une période qui s’étend entre 1977 et 1984. Notre analyse de ce réseau s’appuie sur une méthode prosopographique permettant d’apprécier les rapports entre individus et institutions, et en particulier la trajectoire et les différents discours portant sur le 7e art de la Munhwawon sedae. Cette trajectoire est nourrie par un type intellectuel de cinéphilie en provenance de l’Europe, notamment de la France et de l’Allemagne, mais aussi plus localement, par les théories portées par le mouvement culturel pour le « minjung » (peuple). Les discours produits sur ce nouveau cinéma sud-coréen se situent donc, à la frontière entre l’art et la politique, celle-ci étant pensée comme un contrepoids à un système politique jugé corrompu. Cependant, avec l’effervescence du mouvement pour la démocratisation du pays, la résistance contre le régime autoritaire prend alors plus d’importance que le 7e art en tant que tel. Il faut attendre l’apaisement du mouvement social dû à certains processus de démocratisation politique pour qu’un équilibre se dessine entre l’ambition esthétique et l’ambition politique de la Munhwawon sedae. Son engagement pour l’évolution du cinéma sud-coréen constitue une réelle initiative dans le champ cinématographique du pays. Dès lors, les « membres » de la Munhwawon sedae qui, autrefois n’avaient été que simples spectateurs, diffusent leur cinéphilie en tant que réalisateurs, producteurs, critiques et professeurs de cinéma. Dans l’ensemble, notre thèse s’attache à montrer comment, au milieu des années 1990, la Munhwawon sedae a marqué la fin de « l’âge sombre » du cinéma sud-coréen. En se positionnant de cette manière, au cœur d’une nouvelle vague artistique et politique, elle a contribué à établir une nouvelle élite culturelle sud-coréenne. La Munhwawon sedae était donc à la fois la première bénéficiaire des changements de contexte social autour du cinéma en Corée du Sud et la facilitatrice de la légitimation culturelle du cinéma sud-coréenA process of cultural legitimation of the cinema has occurred in South Korea since the 1980s. This thesis focuses on the role that cinephiles grouped under the expression of the Munhwawon sedae, the generation of cultural centers, have played in this process. Accordingly, I analyze this notion, understood as a social network of South Korean cinephiles who emerged as a result of frequenting European countries’ cultural centers in Seoul between 1977 and 1984. The analysis is based on a prosopographic method to understand the relationships between individuals and institutions, particularly the trajectory and various discourses on the Seventh Art of the Munhwawon sedae. As I demonstrate, this trajectory is nourished not only by an intellectual type of European cinephilia but also, more locally, by theories of cultural movement for the minjung (people). The discourses produced on the “South Korean new cinema” therefore exist on the border between art and politics. The latter side was seen as a counterweight to an absurd political system. Thus, I strive to show how the political objective has progressively taken precedence over the artistic objective with the effervescence of the movement for the democratization of the country: the resistance against the presumed incoherence of society then becomes more important than the pursuit of the Seventh Art. Until the end of the political democratization process of the country, a balance is drawn between the aesthetic and political ambition of the Munhwawon sedae. The engagement of these cinephiles within the evolution of the South Korean cinema constitutes a new initiative in the field. Now, the “members” of the Munhwawon sedae, who once were movie fans frequenting European countries’ cultural centers, have spread their cinephilia as directors, producers, critics, and film educators. Overall, this thesis focuses on how, in the mid-1990s, the Munhwawon sedae announced an end to the dark age of South Korean cinema. By positioning itself in this way, literally at the heart of this artistic and political new wave, the Munhwawon sedae formed as the new cultural elite of South Korean society
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Gerontaki, Evangelia. "HOMO PULCHRITUDUS : Beauty as a Product of Dominant Ideology and its Representations in Film". Thesis, Uppsala universitet, Filosofiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-455305.
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This dissertation approaches the concept of beauty. Looking through the consistent efforts ofphilosophers and artists over the centuries to define and capture beauty, we come to the conclusionthat such a thing is impossible in its entirety. The rules and the standards that measure out thebeautiful. By being something that can be defined and measured, I come to the conclusion thatbeauty and the way we talk about it and recognize it, forms a set of rules that establish a system.This system helps the dominant beholding part of power to maintain its status. Nietzsche, throughhis genealogical method, managed to prove that perhaps the easiest way to define or try tounderstand a concept is to examine how it evolved in various historical contexts. Nietzsche realizedthat distinct historical periods give a variable conceptual results for a certain value. The onesregulating those standards of evaluation, are the relations of power within a society. Foucault,evolving Nietzsche's hypothesis and thought, finds that the respective systems of power are the onessetting the specifics of evaluation that better suit them in order to maintain control. Systemsaccording to Foucault define and set the limits for our actions and thoughts. The respective socialvalue systems set the limits for the beautiful in our case and its definitive characteristics, resultingto a series of variable beauty standards that have been dominant in different historical periods. Themost effective tool of the dominator is the creation of regimes of truth. Regimes of truth arehistorically specific mechanisms that produce discourses which function as true in particular timesand places. These systems of truth are being regulated through narratives. In our time screentechnology has achieved something unprecedented in the communication chronicles of humanity,the possibility of globalized broadcast. The emergence of cinema has managed to influence anddefine the standards of beauty with unprecedented results in pop culture.
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Tsai, Wen-Sheng. "Le cinéphile à la découverte de sa nostalgie : une circumambulation sous le signe de Wong Kar Wai". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100055/document.
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Comment faire un travail scientifique si le chercheur est déjà trop obsédé par son objet d’étude et si, d’ailleurs, ce dernier n’est pas seulement un objet réifié mais doté d’une certaine réalité de l’âme ? La distance délicate entre le subjectif et l’objectif est ainsi l’enjeu principal de cette thèse, une recherche dont le chercheur est un cinéphage devenu cinéphile, qui est hanté par sa passion pour son objet bien vivant qu’est le cinéma de Wong Kar Wai mais qui a envie de vivre symboliquement cette passion. Il s’agit donc de l’équation personnelle d’après C. G. Jung et de cette distance ironique selon Antoine de Baecque. Vis-à-vis d’une telle difficulté méthodologique qui est en fait une occasion très généreuse, une approche empirique et une attitude religieuse se proposent. D’où le chercheur-cinéphile se lance dans un itinéraire homérique, à la recherche de son mythe du cinéma total qui n’est rien d’autre que son archétype du cinéma dont le symbole vivant se veut exactement Wong Kar Wai. Cette recherche devient, au fur et à mesure, une découverte, vu que la nostalgie n’est pas ailleurs, mais chez soi. Dans une telle circumambulation sous la forme d’une mise en abîme, le rapprochement entre une histoire du cinéma et une Histoire du cinéma n’est qu’inéluctable. Re-contextualisés sont les souvenirs personnels du chercheur du cinéaste hongkongais et plusieurs protagonistes rencontrés dans sa cinéphilie (Bresson, King Hu, Langlois, Bazin, Tarkovski, la bande de Truffaut, Dumont, etc.) sur la route et envisageable est une filiation toujours en devenir entre ce qui arrive avant et ce qui vient après. Que ces pages soient une scène de la création-critique et que la fonction cinéphile se manifeste à travers elleHow to conduct a scientific work if the researcher is himself already incurably obsessed by his study material? This question fits in quite well for the present case, since the PhD student is an inveterate lover of Wong Kar Wai’s cinema. In other words, the situation is that of a cinephage-turned-cinephile — extremely conditioned by a living work inescapably defined by an amorous aura — who is trying to find a way out, in a relatively rational way, that is to say, symbolically, to deal with this entanglement as mise en abyme. Two methodological as well as deontological perspectives are thus drawn on, “the personal equation” adapted by C. G. Jung and “the ironic distance” coined by Antoine de Baecque. Hopefully, the writing of this dissertation could be regarded as a circumambulation whose goal is nothing more than its very process which is a nostalgic yearning for the cinema archetype, or, in terms of André Bazin’s idea(l): the myth of total cinema
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Andrade, Ricardo Sousa. "Fellini, a lenda : O sonho é a única realidade". Master's thesis, 2009. http://hdl.handle.net/10400.12/4666.
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Dissertação de Mestrado apresentada no Instituto Superior de Psicologia Aplicada para
obtenção do grau de Mestre na especialidade de Psicologia Clínica.Neste trabalho procuro compreender a relação entre a vida e a obra do inimitável realizador italiano, Federico Fellini. Da análise realizada a diversos filmes e entrevistas de Fellini, realço a certeza que para Fellini, os seus sonhos são o reflexo mais profundo e verdadeiro da sua realidade. O universo onírico é o canal que medeia o contacto entre a vida e a obra do autor. A obra de Fellini reflecte a sua vida, e a sua vida alimenta, através dos sonhos, a sua obra. O regresso ao passado é um movimento constante na sua obra, confirmando a relação entre o cinema e a psicanálise através da lente que recupera, revisita e transforma o passado. O cinema, e particularmente os seus filmes, foram uma fonte reparadora dos traumas do seu passado, das fantasias da sua infância, dos desejos não concretizados, permitindo a Fellini construir a sua nova realidade. A descoberta de Jung e os frutos de uma relação terapêutica, não assumida, com o terapeuta Jungiano, o Dr. Ernst Bernhard, é a base que caracteriza a segunda fase da carreira de Fellini, a fase barroca, caracterizado pelo excesso. Através das suas memórias, Fellini revisita o seu passado. No tempo presente, a imaginação e a criatividade de Fellini fervilham em busca de um retrato simbólico do passado. O futuro, é o espaço que Fellini reservou para a sedimentação de uma lenda em torno de sua pessoa, e apenas nos sonhos, é que Fellini reunia em simultâneo o passado, o presente e o futuro.
In this thesis I seek to understand the relationship between the life and work of the inimitable Italian director Federico Fellini. Of the carried out analysis of Fellini’s various films and interviews I highlight the certainty that for Fellini, his dreams are the most deep and truest reflex of his reality. The “oniric” universe is the channel that mediates the contact between the life and the work of the author. Fellini’s work reflects his life, and, through his dreams, his life feeds his work. The return to the past is a constant movement in his work corroborating the relation between cinema and psychoanalysis, through the lens that rehabilitates revisits and transforms the past. Cinema, and particularly his films, was a repairing source of the traumas of his past, the fantasies of his childhood and of his unfulfilled wishes, allowing Fellini to build his new reality. The discovery of Jung and the benefits of an unassumed therapeutic relationship with the Jungian therapist Dr. Ernest Bernhard is the basis that characterizes the second phase of Fellini’s career, the baroque phase, characterized by excess. Through his memories, Fellini revisits his past. In the present time, Fellini’s imagination and creativity simmer in search of a symbolic portrait of the past. The future is a place reserved by Fellini for the creation of a legend, his legend, and only in dreams did Fellini unite past, present and future.
Książki na temat "Jungle – Au cinéma"
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Mounier, Fabienne. La vie trépidante des Bolkodaz. Paris: L'École des loisirs, 2014.
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Gréville, Edmond T. Trente-cinq ans dans la jungle du cinéma. [Lyon]: Institut Lumière, 1995.
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Convegno internazionale di studi Nuovo cinema tedesco, storia, figure, eredità (2011 : Rome, Italy), red. Nuovo cinema tedesco: (Junger/neuer deutscher Film) : 17 studi. Roma: Edizioni Fondazione Ente dello spettacolo, 2014.
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Violle, Nicolas. Je(ux) d'enfants: Littérature et cinéma italiens du XXe siècle. Clermont-Ferrand: Presses universitaires Blaise Pascal, 2016.
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Bordwell, David. Film art: An introduction. Wyd. 3. New York: McGraw-Hill, 1990.
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Bordwell, David. Film art: An introduction. Wyd. 2. New York: Knopf, 1986.
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Bordwell, David. Film art: An introduction. New York: McGraw Hill, 2001.
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Bordwell, David. Film art: An introduction. Wyd. 2. New York: McGraw-Hill, 1985.
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Bordwell, David. Film art: An introduction. New York: McGraw-Hill Higher Education, 2009.
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Bordwell, David. Film art: An introduction. Wyd. 7. New York: McGraw-Hill, 2004.
Znajdź pełny tekst źródłaCzęści książek na temat "Jungle – Au cinéma"
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Melbye, David. "River/Jungle and Other Imperialist Allegories". W Landscape Allegory in Cinema, 123–38. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230109797_10.
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Izod, John. "Jung’s Analytical Psychology and the Cinema". W The Films of Nicolas Roeg, 1–12. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-11468-9_1.
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Porter, Laraine. "All Singing! All Talking! All British! Musical Moments in Early British Talkies 1929 to 1932". W When Music Takes Over in Film, 95–114. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_6.
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AbstractBritish silent cinema transformed to sound in June 1929, slightly ahead of Europe and a year or so behind Hollywood whose popular Al Jolson Musicals The Jazz Singer (1927) and The Singing Fool (1928) had taken British cinemas by storm. Alfred Hitchcock’s murder story (Blackmail, Alfred Hitchcock, UK) was Britain’s first official talkie and like the majority of films that followed in its wake, contained a pivotal musical moment. This article analyses the use of song and music in early British talkies as they sought to forge a new ‘talkie film language’ by combining dialogue, music and plot. It argues that these early musical moments deployed the dramatic potential of synchronised music at pivotal moments in the plot as well as using them to delineate gender and sexuality and signalling differences in class and culture through the representation of musical tastes, styles and motifs. In some cases, music freed the performers from the tyranny of early spoken dialogue, stilted scripts and primitive microphone technology. Importantly, musical interludes also created commercial opportunities from sales of the ‘song-from-the-film’, exploiting links between early talkies and the lucrative domestic gramophone and sheet music markets.
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Russell, Catherine. "Jungle Films / White Women". W The Cinema of Barbara Stanwyck, 111–21. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045042.003.0011.
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This chapter examines three of Stanwyck’s films set in colonial spaces in which, as the white woman, her presence troubles Imperial relations of power and subjugation. A Message to Garcia (1935) and Escape to Burma (1955) are both set in fake jungles. The western Trooper Hook (1959) is set in a very austere desert with an extensive use of process shots, constructing what Laura Mulvey calls a “clumsy sublime.” Drawing on Richard Dyer’s work on whiteness in Hollywood, the chapter argues that these three curious films foreground the dangerous currents of gender as they intersect with race in the discontinuous terrain of the Anthropocene.
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"From Blackboard Jungle to The Teahouse of the August Moon:". W Cinema under National Reconstruction, 45–81. Rutgers University Press, 2024. http://dx.doi.org/10.2307/jj.18654623.8.
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Weinstein, Valerie. "Chapter 8. Embracing the Off-White: Race and Sex in William Thiele’s Jungle Princess (1936)". W Enchanted by Cinema, 149–69. Berghahn Books, 2024. http://dx.doi.org/10.1515/9781805395386-012.
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"6. Drawing Pictures of Cats: National Cinema and Anime in Jungle Emperor Leo". W Cinema Is a Cat, 112–28. University of Hawaii Press, 2020. http://dx.doi.org/10.1515/9780824881344-008.
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"PHOTOGRAPHS, CINEMA, AND THE MAGAZINE HOME AND THE WORLD". W On This Modern Highway, Lost in the Jungle, 259–89. Karolinum Press, Charles University, 2022. http://dx.doi.org/10.2307/jj.5211775.26.
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Ingawanij, May Adadol, i Richard Lowell MacDonald. "Blissfully Whose? Jungle Pleasures, Ultra-modernist Cinema and the Cosmopolitan Thai Auteur". W The Ambiguous Allure of the West, 119–34. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789622091214.003.0006.
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De Groof, Matthias. "From Leopold III’s Masters of the Congo Jungle to Contemporary Congolese Eco-Cinema:". W Unfinished Histories, 337–58. Universitaire Pers Leuven, 2022. http://dx.doi.org/10.2307/j.ctv31djqxw.19.
Pełny tekst źródłaStreszczenia konferencji na temat "Jungle – Au cinéma"
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Uya, Yifan. "Vibração colaborativa: A jornada mítica de um menino de carvão". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.119.g190.
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A pesquisa tem como objetivo examinar o conceito de mito das perspectivas psicológicas e estruturais de Carl Jung e Lévi-Strauss, com as reflexões filosóficas de Maurice Merleau-Ponty e Martin Heidegger sobre a fenomenologia e discussões em torno do conceito ocidental da luz simbólica e críticas à postura instrumentalista da tecnologia. A pesquisa argumenta que a criação de mitos é uma forma necessária de tecnologia social, que pode transformar a experiência em valores altruístas a serem realizados no futuro, movidos pelo poder saciável da sabedoria e do conhecimento. Para desenvolver ainda mais essa tecnologia. A pesquisa visita a xamanologia e a fórmula mítica canônica de Lévi-Strauss a respeito da discussão que falta sobre a experiência psicológica e a comunidade. Do ponto de vista do profissional, a pesquisa também desafia a crise epistemológica do dualismo, buscando uma compreensão sistêmica do mito e da criação de mitos, usando os mais recentes métodos aplicados de gestão organizacional sustentável de Joseph M. Coll. A revisão contextual eventualmente levanta a hipótese de uma nova metodologia para a criação de mitos contemporânea, a bricolagem taoísta com um enfoque técnico específico na produção cinematográfica ensaísta. Este projeto conduzido pela prática implica uma jornada de metáforas e significantes relativos à minha história pessoal e experiência. Como um imigrante de primeira geração da Nova Zelândia, originalmente nascido em uma pequena cidade de mineração de carvão no Leste da Mongólia Interior, China, meu autoposicionamento é essencial para o processo de construção de mitos. Com pensamento sistêmico e uma metodologia hipotética, a pesquisa avalia a produção cinematográfica como uma organização de crescimento orgânico, que conta com múltiplas restrições criativas, e fluxos de trabalho algorítmicos, que servem ao estabelecimento estrutural das unidades míticas básicas necessárias. Pragmaticamente, a pesquisa estuda profissionais do cinema como Chris Marker e Adam Curtis e músicos como Elysia Crampton Chuquimia e Howie Lee para explorar criativamente as questões técnicas e teóricas do cinema ensaísta, reexaminando a História e a experiência de uma maneira socialmente consciente. Dando as boas-vindas à minha origem da cultura manchu e chinesa da Mongólia Interior e à complexidade da minha infância, a prática de design se concentrará no processo de crescimento de uma narrativa mitopoética contemporânea específica. Isto leva para um xamã briquete e um deus renascido nas costas de Bixi 赑 赑, um dragão-tartaruga que gosta de nadar no meio do nada, enquanto carrega montanhas nas costas. Este mito pessoal observa e resolve conscientemente o self no cenário da crise do Antropoceno. As representações e os conceitos são encorajados a crescer e se transformar em novas descobertas e autorrealizações, como um processo interno de aprendizagem que ajuda o self e o público a chegar mais perto da voz do inconsciente e das respostas emocionais. Em última análise, a pesquisa capitaliza conceitos contemporâneos para promover a sabedoria da autoaceitação como paz interior. O objetivo é revelar o Tao do mito e da criação de mitos como uma resposta tecnológica para resolver o apelo de David Attenborough por mudanças de paradigma global em seu livro “Uma Vida no Nosso Planeta”.
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Orlandi, Maurizio. "Protezione della sovranità economica e misure anti-sovvenzione – verso l’introduzione di dazi compensativi nei confronti delle autovetture elettriche cinesi". W nternational scientific thematic conference From national sovereignty to negotiation sovereignty "Days of Law Rolando Quadri", Belgrade, 14 June 2024, 105–17. Institute of Comparative Law : University "Niccolò Cusano", 2024. http://dx.doi.org/10.56461/zr_24.fnstns.08.
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L’intervento illustra come la rapida transizione verso il trasporto elettrico che l’Europa sta compiendo in questi anni rappresenti una scelta politica attuata secondo modalità e tempi non proprio condivisibili e piena di insidie. Molte di tali insidie derivano dalle sovvenzioni massicciamente erogate dalla Cina le quali hanno generato una sovracapacità produttiva capace di distorcere i tradizionali flussi commerciali con l’Occidente ed alle quali l’UE sta rispondendo attraverso l’introduzione di dazi compensativi.