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1
Marcotte, René. "Politique commerciale Américaine et délégation législative, 1920-1993." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25457/25457.pdf.
Повний текст джерела
2
Amaral, Ignez Teixeira Gurgel do. "As varias faces de Cabiria." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253185.
Повний текст джерелаАнотація:
Orientador: Carlos Eduardo Albuquerque MirandaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Construção através de alegorias, cenas e imagens, dos diversos e possíveis caminhos percorridos por Cabiria, de Federico Fellini. As várias faces da prostituta Cabiria sendo desvelada num universo metafórico, literário, imaginário e fantástico através de memórias e lembranças que compõem as impressões do personagem-narrador
Abstract: Construction among allegories, scenes and images of the diverse and possible ways walked by Cabiria, by Federico Fellini. The several faces of the prostitute Cabiria being revealed in a metaphoric world as well as literary, imaginary and fantastic through memories and recollections which compose the impressions of this character-narrator
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
3
Eades, Caroline. ""Fellini-Satyricon"." Paris 3, 1986. http://www.theses.fr/1987PA030125.
Повний текст джерелаАнотація:
Le film de federico fellini, fellini-satyricon (italie, 1969), est le fruit d'influences litteraires, historiques et cinematographiques, tant sur le plan stylistique qu'au niveau de la narration. L'influence la plus notable est celle du roman de petrone, le satiricon, qui daterait du regne de neron et a fourni au film ses personnages principaux, la moitie de ses sequences et une grande partie de sa structure; les musees de naples et de rome, les sites de pompei et d'herculanum, les reconstitutions historiques de jerome carcopino ont contribue a l'elaboration des decors et des costumes. Le film de fellini s'inscrit aussi dans le contexte contemporain d'un genre - le peplum -, d'une pensee de type formaliste - les archetypes jungiens- et des conceptions esthetiques des annees soixanteFederico fellini's film, fellini-satyricon (italy, 1969), its the result of several literary, historical and cinematographic influences at the level of stylistics as well as in the narrative structure. The major influence comes from petronius' novel, the satiricon, which dates from nero's reign and provided the film with its main characters, half of its scenes and a major part of its structure; rome and naples museums, the sites of pompei and herculanum, jerome carcopino's historical reconstitutions also contributed to the conception of sets and costumes. Moreover fellini's film is to be viewed in the context of a genre - the peplum -, of a formalist style of analysis - the jungian archetypes - and of the aesthetics of the sixties
4
Costa, Fabienne. "Le corps sous influences dans l'oeuvre de Federico Fellini." Paris 3, 2000. http://www.theses.fr/2000PA030149.
Повний текст джерелаАнотація:
L'esthetique du spectaculaire est d'ordinaire associee a l'oeuvre de fellini. Cette perspective conduit a determiner une categorie du corps dit << fellinien >>, essentiellement definie par les formes abondantes des acteurs. Un autre corps, plus discret mais nullement secondaire, traverse pourtant les films du cineaste italien. Saisi par le film qui ne se contente pas de le camper en personnage, il depasse la chair des acteurs, leur simple apparence qui compte moins que l'ensemble des relations dans lequel il est pris. Il montre sa capacite de diffusion, excede ses propres contours et devient alors un pur effet. Subtilement modele par le film, perpetuellement sous influences, il ne se manifeste pas dans sa seule representation et parvient a << faire presence >>. Le corps, dans l'oeuvre de fellini, a lieu au-dela des phenomenes visibles et sonores qui le fondent. Il ne peut etre definitivement localise. Il est le travail d'une limite toujours repoussee et se constitue dans la transformation. En revanche, il est possible de voir dans quel mouvement il s'implique en soulignant la reprise de certains elements fondateurs. Ambigu et paradoxal, constamment decale, il est issu d'un rythme expansif et contracte ; tensions contraires qui absorbent son actualite dans l'image et le conduisent a se soustraire du film et, a la fois, a s'y perdre. Cette etude cherche a rendre sensible ce corps a travers l'analyse detaillee de passages precis de l'oeuvre de fellini, des notti di cabiria (1957) a intervista (1987). Elle releve ses zones d'echanges, ses ecarts avec son environnement filmique quifaconnent son mode d'existence. Elle s'attache a definir sa multiplicite en suivant notamment ses << devenirs >> et ses variations a travers le temps du film.
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Souza, Christiane Pereira de. "A construção em abismo como construção critica em 8 1/2 de Fellini." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284876.
Повний текст джерелаАнотація:
Orientador : Roberto Berton de AngeloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Mestrado
6
Méjean, Jean-Max. "Fellini-Cinéma, une approche analytique de l'oeuvre de Federico Fellini." Paris 7, 1992. http://www.theses.fr/1992PA070076.
Повний текст джерелаАнотація:
Cette etude tente de pratiquer une analyse psychanalytique de l'ensemble de l'oeuvre de fellini, sur le plan de la psychanalyse jungienne. Une sorte d'itineraire tenant compte de l'aspect labyrinthique du cinema de fellini. Quelques films sont analyses de facon sequentielle, d'autres ont ete abordes de facon plus generale mais avec une insistance toute particuliere sur certains plans. L'etude comporte en outre des analyses de photgrammes comme tentative d'approche de l'image afin de denoter les aspects essentiels du double, de l'androgynie, du masque et de la femme que le heros fellinien recherche vainement. Sur une totalite de 24 films, cette these comprend aussi des entretiens avec des personnes ayant travaille avec fellini et se conclut sur l'apport de la synchronicite jungienne sur l'ensemble de l'oeuvre, une oeuvre magistrale qui laisse une grande place a la fantasmagorie et a l'humanismeThis study attempts to give a psychoanalytic analysis of the whole of fellini's work, related to the jungian psychoanalysis. A sort of itinerary relevant of the labyrinthic aspect of fellini's art. Some films are analyzed on a sequencial mode, others have been approached on a general mode but with a more particular insistance on some sequences. This study also includes an analysis of some photograms like an attempt to an approach of the image in fellini's work in order to explore some essential aspects : the doudle, the androgyny, the mask and the ideal woman that the fellinian hero vainly seeks. Out of a total of twenty four films, this thesis also contains thirteen interviews of people who have collaborated with fellini and concludes on the contribution of the jungian synchronicity in the whole of fellini's films, a master-work which gives a great place to fantasmagory and humanism
7
Diana, Jean-François. "L'image mentale au cinéma : un regard particulier sur certaines oeuvres de Frederico Fellini." Metz, 1995. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1995/Diana.Jean_Francois.LMZ9509_1.pdf.
Повний текст джерелаАнотація:
Le but de cette thèse est tout d'abord d'élaborer les éléments d'une théorie générale de l'image mentale au cinéma à partir d'oeuvres majeures issues de l'histoire du cinéma et plus précisément de certains films de Frederico Fellini, principalement Huit et Demi (1963) et Juliette des esprits (1965). La première partie se consacre aux paramètres d'une représentation spécifique en étudiant d'une part, les éléments du contenu d'univers mentaux cinématographiques (spatialité diégétique et mentalisée, temporalité diégétique et mentalisée, actorialité diégétique et mentalisée) et d'autre part, en s'intéressant aux stratégies d'expression (matières de l'expression et procédés d'écriture) et à quelques figures filmiques mobilisées (fondu-enchaïné, surimpression, travelling subjectif et modalisé, panoramique subjectif et modalisé, image subjective). L'objectif de la première partie est donc de mettre en évidence la complexité multidimensionnelle que réclame l'image mentale cinématographique. Pour ce faire une approche du synchrétisme au cinéma est proposée. La seconde partie s'inscrit dans une perspective narratologique et se soucie de préciser la place que l'image mentale cinématographique offre à tout type d'observateur. En reprenant la hiérarchie des instances du film (méga-narrateur, narrateurs implicite et explicite), l'étude se préoccupe ainsi des relations entre le voir et le vu, le voir et le sa voir mobilisées par les différents niveaux de récits. En construisant la figure d'une instance intermédiaire nommée tiers observateur, la progression théorique souhaite élaborer une réflexion sur l'affichage d'une dimension subjective de l'énonciation au cinémaThe aim of this thesis is, first of all, to work out elements for an overall theory about the film mental image, from main works in the history of the cinema, precisely from some films by Frederico Fellini, and most of all from Otto e mezzo (1963) and Giuletta degli spiriti (1965). The first part deals with the parameters of a specific representation, firstly by studying the elements included in the contents of film mental universes (diegetic and mentalized spatiality, diegetic and mentalized temporality, diegetic and mentalized actoriality), and secondly by tackling the expression strategies (expression purports and writing devices) along with the used filmic figures (fade over, exposure, subjective image). The overall purpose of this first part is therefore to hightlight the multidimensional complexity of the film mental image ; to this end, an approach to the syncretism is exposed. The second part refers to the narratology and tries to settle the status conferred by the cinematographic mental image to every type of observer. By mentionning the filmic instances hierarchy (mega-narrator, implicit and explicit narrators), the study is thus devoted to the links between, on the one hand, the seeing and the beeing seen, and, on the the other hand, the seeing and the seeing oneself ; these links are taken into account in the different narrative levels. Building up the figure of an intermediate instance called third observer, the theorical progression of this thesis is to work out an issue over a subjective approach to the cinematic enunciation
8
Gallico, Vittoriano. "L'influenza di Federico Fellini e di Martin Scorsese sull'opera di Paolo Sorrentino." Thesis, Nantes, 2020. http://www.theses.fr/2020NANT2005.
Повний текст джерелаАнотація:
Paolo Sorrentino est un réalisateur et écrivain italien contemporain, né à Naples en 1970. Dès son premier longmétrage, intitulé L’uomo in piu (2001), nous relevons un intérêt critique régulier vis-à-vis de ses oeuvres cinématographiques et, par la suite, littéraires. Les prix récemment décernés à l’auteur napolitain, notamment pour La grande bellezza (2013), n’ont fait qu’accroître la curiosité des commentateurs. Comptant autant d’admirateurs que de détracteurs chez les critiques journalistiques, Sorrentino est aujourd’hui l’un des auteurs cinématographiques les plus célèbres d’Italie, ainsi que l’un des réalisateurs italiens les plus connus à l’international. Sa notoriété auprès du grand public s’est sans doute accrue dernièrement, grâce aux deux séries télévisées qu’il a lui-même réalisées : The young pope (2016) et The new pope (2020). Lors du discours qu’il adressa à l’académie des Oscars après avoir remporté le prix du meilleur film étranger en 2014, Sorrentino cita et remercia ses sources d’inspiration cinématographiques : Federico Fellini et Martin Scorsese. C’est à partir de la volonté du plus jeune réalisateur d’inscrire ses oeuvres dans le sillage des deux mentors que nous avons élaboré une étude sur les influences de Fellini et de Scorsese sur Sorrentino. Dans notre travail nous nous sommes concentré sur les traits distinctifs du cinéma et de la littérature de Sorrentino. Parallèlement, nous avons identifié des affinités et des dissonances avec les oeuvres de Fellini et de ScorsesePaolo Sorrentino is an Italian filmmaker and writer, born in Naples in 1970. Ever since his first feature (L’uomo in piu, 2001), reviewers have been showing a growing interest in Sorrentino’s work. Recently, some award-winning films, such as La grande bellezza (2013) increased spectators’ curiosity and led to various scientific articles. Having as many detractors as admirers, Sorrentino is one of the main Italian filmmakers nowadays, and one of the most famous Italian filmmakers in the world. Recently released TV shows The young pope (2016) and The new pope (2020) contributed to build his international success. They also turned out to be interesting subjects for critics to work on. When winning Best Foreigner Film Academy Award in 2014, Sorrentino thanked his sources of inspiration: Federico Fellini and Martin Scorsese. Therefore, in the following research, we have studied the influences of the two mentors on Sorrentino’s films and novels. We have focused our attention on Sorrentino’s distinctive cinematographic and literary particularities and, at the same time, pointed out similitudes and dissimilarities with Fellini and Scorsese
9
Cunha, Renato José Pinto da. "Fellinimaginário : por uma teoria imaginativa do cinema." reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/34178.
Повний текст джерелаАнотація:
Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-graduação em Comunicação, 2018.Por meio da identificação na cinematografia de Federico Fellini de quatro categorias estéticas não canônicas — o onírico, o mnêmico, o espetacular e o utópico —, aqui tratadas como categorias estéticas imaginativas, esta tese propõe uma teoria felliniana imaginativa do cinema, que também se revela representativa para se pensar outras cinematografias. E isso se dá pelo desenvolvimento da ideia de imaginidades, ou ciências imaginativas, como o lugar de conhecimento das artes em geral, e pela percepção de que, no âmbito das imaginidades, teoria e estética se complementam e se confundem, e pela proposição das bases do que se entende por teoria imaginativa do cinema, e pela demonstração de que tais categorias estéticas imaginativas são compostas por conceitos visuais, ou mais especificamente por aquilo que o filósofo Julio Cabrera estruturou como conceitos-imagem.
Through the identification in Federico Fellini’s cinematography of four non-canonical aesthetic categories — the oneiric, the mnemic, the spectacular and the utopic —, here understood as imaginative aesthetic categories, this thesis proposes an Fellini’s imaginative theory of cinema, that also reveals itself representative to think about other cinematographies. And this is due to the development of the idea of imaginities, or imaginative sciences, as the place of knowledge of the arts in general, and to the perception that, in the framework of the imaginities, theory and aesthetics are complemented and confused, and to the proposition of the bases of what is meant by the imaginative theory of cinema, and to the demonstration that such imaginative aesthetic categories are composed of visual concepts, or more specifically by what the philosopher Julio Cabrera structured like concept-images.
Attraverso l’identificazione nella cinematografia di Federico Fellini di quattro categorie estetiche non canoniche — l’onirico, il mnemonico, lo spettacolare e l’utopico —, qui trattate come categorie estetiche immaginative, questa tesi propone una teoria felliniana immaginativa del cinema, che si dimostra anche rappresentativa per pensare ad altre cinema-tografie. E ciò si verifica per lo sviluppo dell’idea di immaginistica, o scienze immaginative, come il luogo di conoscenza delle arti in generale, e per la percezione che, nell’ambito dell’immaginistica, teoria ed estetica si completano e si confondono, e per la proposizione delle basi di quello che si intende per teoria immaginativa del cinema, e per la dimostra-zione che tali categorie estetiche immaginative sono composte da concetti visivi, o più precisamente da quello che il filosofo Julio Cabrera ha strutturato come concetti-immagine.
10
Mendes, Euclides Santos 1980. "Cristais de tempo : o neorrealismo italiano e Fellini." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284506.
Повний текст джерелаАнотація:
Orientador: Francisco Elinaldo TeixeiraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O cineasta italiano Federico Fellini aprendeu o ofício de roteirista nos anos 1940, enquanto colaborava em filmes neorrealistas, e o manteve ao longo da sua vida. Consagrou-se internacionalmente como diretor no início dos anos 1960, ao transformar seu primevo olhar de matriz neorrealista numa reelaboração realístico-subjetiva. Fellini, por meio do neorrealismo, levou a imagem puramente ótica e sonora para além do neorrealismo, moldando-a, segundo o filósofo Gilles Deleuze, como um cristal de tempo
Abstract: The Italian filmmaker Federico Fellini learned the art of screenwriting in the 1940s, while collaborating in neorealistic movies, and mantained it throughout his life. He established himself internationally as a director in the early 1960s, when he transformed his primal neorealist matrix approach into a subjective-realistic reelaboration. Through neorealism Fellini took the pure optical-sound image beyond the neorealism, shaping it as a crystal of time, according to the philosopher Gilles Deleuze
Doutorado
Multimeios
Doutor em Multimeios
11
Deaca, Mircea-Valeriu. "Carnavalesque de second degré dans l'oeuvre de Federico Fellini." Paris 3, 1995. http://www.theses.fr/1995PA030123.
Повний текст джерелаАнотація:
Il s'agit d'une etude sur les sources carnavalesques des motifs cinematographiques des films de fellini. Le carnaval auquel on fait reference est lu a travers les travaux de m. Bakhtine et c. Gaignebet. On a dressee une liste des unites symboliques qui sont derivees de la tradition de carnaval et on a analyse, a chaque occurrence dans le discours cinematographique fellinien - sur un corpus de vingt-cinq films - la mise en discours specifique, les variantes de chaque motif, la signification conventionnelle de l'element et sa transformation dans l'oeuvre du cineaste italien. Le travail est ordonne en chapitres traitant les themes du carnaval. Chaque chapitre est divise en sous chapitres traitant des motifs et des figures du film de fellini. L'approche methodologique est semio-cognitive. Les phenomenes de carnaval cites sont reunis en fonction d'un "air de famille" commun. Le concept de carnaval est concu sous une acception elargie et comprend non seulement des phenomenes canoniques, mais aussi des cas atypiqsues comme l'imaginaire alchimique. Au niveau narratif on a decele la presence d'un schema commun a plusieurs films ou sequences : un scenario d'initiation (qui contient la mort rituelle, le voyage dans un au-dela et la resurrection). Ce scenario se manifeste comme farce et, dans les cas typiques, a lieu sous le signe d'un "principe feminin"The research is a study of the carnivalesque sources of federico fellini's cinematographic motifs. The concept of carnival is conceived essentially through the works of m. Bakhtin and c. Gaignebet. We analysed - on a corpus of twenty five films the motifs issued from carnivalesque tradition and commented upon their specific transformation during the process of integration in fellini's cinematographic discourse. The methodology used is semio-cognitive. We have considered that at a narrative level there is a common schema to many films and sequences. In is an initiation scenario which in several typical cases manifests itself as an carnivalesque farce activated under the guidance of a feminine principle
12
Nuti, Laura. "La ricezione di Federico Fellini in Francia." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20021.
Повний текст джерелаАнотація:
La thèse vise à faire le point sur la réception (critique et publique) de Fellini en France sur la plus grande partie de sa carrière de réalisateur 1953-1993. À travers l’étude d’un large choix des témoignages et documents on souhaite montrer une différence significative entre l’Italie et la France, et se questionner sur les causes qui la déterminent. Une certaine mythologie (Barthes) se dégage de cette première analyse qui demande à être identifiée, questionnée, mise en perspective dans une étude transtextuelle qui sera le centre de la deuxième partie de la thèseIn this thesis, I’ll provide a brief overview on the major turning points of the critical response to Fellini’s films in the 20th century French press (especially in Cahiers du cinéma and Positif). To this end, starting from I Vitelloni – the first Fellini’s film to be released in French theatres – up to The Voice of the Moon – Fellini’s last movie –, I’ll follow the critical debate on Fellini’s films, with particular reference to issues concerning dramatic structure and neo-realism. Within this context, I’ll highlight how Cahiers changed its critical response to Fellini’s work throughout the years, from his exclusion from the “auteurs’ elite group” to his final inclusion. This work also contains references to Nouvelle Vague, Roland Barthes, George Simenon and Gilles Deleuze
13
Sibra, Sylvie. "Federico Fellini et la lumière : poïétique du monde sensible pour une lumière qui s'offre à voir et à écouter." Toulouse 2, 2008. http://www.theses.fr/2008TOU20012.
Повний текст джерелаАнотація:
Ce travail de recherche est une quête exploratoire de la lumière dans l’oeuvre du cinéaste Federico Fellini (1920-1993). Nous y découvrirons d’immenses paysages éclairés par une foi profonde en la création. Cette étude se veut d’apporter des éclaircissements par touches successives sur la singularité de l’homme et sur ses réalisations à travers l’étude d’une lumière qui se donne à voir et à écouter. Des écrits qui cherchent à démontrer dans l’intimité, la vitalité et la poésie des images, la nature génératrice de ce créateur hors-norme au grand coeur mais aussi la communion des êtres lors d’instants de véritables grâces qui marquent l’image du sceau de l’éternité. Un cinéaste qui a eu le courage et l’audace de nous dévoiler, de nous révéler subtilement sa réalité intérieure et extérieure du monde, de la société, de l’homme, par la lumière. Une lumière qui fait des moments les plus invraisemblables les moments les plus crédibles, les plus réels, les plus touchants du cinéma. Une lumière qui plonge le regard dans les profondeurs de l’innocence et ainsi mettre à nu l’homme devant le monde. Une thèse vécue comme une expérience s’interrogeant sur cette lumière fellinienne qui a marqué le temps et non une époque ou un siècleThis research is an exploratory pursuit of light in the work of the renowned film-maker Federico Fellini (1920-1993). We’ll discover huge enlightened sceneries that witness to fellini’s very deep creative soul. This study aims gradually to bring some clarifications about the peculiarities of this man and his productions, through the study of light, that meets our eyes and even our ears! Fellini’s Writings, not only, show the strength and the poetry of the images, the generative nature of this exceptional great-hearted creator; but also, the absolute moments of grace released from human interaction. That marks fellini’s print for eternity. Fellini is one of the film-maker who succeeded to reveal boldly but subtly the interior and the exterior reality of men, of society and of the whole world that surrounds us, through the light. A light which makes the most improbable, credible and the most touching moments of the cinema. This light looks at the heart of innocence and thus, makes human beings face the world. This thesis is lived as an experience that’s wondering about the fellinien’s light that has marked the times and not only an era or a century
14
Meunier, Emmanuelle. "Des plaisirs des sens au plaisir des sens : la réécriture cinématographique du mythe littéraire de Giacomo Casanova à travers la genèse du "Casanova de Fellini"." Paris 8, 2008. http://www.theses.fr/2008PA082966.
Повний текст джерелаАнотація:
Des rapports conflictuels qui opposent le réalisateur Federico Fellini et l'aventurier des lumières Giacomo Casanova est né un film, "Le Casanova de Fellini" (1976), réécriture cinématographique de l'"Histoire de ma vie", autobiographie de Giacomo Casanova. Le mythe littéraire de Casanova semble s'être essentiellement construit à travers une réduction de son personnage : d'un épicurien désireux de jouir de ses cinq sens, il est peu à peu devenu un simple séducteur, préoccupé du seul plaisir des sens, du seul vertige charnel. Fellini affronte le mythe casanovien selon différentes modalités, qui varient au fil de la genèse accidentée du projet et au gré des sources d'inspiration qui le guide. Si à l'origine, le personnage historique de Casanova pointe derrière le mythe, les différentes réécritures scénaristiques témoignent d'une emprise progressive du mythe, que Fellini porte ensuite à ses extrêmes lors du tournage. Les étapes de la post-production du film lui permettent enfin de transformer ce "sur-mythe" en type même de l'italien, immature et superficiel. Cette réécriture cinématographique du mythe casanovien est parallèlement guidée par les différents ouvrages consultés par le réalisateur durant la préparation de l'œuvre : si la biographie historique de James Rives Childs lui inspire un retour aux sources de la légende casanovienne, les "Mémoires", réécriture de l'"Histoire de ma vie" par Jean Laforgue, l'entraîne vers une mythisation de plus en plus frappante du personnage. Enfin, à travers "Casanova ou la dissipation", essai de Robert Abirached, Fellini retrouve le type de l'homme baroque, forme parfaite mais vide, qui lui souffle le caractère définitif de son propre Casanova"Fellini's Casanova" (1976), a cinematographic rewriting of Giacomo Casanova's autobiography, "Story of my Life", is born from the conflictual relationships between the Italian director Federico Fellini and the Enlightments adventurier Giacomo Casanova. Casanova's letterary myth seems to be essentially built on a reduction of his character: originally, he was an epicurian, who only wanted to enjoy his five senses, and now, he has become a simple seducer, who only seeks the sheer pleasure of the senses. Fellini has faced casanovian myth according several modalities, which has changes along the complex genesis of the project and has depended the inspiration sources which guide him. Originally, the historical character won against the myth. Then, the different scenaristic rewritings showed a gradual influence of the myth, which Fellini proceeds after to its extremes during the filming. The postproduction of the film finally allowed him to transform this "sur-mythe" in the type of the Italian, immature and superficial. In a similar way, this rewriting of the casanovian myth has been guided by the different works consulted by the director during the preparation of his work: if James Rives Childs' historical biography suggested him a return to the roots of the casanovian legend, the Mémoires, rewriting the Story of my Life by Jean Laforgue, guided him to an striking and growing mythisation of the character. Finally, through Casanova ou la dissipation, a Robert Abirached essay, Fellini found the type of the perfect but empty baroque man, which perfectly looks like his own Casanova
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Pernot, Hervé. "L'organisation du réel dans les films de Frederico Fellini." Paris 1, 2002. http://www.theses.fr/2002PA010532.
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Fellini ou l'imagination à la barre! Grand chef d'orchestre du fantasme, de la fantaisie, des extravagances! Créateur de personnages monstrueux, de situations aberrantes, de scènes somptueuses, de tableaux étonnants, d'ambiances merveilleuses ! Tout cela est vrai, mais Fellini est en même temps un témoin, un observateur, un chroniqueur de son temps. Dans ses films, on retrouve successivement l'Italie depuis les années 1950 jusqu'en 1980. Ses fantasmes sont inscrits dans une culture, un espace, un temps. Ce ne sont pas des fantasmagories sans rapport avec l'histoire et l'évolution de la société. Il s'agit d'images en étroite relation avec l'imagerie d'une époque. Et la façon dont elles sont mises en scène révèle la réalité des moyens techniques et cinématographiques du moment de leur production. Ainsi, I'oeuvre de Federico Fellini constitue une réalité artistique qui se nourrit des réalités que le cinéaste a côtoyées au cours de sa vie: rapports humains dans le cadre de la famille et de la société italiennes en pleine transformation de 1920 à 1993, événements historiques, l'évolution des mentalités, des modes, des techniques.
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Melo, Anderson. "Poesia e movimento no cinema de Federico Fellini : ensaio sobre arte, mídia e espetáculo." reponame:Repositório Institucional da UnB, 2010. http://repositorio.unb.br/handle/10482/13746.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2010.Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-07-24T15:09:35Z No. of bitstreams: 1 2010_AndersonMelo (2).pdf: 726884 bytes, checksum: 89acc09c5b0c0d0a2ab9171b6305bb2d (MD5)
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O presente trabalho aborda a poesia do cinema do diretor italiano Federico Fellini como elogio da superficialidade , de modo a discutir e demonstrar como sua obra, predominantemente dissonante, se vale da materialidade e das linhas de força dos dispositivos midiáticos do espetáculo para construir um movimento de carnavalização do mundo, reprogramando os dispositivos do sistema de produção industrial que a viabilizam. Buscamos demonstrar, por um caminho diferente da análise fílmica, que a potência do cinema de Fellini não está na clássica abordagem formalista hermenêutica, mas na perspectiva da crítica cultural contemporânea que enfatiza a performance em contraponto à mímese, discutindo potência em vez de poder, singularidade em vez de identidade. A poesia cinematográfica de Fellini celebra a vida como campo de imanência cujas linhas de forças estão abertas para o devir. _______________________________________________________________________________________ ABSTRACT
This present research addresses the poetry of cinema Italian director Federico Fellini as praise of superficiality, to discuss and demonstrate how his artwork takes advantage of materiality of media devices of the spectacle to build a movement of carnivalization the world, causing the reprogramation of devices of the industrial production system that enable it. We seek to demonstrate, through a different path of film analysis, that the power of Fellini´s cinema is not in classic formalist approach or hermeneutics, but from the perspective of contemporary cultural criticism that emphasizes performance in contrast to mimesis, arguing potential rather than power, the uniqueness rather than identity. The Fellini's cinematic poetry celebrates life as a field of immanence whose lines force are open to becoming.
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Roh, Chul-Hwan. "Le film sur le film, une nouvelle approche analytique : son application à 2 films majeurs : "La nuit américaine" de François Truffaut et "Huit et demi" de Federico Fellini." Paris 8, 2013. http://octaviana.fr/document/181613077#?c=0&m=0&s=0&cv=0.
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La caméra est l’être invisible qui crée l’être visible. Elle est non seulement le représentant du regard du réalisateur mais aussi un voyeur, comme le spectateur en quelque sorte. Nous pouvons étudier la caméra invisible, parce que nous pouvons savoir comment le réalisateur l’a utilisée grâce aux images montrées dans le film. Pour l’analyse, nous choisissons trois éléments particuliers, le mouvement, la distance et l’angle que l’on peut trouver clairement dans le film pour révéler cette caméra. « Comment le réalisateur exprime-t-il son intention par la caméra ? » Notre hypothèse relie l’intention du réalisateur et l’utilisation de la caméra. Nous analysons deux films : "La Nuit américaine" de François Truffaut et "Huit et demi" de Federico Fellini. Ils sont leur premier film sur le film. Nous définissons les films qui possèdent les caractéristiques suivantes en tant que « film sur le film » : un film de fiction, un film réalisé par l’« auteur », le traitement du processus de production du film, la présentation du film dans le film et l’existence du personnage réflexif du réalisateur. Pour introduire et affermir cette approche, nous analysons également "Le Mépris" de Jean-Luc Godard comme troisième film étudié dans l’introduction et la conclusion de l’étude. Cette étude se déroule en trois étapes. D’abord, c’est la division des univers intérieurs du film liés à la narration. La deuxième étape est la statistique sur l’utilisation de la caméra dans tous les plans du film. En dernier lieu, nous interprétons ces statistiques en les comparant à la division des univers intérieurs. Dans cette étape, nous voulons révéler l’intention du réalisateur dans sa réalisation du filmThe camera is the invisible which creates the visible. It is not only the representative of the director’s gaze but also a voyeur, similar to the audience in some way. We can study this invisible camera because we know how the director has used it through the images shown in the film. For analysis, we choose three items - movement, distance and angle - that can be found clearly in the film to reveal the camera. “How does the director express his intention by the camera?” Our hypothesis links the director’s intention and the application of the camera. We analyze two films : "Day for Night" by François Truffaut and "8 1/2" by Federico Fellini. These are their first film on film. We define the films that have the following characteristics as the ‘film on film’ : a fiction film, a film directed by the ‘auteur’, treatment of the process of the film production, presentation of the film in film, and the existence of director’s reflexive character. To introduce and strengthen this approach, we also analyze "Contempt" by Jean-Luc Godard as the third film to analyse in the introduction and the conclusion of the study. This study proceeds in three steps. The first step is the division of the interior world of the film related to the narrative. The second step is the statistics on the use of the camera in every shot of the film. Finally, we interpret these statistics in comparison to the division of the interior world. In this step, we want to reveal the director’s intention in his making of the film
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Santos, Katia Peixoto dos. "O circo eletrônico em Fellini." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5204.
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Previous issue date: 2009-05-11Secretaria da Educação do Estado de São Paulo
The study starts from the Luis Renato Martins premise, which, in his book Conflito e interpretações em Fellini (1994), he countered the autobiographical cinema vogue for Fellini s work and established in its place, a more relevant and interesting trend for readings and filmic analysis, e.g.: the parody as critical weapon, the discussion of the mass culture, the fascism and its historical matrix. Getting away of the neo-realistic filmmakers, Fellini tells about the Italian s social reality throw popular shows. The artists assume a role of mediator of Fellini s critic and, from them, establish a contradiction: the arising industrial world in conflict with the Italian identity previously established. Accordingly, the construction of a more structured analysis is where this work goes, considering Fellini s filmic organization issue which converges circus, theater, television and cinema, documentary and fiction creating an intriguing audiovisual possibility provided by television language insertion in the clownish and cinematographic work of Fellini. The exogenous factor, linked with the north american influence, gets hold of the cultural italian ground, changing it. Fellini portrays the encounter between the world of the spectacle and the cinema with televisable media, which, in the path of technological development, planted root in Italian ground. Between losses and damage, the films emphasize the constant movement and adaptation of the spectacles, of the cinematographic language and the own Fellini s style forefront a new differential. Considering those implications, the study focus in the importance of the Fellini s filmic route to defend the hypothesis of the restructure of his language from the advent of TV as a means of mass communication, fact shown in his first movie realized for TV, Block Notes di un Regista (1969). In order of arguing this hypothesis, was made necessary considering and analyzing another Fellini s movies realized for TV: I Clowns (1970) e Prova d orquestra (1978). Another three movies made for cinema, nevertheless with televisable thematic, Ginger e Fred (1985), Intervista (1987), La Voce della Luna (1989), also was elucidated and evaluated. Therefore could have seen that Fellini s filmic aesthetics came from the popular spectacles to gain television in its languages and purposes, converging documentary and fiction, television and cinema
O estudo parte da premissa de Luis Renato Martins, na qual, em seu livro Conflito e interpretações em Fellini (1994), se contrapõe a voga de cinema autobiográfico para a obra de Fellini estabelecendo no lugar, vertentes mais interessantes e pertinentes às leituras e análises fílmicas, como por exemplo: a paródia como arma crítica, a discussão da cultura de massa, o fascismo e suas matrizes históricas. Afastando-se dos cineastas neo-realistas, Fellini conta sobre a realidade social italiana via espetáculos populares. Os artistas assumem o papel de mediadores da crítica felliniana e, a partir deles, estabelece-se uma oposição: o crescente mundo industrial em conflito com a identidade italiana anteriormente estabelecida. Nesse sentido, de construção de uma análise mais fundamentada, é que esse trabalho se envereda, considerando a questão da estruturação fílmica felliniana que converge circo, teatro, televisão e cinema, documentário e ficção criando uma intrigante possibilidade audiovisual proporcionada pela inserção da linguagem televisiva na obra clowesca e cinematográfica de Fellini. O fator exógeno, ligado à marcada influência norte-americana, se apossa do terreno cultural italiano, transformando-o. Fellini retrata o encontro do mundo dos espetáculos e do cinema com a mídia televisiva que, na esteira do desenvolvimento tecnológico, fincou raízes em solo italiano. Entre perdas e danos, os filmes ressaltam o constante movimento e adaptação dos espetáculos, da linguagem cinematográfica e do próprio estilo felliniano frente ao novo referencial. Considerando essas imbricações, o estudo privilegia a importância do percurso fílmico felliniano para defender a hipótese da reestruturação de sua linguagem a partir do advento da TV como meio de comunicação de massa, fato evidenciado em seu primeiro filme realizado para a TV, Block Notes di un Regista (1969). No intuito de argumentar essa hipótese, fez-se necessário considerar e analisar outros filmes de Fellini realizados para a TV: I Clowns (1970) e Prova d orquestra (1978). Outros três filmes feitos para o cinema, porém com temática televisiva, Ginger e Fred (1985), Intervista (1987), La Voce della Luna (1989), também foram elucidados e avaliados. Assim pôde-se constatar que a estética fílmica de Fellini partiu dos espetáculos populares para atingir a televisão em suas linguagens e propósitos, convergindo documentário e ficção, televisão e cinema
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Rivet, Michel. "Jean Lecanuet, itinéraire d'un démocrate-chrétien." Paris 2, 2000. http://www.theses.fr/2000PA020026.
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Jean lecanuet (1920-1993)- rouennais, catholique, personnaliste et democrate social- a incame durant plus d'un quart de siecle le courant centriste francais. Forme sous la 4e republique, jean lecanuet, dernier president du mouvement republicain populaire, s'est impose au grand public avec sa candidature a l'election presidentielle de 1965 a laquelle il obtint pres de 16% des suffrages exprimes, puis en presidant successivement le centre democrate, le cds et l'udf. Des lors, ce philosophe, passionne par l'action, s'est consacre a tenter de batir et de developper un pole politique centriste reposant sur une vision sociale de la societe et sur une volonte de realiser l'union europeenne. Anticommuniste et antigaulliste determine, jean lecanuet pensait que cette approche politique correspondait a l'etat de la societe francaise. Cette poursuite d'un centre majoritaire s'avera impossible et son promoteur fut contraint a renoncer, au debut des annees soixante-dix, a une grande alliance allant de la droite liberale aux socialistes non marxistes et a rallier une droite modernisee autour du nouveau president de la republique, valery giscard d'estaing, avec lequel il partageait, en particulier, une meme approche de la construction europeenne. Tres influent au senat dont il ne put jamais briguer la presidence -seul aboutissement politique national auquel il aspirait- jean lecanuet batit, des le debut des annees cinquante, une carriere locale qui a ete l'une des plus riches de la 5e republique. En quarante ans, aucun mandat ne lui echappa, le plus important a ses yeux etant celui de maire de rouen, fauteuil qu'il occupa de 1968 a sa mort en 1993. Ce travail repose sur les textes de jean lecanuet, sa correspondance, des archives publiques et privees et des temoignages oraux.
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Lima, José Antonio. "Joel Martins: Ensaio biográfico sobre um educador." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/16320.
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Previous issue date: 2005-06-10Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The objective of this research is to collect and analyse data related to the biography of Joel Martins, demonstrating his trajectory and his importance for Education. Joel Martins contribution in the context of Brazilian Education, more specifically in the area of Educational Psychology, was remarkable for his new perspectives and approaches not only in theoretical questions but also in practice, for he broke through paradigms, incentivated and promoted researches with the spirit of an achiever and above all for his outstanding personality, which has been influencing his peers. At the same time it is necessary to enhance his relevant role at PUCUSP in several different aspects. The biographical method was used here, making it possible to compose Joel Martins biography. Documental and biographical sources were used, as well as interviews with people who knew him. In the conclusion the collection of data and the crossing of different information (personal, professional and some curiosities) were used, so that an outline of the character could be built under three aspects: his way of being, his intelectual characteristics and his commitment with knowledge and finally, his professional life and his commitment towards Education and University
O objetivo desta pesquisa é coletar e analisar dados referentes à biografia de Joel Martins, demonstrando sua trajetória e importância para a educação. A contribuição de Joel Martins no contexto da educação brasileira, mais especificamente na área de Psicologia da Educação, caracterizou-se por novas perspectivas e abordagens tanto de questões teóricas quanto práticas, por romper com paradigmas, incentivar e promover pesquisas com espírito empreendedor e, acima de tudo, por sua personalidade marcante, que influenciou e continua influenciando aqueles com quem se relacionou. Nesse contexto, cumpre destacar o papel relevante de Joel Martins na PUCSP em diversos aspectos. Utilizou-se o metodo biográfico, o que possibilitou a composição de uma contribuição para uma biografia de Joel Martins. Foram utilizados fontes documentais e bibliograficas e depoimentos de pessoas que conviverem com Joel Martins. Como conclusão, levou-se em consideração os dados obtidos e, cruzando-se diferentes informações de diferentes naturezas( pessoal, profissional e algumas curiosidades), procurou-se traçar, em termos gerais, um esboço da personagem sob três aspectos: seu modo de ser, o intelectual e seu comprometimento com o conhecimento e, por fim, o profissional e seu comprometimento com a Educação e a Universidade.
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Poitras, Louise. "L'évolution des conditions de travail des députés d'arrière-ban de l'assemblée législative de la province de Québec entre 1867 et 1936." Master's thesis, Université Laval, 1993. http://hdl.handle.net/20.500.11794/29165.
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Montéro, Muriel. "Le centrisme sous la Ve République de 1962 à 1976 : l'affirmation d'une force politique et la conquête du pouvoir : deux défis impossibles ?" Paris 4, 2003. http://www.theses.fr/2003PA040129.
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Après la déroute des élections législatives de novembre 1962, les centristes cherchèrent à construire un large parti, des socialistes aux démocrates-chrétiens et aux libéraux, capable de s'imposer face au gaullisme. Le Centre démocrate fut créé dans la foulée du succès de Lecanuet à l'élection présidentielle de 1965, unissant au MRP des Indépendants et quelques radicaux proches de Maurice Faure, mais ne put résister au poids croissant de la bipolarisation. Des divergences apparurent entre les centristes, dès 1967, que l'élection présidentielle de 1969 cristallisa. J. Duhamel, J. Fontanet, R. Pleven soutinrent Pompidou et créèrent le CDP, réussissant en partie à infléchir la majorité dans le sens centriste. A l'inverse, le Centre démocrate, autour de Lecanuet, soutint Poher et persista dans sa stratégie d'opposition et de tiers parti. Le Mouvement réformateur, né de l'alliance avec les radicaux en novembre 1971, ne réussit pas non plus à devenir le troisième pôle. En 1974, le centre se retrouva uni dans la majorité de Giscard d'Estaing, quittant à la fois l'opposition et son statut de force autonome. En mai 1976, le Centre démocrate et le CDP fusionnèrent, créant le Centre des démocrates sociaux (CDS). L'étude du centrisme de 1962 à 1976, de ses partis, de ses hommes, de son idéologie, de sa géographie, montre qu'il constitua une force politique, appuyée sur une doctrine, à la rencontre du libéralisme, de la démocratie-chrétienne et de la gauche réformiste, fondée sur une stratégie, des pratiques et des comportements spécifiques. Les centristes restèrent toutefois longtemps divisés, éparpillés dans plusieurs petits partis. Le système majoritaire de la Ve République ne fit pas disparaître le centrisme, mais modifia sa place et sa fonction : la bipolarisation ne signifie pas le bipartisme. Ainsi peut-on substituer au clivage droite-gauche une distribution plus fine, rendant mieux compte de la diversité des idées politiques et de la variété des sensibilitésDefeated at the elections to the legislature in November 1962, centrists tried to create a large party, from Socialists to Christian Democrats and Liberals, a party able to compete with the Gaullism. "Centre démocrate" was created following Lecanuet's success at the presidential elections in December 1965 ; it united MRP, Independents and some Radicals near Maurice Faure, but couldn't resist to increasing influence of bipolarisation. Divergences separated centrists, as early as 1967, and appeared brightly at the presidential election in 1969. Jacques Duhamel, Joseph Fontanet, René Pleven, supported Pompidou and created "Centre Démocratie et Progrès" ; they partly succeeded in reorientating the majority in accordance with centrist ideas. On the contrary, "Centre démocrate", following Lecanuet, supported Poher and persisted in its strategy of opposition and third party. "Mouvement réformateur", due to an alliance with the Radicals November 1971, didn't succeed either in being the third political pole. 1974 all centre was united in Giscard's majority, it left both opposition and its status of independent party. May 1976 Centre démocrate and CDP merged, creating "Centre des Démocrates sociaux" (CDS). Studying evolution of centrism during the years 1962-1976, structures of Centre démocrate and CDP, specific characteristics of centrists (leaders, militants, electors), centrist ideology, local settlement and electoral geography, we can establish that centrism was, from 1962 to 1976, a real political force, based on a consistent doctrine, as a conjunction of three currents - Christian democracy, liberalism, reformist left -, based too on a specific strategy, original practices and significant behaviour. Centrists however remained for a long time divided, dispersed in several small parties. Fifth Republic's majority system didn't put an end to centrism, it only meant a modification of its place and function : bipolarity isn't a bipartite system. Thus can be substituted for the right-left-split a subtler division, which expresses better the diversity of political ideas and the variety of sensibilities
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Vauthier, Eric. "Nouvelle et cruauté dans les lettres de langue française de la fin du Xxe siècle." Toulouse 2, 2005. http://www.theses.fr/2005TOU2A001.
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Cette thèse étudie les rapports qui unissent la forme de la nouvelle et une inspiration résolument sombre et cruelle. Nous dégageons les principales caractéristiques formelles et thématiques de la " nouvelle cruelle ", et montrons que ce type de fiction brève constitue un genre particulièrement apte, pour l'écrivain, à exprimer de manière aiguë les angoisses sociétales, politiques, morales, voire métaphysiques, de son temps. Pour ce faire, nous nous appuyons sur l'étude de nouvelles d'un ensemble diversifié d'auteurs français, belges, suisses romands et québécois, publiées durant les dernières décennies du vingtième siècle, une période de crise des valeurs en Occident très favorable pour la " nouvelle cruelle ". De manière plus détaillée, nous analysons un corpus d'œuvres de cinq nouvellistes représentatifs de cet important courant de cruauté au sein de la fiction brève des années 1965-2005 : Marcel MARIËN, Jacques CHESSEX, Daniel WALTHER, Hubert HADDAD et Nadine MONFILSThis thesis is about the short story genre inspired by cruelty and darkness. We discuss the “cruel short story” main formal and thematic characteristics and show that this kind of fiction is especially suited for the writer to express the social, political, moral and even metaphysical anguishes of his time. We study several diverse short stories published by french, belgian, swiss and quebec french authors during the twentieth century last decades, a particularly rich moment for the “cruel short story” due to the Occident value crisis. We analysed in detail five representative short story-tellers' works of this cruelty movement that has been prominent in short fiction since 1965 : Marcel MARIËN, Jacques CHESSEX, Daniel WALTHER, Hubert HADDAD and Nadine MONFILS
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Wanner, Warren. "Jean Lecanuet, maire de Rouen : un homme d'État en son territoire (1953-1993)." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMR112.
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Qui était Jean Lecanuet ? A travers le parcours politique atypique de l’homme d’Etat qu’était le sénateur-maire de Rouen, lequel s’est d’abord fait connaître sur le plan national, avant d’exister sur le plan local, nous tenterons de mettre en lumière le mécanisme du jeu des échelles par le biais d’un courant politique centriste si difficile à incarner et à cerner. Le pouvoir personnel de Lecanuet, si immense localement pendant plus de vingt-cinq ans sur Rouen et son département, la Seine-Maritime, a permis au centrisme démocrate social de dominer comme jamais il n’avait pu le faire auparavant les autres forces politiques, alliées ou rivales, de droite comme de gauche, écrasées par le système lecanuetiste. Pour autant, des interrogations demeurent. Ce véritable écrasement de la politique locale, départementale et régionale était-il nécessaire ? Que cherchait réellement à promouvoir Jean Lecanuet par le biais de ce territoire centriste qu’il s’est patiemment construit ? La notion de territoire est ici fondamentale. Car ce qu’il n’a pas réussi à effectuer nationalement – à savoir imposer une démocratie humaniste, sociale et européenne – Jean Lecanuet semble décidé à le réussir dans sa propre ville et à l’échelon départemental au cours des années 1970-1990. Ainsi, avec sa liste municipale Mieux Vivre à Rouen, il va s’évertuer à faire de Rouen une ville moderne, tournée vers l’horizon de l’an 2.000. Profondément amoureux de la ville aux cent clochers, Lecanuet parviendra à séduire les habitants par son talent oratoire, ses qualités d’homme politique de stature nationale et son travail acharné en leur faveur. Et même si les Rouennais n’ont pas toujours compris les choix politiques effectués par leur maire au cours de cette période mouvementée sur le plan électoral, ils lui vouent assurément une reconnaissance éternelle, qui perdure encore des décennies après sa mortWho was Jean Lecanuet? Through the atypical career path of the Senator-Mayor of Rouen, first known nationally, before being recognized a local level, we will try to highlight the mechanism of scales in a Centrist political movement so difficult to embody and understand. The personal power of Lecanuet, so vast locally during more than 25 years on Rouen and its department, allowed the social democratic centrism movement to prevail as never over the other political movements, allied or rival, right and left, crushed by the Lecanuetisme system. Nonetheless, the remain some questions. Is this political dominance over the local, departmental and regional levels necessary? What Jean Lecanuet was looking for when patiently building his centrist stronghold? The notion of territory is fundamental here. From the 1970s to the 1990s, Jean Lecanuet seems decided to establish in his own city and at a departmental scale what he failed nationally-establishing a humanist, social and European democracy. Through his municipal list “Mieux Vivre à Rouen” (A better life in Rouen), he will do his best to make Rouen become a modern city, focused on the upcoming 2000s. Deeply attached to the city of one hundred bell towers, Lecanuet will manage to entice the inhabitants thanks to his oratory skill, his national stature and his dedicated work in their favour. Despite that the inhabitants of Rouen did not always understand the political choices of their Mayor during this turbulent period, they certainly wish him eternal gratitude, that continues for decades after his death
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Wang, Chunchun. "La Traversée vers la postmodernité : la transformation de l’Italie à travers le cinéma de Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini (1957-1978)." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080020.
Повний текст джерелаАнотація:
La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les propositions des trois cinéastes dans le contexte contemporain de la mondialisation, de l’hypermédiatisation et de la domination technologique, le présent travail nous invite à repenser la vie humaine et la création artistique face aux défis de la postmodernitéThis thesis examines the transformation of Italy towards postmodernity (1957-1978) through the cinema of three film directors: Michelangelo Antonioni, Federico Fellini, and Pier Paolo Pasolini. It explores the historicity of cinema, by questioning the concrete means through which film constitutes a form and a writing of history. In the coming together of two histories, the human one and that of the cinema, the thesis recounts the experience of a societal and artistic transformation. In the final analysis, it is a question of studying the Italian case as a paradigm. By updating the proposals of the three filmmakers in the contemporary context of globalization, hypermedia and technological domination, this work invites us to rethink human life and artistic creation, facing the challenges of postmodernity
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Houcke, Anne-violaine. "L'invention de l'antique dans le cinéma italien moderne : la poétique des ruines chez Federico Fellini et Pier Paolo Pasolini." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100170.
Повний текст джерелаАнотація:
Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mettre en évidence l’existence d’un horizon commun, qui trouve son origine dans deux réalités historiques : d’un côté le rejet de l’Antiquité fasciste, de l’autre la résistance à la fuite en avant contemporaine. L’« antique », entendu conceptuellement comme matrice de résistance (donc non limité aux bornes historiques assignées à l’Antiquité), est ici pris dans un jeu dialectique et dynamique avec l’idée de modernité, puisqu’il s’agit de déterminer comment une modernité esthétique a pu s’inventer et s’expérimenter contre, ou tout contre, une autre modernité – sociale, économique, politique. Fellini plonge dans l’univers chaotique et placentaire de la création en studio. Pasolini, à l’inverse, se déplace toujours plus loin du centre, à la rencontre de nouveaux corps, et de nouvelles terres à arpenter. Dans les deux cas pourtant, il s’agit d’en passer, de manière poétique, par deux disciplines que l’après-guerre n’accepte pas plus que le fascisme – la psychanalyse et l’ethno-anthropologie – pour mettre au jour des survivances, pour porter à la lumière ce que la modernité refoule, et « fictionner » à partir de ces fragments. L’invention sera donc d’abord entendue au sens archéologique du terme (impliquant repérages, découverte, mise au jour). Elle sera aussi entendue au sens poétique de l’« œuvrement » à partir des fragments, mettant en évidence des affinités électives entre l’Antiquité et le cinémaNeorealism in general, and Roberto Rossellini’s works in particular, portray post-WW2 Italy as a country in ruins, both literally and metaphorically. Fascist theatricality and the pompous rhetoric of the romanità are abandoned, and a new focus is given to humilis – “loving reality” in the words of Pasolini commenting on Rosselini’s and Fellini’s works – and the new film practices that stem from it. In this dissertation, I compare two film makers who are usually put in systematic opposition to each other, and show how their works actually have common characteristics when analysed from the perspective of what I call “the invention of Antiquity”. From two distinct points in history, they not only reject the fascist interpretation of Antiquity, but also resist modern Italy’s race to progress. Here the concept of “Antiquity” is defined as a form of resistance, which as such transcends its traditional historical boundaries. It is involved in a dynamic dialogue with the idea of modernity, so as to show how a form of aesthetic modernity gets invented and put into practice as a reaction against a different form of social, economic and political modernity. Fellini delves into the chaotic and womb-like world of film studios, while Pasolini moves further and further away from the centre, in search of new bodies to discover and new lands to walk. Yet they must both find a poetic way of dealing with disciplines that post-WW2 Italy rejects as much as fascism – psychoanalysis and ethno-anthropology. For both of them, the aim is to uncover relics of the past, to shed light on those elements repressed by modernity, and create fictions” out of these fragments. The term invention is thus first intended in its archaeological meaning (i.e. locating, discovering, uncovering). It is then used in a more poetic sense, as an act of “crafting” out of fragments, which highlights specific connexions between the world of antiquity and the world of films
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Centorrino, Clizia. "Le réel et son dépassement chez Alain Resnais et Federico Fellini : des origines aux années du rêve." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL034.
Повний текст джерелаАнотація:
Ce projet propose une étude comparée de deux cinéastes essentiels, dont l'œuvre montre un fort rapport à l'onirisme et à l'imaginaire : Alain Resnais et Federico Fellini. Ayant commencé à la même époque (après la Seconde Guerre mondiale), ils ont traversé plusieurs périodes en parallèle. Nombre d'aspects les rapprochent, malgré leurs différences de styles et de cultures. Alain Resnais porte un regard sur l'histoire contemporaine, mais travaille également sur la vision subjective, la mémoire individuelle, et divers états de conscience. Fellini porte un regard acerbe sur la bourgeoise italienne, et propose simultanément un vagabondage dans les consciences et l'inconscient marqué par le merveilleux et l'onirique. Les deux cinéastes refusent de limiter la réalité « au constat purement objectif d'un monde scientifiquement analysable » pour montrer une « autre réalité », qu'il s'agit ici de questionner à l'aide de différentes théories (psychanalytiques, littéraires, philosophiques…)This project proposes a comparative study between two essential film directors: Alain Resnais and Federico Fellini. Their work shows a strong relation with the oneiric and the imaginary. They began in the same period (after the Second World War) and they shared the same historical experiences in two different countries. Despite a difference of style and culture, a lot of aspects approach them. Alain Resnais focuses on contemporary history, but he works also on the subjective vision, individual memory, and different states of consciousness. Fellini focuses on the Italian bourgeoisie and he proposes simultaneously a kind of vagrancy in the conscious and in the unconscious, always marked by the oneiric. The two film directors refuse to limit the reality «to an objective analysis of a world scientifically analyzable». They want to show an «other reality». We want to interrogate this reality with the help of different theories (psychoanalytic, literary, philosophical…)
28
Wang, Chunchun. "La Traversée vers la postmodernité : la transformation de l’Italie à travers le cinéma de Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini (1957-1978)." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080020.
Повний текст джерелаАнотація:
La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les propositions des trois cinéastes dans le contexte contemporain de la mondialisation, de l’hypermédiatisation et de la domination technologique, le présent travail nous invite à repenser la vie humaine et la création artistique face aux défis de la postmodernitéThis thesis examines the transformation of Italy towards postmodernity (1957-1978) through the cinema of three film directors: Michelangelo Antonioni, Federico Fellini, and Pier Paolo Pasolini. It explores the historicity of cinema, by questioning the concrete means through which film constitutes a form and a writing of history. In the coming together of two histories, the human one and that of the cinema, the thesis recounts the experience of a societal and artistic transformation. In the final analysis, it is a question of studying the Italian case as a paradigm. By updating the proposals of the three filmmakers in the contemporary context of globalization, hypermedia and technological domination, this work invites us to rethink human life and artistic creation, facing the challenges of postmodernity
29
Marcotte, René. "Politique commerciale américaine et délégation législative, 1920-1993 /." 2008. http://www.theses.ulaval.ca/2008/25457/25457.pdf.
Повний текст джерела
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Jones, Jennifer A. (Jennifer Anne). "Aboriginal women's autobiographical narratives and the politics of collaboration." 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phj7761.pdf.
Повний текст джерелаАнотація:
Bibliography: leaves 273-284. This thesis examines the autobiographical texts of the Aboriginal women writers, Oodgeroo, Margaret Tusker and Monica Clare, in light of the 'community of commitment' which supported their publications. It considers how and why the Aboriginal women elicted outside support and how the ideology of the group informed the epistemology of the text.The role of collaborating white editors and professional editors are examined as crucial in influencing the style and content of the finished piece. The original manuscripts are compared against the published editions and the changes implemented by the editor are described. Following Frantz Fanon and Homi Bhaba, the adoption of the white ideological lattice by the Aboriginal author is characterised as the white mask of colonial mimicry. The outcomes of cross-cultural impersonation of the white editor are discussed, with the editorial collaboration viewed as the imposition of stereotyped representations of Aboriginality.
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Jones, Jennifer A. (Jennifer Anne). "Aboriginal women's autobiographical narratives and the politics of collaboration / Jennifer Anne Jones." Thesis, 2001. http://hdl.handle.net/2440/21762.
Повний текст джерелаАнотація:
Bibliography: leaves 273-284.284 leaves : ill. (some col.) ; 30 cm.
This thesis examines the autobiographical texts of the Aboriginal women writers, Oodgeroo, Margaret Tusker and Monica Clare, in light of the 'community of commitment' which supported their publications. It considers how and why the Aboriginal women elicted outside support and how the ideology of the group informed the epistemology of the text.The role of collaborating white editors and professional editors are examined as crucial in influencing the style and content of the finished piece. The original manuscripts are compared against the published editions and the changes implemented by the editor are described. Following Frantz Fanon and Homi Bhaba, the adoption of the white ideological lattice by the Aboriginal author is characterised as the white mask of colonial mimicry. The outcomes of cross-cultural impersonation of the white editor are discussed, with the editorial collaboration viewed as the imposition of stereotyped representations of Aboriginality.
Thesis (Ph.D.)--University of Adelaide, Dept. of Social Inquiry, 2001
32
Sabeski, Wayne Anthony. "Nayarit and the Mexican Revolution, 1910-1920." 1990. http://hdl.handle.net/1993/17260.
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33
Hall, David E. "Times of trouble : labour quiescence in Winnipeg, 1920-1929." 2009. http://hdl.handle.net/1993/3554.
Повний текст джерелаАнотація:
This thesis originated in my curiosity over the last decade or more, as to the fate of the "golden age" of labour radicalism in Winnipeg after the First World War. As a radical and trade unionist I wanted to understand why this radicalism declined so drastically over the half century to the leve1s it existed in the city's unions in 1969 when I first got involved in the labour movement. The logical place to start looking for answers was the decade following the general strike and preceding the depression of the thirties. In researching and writing this thesis I have found some answers, although they have seldom been simple, about the effects of the twenties on union radicalism. The task has been made more difficult and at the same time more stimulating by the almost total lack of work by labour historians on the twenties. To the extent that the period has been dealt with at all it was as a prelude to the great depression and the rise of the C.I.O. in Canada, or as a postscript to work on labour and radicalism before and during the post war upsurge and in Winnipeg, the general strike...
34
Friesen, Helene Sarah. "Treasured schooldays, the Mennonite Madchenschulen in the Russian Empire, 1874-1920." 1997. http://hdl.handle.net/1993/1041.
Повний текст джерелаАнотація:
Scholarship to date, in detailing women's contributions to the formation of the Russian Mennonite community, has failed to provide a coherent history of Mennonite women. This study makes a modest contribution to that history by examining women's position within their culture and society on the basis of personal narratives about their own experiences and perceptions. A more distinct portrait emerges through the reflections and accounts of former students of private secondary schools for girls in the Mennonite colonies in South Russia. The study begins with tracing the development of the Mennonite school system. Research into parallel educational systems that possibly influenced the Mennonite institution provides the background from which comparisons can be drawn. Motives for founding Madchenschulen are examined, as is support for the schools. The descriptive and analytical intent of this study culminates in the chapter where the voices of former students are heard at last. The Mennonite community's regard for the female segment becomes apparent as the experiences of former students of schools established for them during an era of enlightened reform and increasing prosperity are observed. The so-called insular, cohesive world of the Mennonite colonies was transformed by innovations from outside as the well-travelled and educated, the wealthy and progressive elite conveyed the foreign back to their home communities.
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Werschler, Timothy James. "An examination of the seasonal birth pattern in Manitoba : 1920 to the present." 1990. http://hdl.handle.net/1993/7206.
Повний текст джерелаАнотація:
The objective of this thesis is to examine the seasonal birth pattern in Manitoba during the period 1920 to the present. First, a descriptive examination of the seasonal birth pattern from 1920 to 1985 is conducted. Second, the modern seasonal birth pattern is investigated by conducting questionnaire research on the reproductive behaviors and birth-month preferences of currently reproducing women in the city of Winnipeg. The findings indicate that the seasonal birth pattern in Manitoba has undergone considerable change during the period 1920-1985. These changes are linked to broad socio-economic and demographic changes within the province during this period. The questionnaire survey data suggest that the modern seasonal birth pattern is influenced to some extent by a group of seasonal birth planners within the currently reproducing population. To conclude, some directions for further research are suggested.
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Young, Arlene. "The conspiracy of disparagement : representations of the lower middle class in British fiction, 1850-1920." 1990. http://hdl.handle.net/1993/17245.
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Quiring, Vanessa. "Mennonites, community and disease: Mennonite diaspora and responses to the 1918-1920 influenza pandemic in Hanover, Manitoba." 2015. http://hdl.handle.net/1993/30724.
Повний текст джерелаАнотація:
In the fall of 1918, the First World War was drawing to a close. In the midst of Canada’s first major foray into war since Confederation, another threat became more obvious; influenza. Spanish influenza affected millions of people worldwide from 1918 to 1920 and the Canadian population was not immune to such an outbreak. This thesis uses a Mennonite population and locale, the RM of Hanover, Manitoba, as the focus for a study of influenza. In Hanover, the influenza death rate in 1918 was 13.5 deaths per 1000; double the national Canadian average of 6.1. This thesis examines how structures of healthcare networks in rural communities and tensions between provincial and federal authorities, and the Mennonite population at the end of the First World War contributed to the higher death rate amongst this ethnic group. Influenza in Hanover was a shared experience of influenza amongst a North American Mennonite diaspora.October 2015
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Bellay, Susan. "The image of the French Canadian "race" in English Canada : English Canadian attitudes toward French Canada, 1880-1920." 2009. http://hdl.handle.net/1993/3610.
Повний текст джерелаАнотація:
This thesis is a study of English Canadian racial images of French Canada during the Great War period, a time of intense crisis in the history of English-French relations. I have also examined certain broader issues from the 1890s to 1910s, a time in which both the general question of English-French relations and the resurgence of the bilingual schools controversy led up to the war-time debate over conscription. English Canadian popular attitudes toward French Canada were not so much based on their observations of French Canadian society, but on certain beliefs that English Canadians had about French Canadian life and culture. These beliefs emerged most clearly in English Canadian popular and scholarly opinion about the bilingual schools and conscription crises of 1916-1917. As S. F. Wise and David Potter have indicated, the attitudes of one nation or people towards another have less to do with the reality of the nation being observed, and more to do with the values and attitudes important to those doing the observing. English Canadian observations of French Canada during the 1910's reflected English Canadian beliefs about the nature of Canadian society, about the cultural composition of the wartime Canadian nation, and about the position of French Canadians within Canadian society and politics during this time. In many ways, these attitudes represent the attempts in English Canada to adjust to the circumstances of the war period, and to define both a clear national direction and a new relationship to the British empire. They also include a fixed image of French Canada based on prior beliefs and conceptions about French Canadian character, and about what made that "character". English Canadian popular attitudes towards French Canada were as varied as the political beliefs of the war period, and were at least as distinct as the number of sources from which this study is drawn. But if there was a common feature to the English Canadian response to French Canada, it was the conception that French Canadians were racially different from the rest of Canada, and that French Canadians presented a special problem to Canadian unity. French Canadians were described as a "race" and certain behaviours and attitudes were attributed to their racial origin and to the peculiarities seen by English Canadians in their culture. The concept of "race" itself was never clearly defined. However, the term "race" was used by English Canadians to describe the characteristics of peoples. While rooted in a biological concept of different cultures, the term became, by war's end, a synonym for social and cultural characteristics. This thesis is an examination of the changing concepts of the French Canadian "race," and of the varying ways in which these concepts were expressed in English Canadian popular opinion. In particular, this study concerns English Canadian literate opinion, based on periodicals, articles and books referring directly to the "French-Canadian" question and the French Canadian "race". I have examined the ways in which literate public opinion reacted to the "problem of Quebec" in the bilingual schools and conscription crises. English Canadians in late nineteenth and early twentieth century Canada used the word "race" to describe both the biological and cultural characteristics of French Canadians. Rather than qualify the term "race" with italics throughout the thesis, I have let the early twentieth century idiom stand throughout...
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Simmons, Deidre A. "Custodians of a great inheritance : an account of the making of the Hudson's Bay Company Archives, 1920-1974." 1994. http://hdl.handle.net/1993/7353.
Повний текст джерелаАнотація:
The Hudson's Bay Company Archives at the provincial Archives of Manitoba is indispensable for the study of many aspects of Canadian history. This thesis will survey the history of the company's management of its archives from the establishment of the company in 1670 to the transfer of approximately 120 tons of archival material to Canada in 1974. The major theme in this history is the dilemma of access which the archival holdings presented to the company in the twentieth century. Sustained company interest in its old records as formal archives does not emerge until the early twentieth century when the company recognised that its history was of increasing interest to scholars who wanted access to the records and that its history could also be a valuable popular marketing asset. The company began to provide proper archival management of its historical records and, in so doing, realised that it had a responsibility to act as custodian of records which were of considerable importance to those interested in Canadian history. At the same time the company was very cautious about allowing publication of information from its archives. It did not want uncontrolled access to what it still often thought was sensitive company information. This thesis deals mainly with the company's efforts to respond to its archival dilemma between the 1920s and 1974. During that time the company tried various measures to pursue the marketing and cultural goals it saw for its archives without granting unrestricted access. Gradually, however, it allowed more access to the archives. Indeed, by 1974, the company had resolved the dilemma and transferred custody of its archives to the Provincial Archives of Manitoba under liberal terms of access.
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Geller, Peter G. "Constructing corporate images of the fur trade : the Hudson's Bay Company, public relations and The Beaver magazine, 1920-1945." 2009. http://hdl.handle.net/1993/3605.
Повний текст джерелаАнотація:
The Hudson's Bay Company (HBC) has long held a fascination for those interested in the history of Canada, and has formed a subject of both popular and academic discourse. Less readily recognized, however, is the HBC's own contribution to the public perception of its image. In a variety of forums, the Hudson's Bay Company itself carried on a campaign to influence the interpretation of the company and its role in Canadian (and British) history and contemporary society. The commencement in 1920 of the publication of the company's magazine, The Beaver, offers an opportunity to explore the various images that the Hudson's Bay Company developed of itself, of its history, and of its relationship with native peoples. The "fur trade" was embraced as a convenient and salient symbol, in both words and pictures, becoming a focus for building up a glorious "official" history, as well as exemplifying the company's "progress" in the present. Although there was an ongoing fascination with forms of visual representation among company management, evident in the photographic documentation of the company's two hundred and fiftieth anniversary celebrations in 1920, the written text was the dominant mode of expression during the magazine's early years. Beginning in 1933, however, The Beaver began to exploit the possibilities of the visual record. These attempts to compose and maintain a company identity were related to expectations of the mass media in an increasingly visual culture, and reflected popular attitudes to the role of photography in the construction of meaning. Originally created as a staff journal, The Beaver's format and content were altered to appeal to non-company readers, forming part of a larger project of public relations. In the making of the company's magazine, the interaction between managenent, company policy and the editors and contributors allows for an examination of the ways in which corporate images were constructed, manipulated and transmitted, both to employees and to the public.