Дисертації з теми "André fils"
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1
Davor, Abazovic. "Film och andra rörliga bilder som läromedel?" Thesis, Malmö högskola, Lärarutbildningen (LUT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35485.
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Syftet med föreliggande uppsats var att undersöka gymnasielärarnas användning av rörliga bilder i undervisningen, i olika ämnen där både gymnasiegemensamma-/kärnämnen och profil-/karaktärsämnen finns representera. Undersökningen utgick från antagandet att ovanstående förekommer – men i varierande grad – och sökte därför reda på hur och varför det rörliga materialet används i undervisningssammanhang samt vilka typer av rörliga bilder det handlar om. Av intresse var också hur lärarna får fram det rörliga material, hur de tänker kring och arbetar med avsändare och källkritik vid såväl val av material som i klassrummet samt hur de upplever att deras elever förhåller sig till den här typen av undervisning.Metoden för undersökningen var den kvalitativa forskningsintervjun. Sex stycken intervjuer genomfördes med gymnasielärare - som undervisar i svenska, engelska, matematik, fysik, historia, samhällskunskap, religion, fotografi, form, bild, grafisk design, kultur och idéhistoria, instrument, digitalt skapande samt ljudläggning – på en mindre skolenhet med inriktning mot estetik och media. Undersökningens resultat visar att rörliga bilder av många olika sorter förekommer i hög utsträckning i undervisningen. Det rörliga materialet används för att skapa en känsla och intresse för ämnet samt för att visualisera processer, skeenden och begrepp. Några av lärarna producerar också eget material som läggs upp på internet och på så sätt blir tillgängligt för eleverna även utanför lektionstiden. Man ställer samma kvalitetskrav på rörliga bilder som på läroboken, men rätt återgivning av fakta är inte alltid det viktigaste eftersom ”fel” historieskrivning i en spelfilm kan användas för att träna elevernas kritiska tänkande. Lärarna hyser ingen misstro mot populärkultur, snarare ser lärarna den som ett sätt att närma sig eleverna på deras egna villkor. Lärarna jobbar kritiskt med medier. Lärarna arbetar också för att visa olika perspektiv och uppmuntrar olika tolkningar vid diskussioner av rörliga bilder, men upplever att det många gånger finns en kulturell friställdhet hos eleverna som göra att de inte vill eller inte kan diskutera det de ser. Det samma gäller frågor om källkritik. Lärarna är själva noga med vilka avsändare som finns bakom det de visar. Lärarna upplever att deras elever besitter en viss mediekunnighet men att de ofta väljer att inte använda den i skolsammanhang.Lärarna visar ofta rörligt material som de själva redan äger eller som de hittar via internet. Ingen av lärarna verkar låna materialet från någon officiell mediecentral. Lärarna bryter många gånger mot upphovsrättslagen, men de visar inte någon medvetenhet kring det i intervjuerna. Om lagbrotten sker på grund av okunskap eller ett medvetet val framgår inte.På grund av det låga antalet intervjuade lärare kan inte studiens resultat göra några anspråk på generaliserbarhet. Den breda representationen av ämnen innebär dock att undersökningens resultat skulle kunna användas som underlag för vidare diskussioner kring exempelvis utformningen av ett övergripande mediepedagogiskt arbete på den berörda skolenheten.
2
Hoel, Christian. "Den moderna krigsfilmen : Om den amerikanska andra världskrigs-stridsfilmsgenren." Thesis, University of Skövde, School of Humanities and Informatics, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-86.
Повний текст джерелаАнотація:
Jeanine Basingers bok The World War II Combat Film presenterar en annars väldigt oupmärksammad genre, den amerikanska Andra Världskrigs-stridsfilmen. Utifrån den mall som Basinger beskriver i boken har jag här diskuterat och analyserat hur Saving Private Ryan håller sig till mallen som skapats av tidigare stridsfilmer. Mallen består i korthet av en mängd element som används genomgående i genren; såsom gruppen, hjälten, målet och fienden. Dessa element förekommer från den första andra världskrigs-stridsfilmen Bataan från 1943 och har konsoliderats och utvecklats sedan dess. Slutsatsen blir att även om SPR blivit känd som en nydanande och orginell film så är håller den sig nästan slaviskt till mallen, det enda som möjligt kan skilja den lite från andra filmer i genren är det ursprungliga målet, det är inte vanligt att ha ett såpass politiskt inkorrekt mål som att rädda en enda man.
3
Merlin, Dieter [Verfasser]. "Die Kunst der Projektion : Romantik und Dekonstruktion in den Filmen André Téchinés / Dieter Merlin." Kiel : Universitätsbibliothek Kiel, 2012. http://d-nb.info/1024489833/34.
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4
Wendler, André [Verfasser], Lorenz [Akademischer Betreuer] [Gutachter] Engell, and Peter [Gutachter] Geimer. "Anachronismen: Historiografie und Kino / André Wendler ; Gutachter: Lorenz Engell, Peter Geimer ; Betreuer: Lorenz Engell." Weimar : Professur Medienphilosophie, 2012. http://d-nb.info/1115807145/34.
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5
Marino, Andre Adam. "Performance of the UNIX file system : Andre Adam Marino." Thesis, Queensland University of Technology, 1992.
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6
Souza, Geórgia Cynara Coelho de. "Para ver e ouvir: A música de André Abujamra no cinema brasileiro." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-10072018-152739/.
Повний текст джерелаАнотація:
O presente trabalho visa investigar a contribuição do compositor, instrumentista, ator e artista multimídia André Abujamra ao cinema brasileiro no que tange à composição de trilhas sonoras musicais e à articulação destas com os filmes a que se dirigem. A ideia foi abordar o percurso do artista no cinema a partir de sua estreia em longas-metragens ficcionais, no início da Retomada do cinema brasileiro (1995), buscando a relação entre seu processo criativo, a diversidade de referências musicais e a atuação multifacetada no campo das artes para verificar as características de sua assinatura musical cinematográfica. Neste sentido, fizemos o exercício de uma análise fílmica com foco no som e em suas articulações com a imagem, relacionando a música de André Abujamra tanto a outros elementos sonoros constituintes dos filmes de que participa como compositor - canções preexistentes, ruídos, diálogos, efeitos de silêncio e outros - , quanto aos diversos elementos visuais - fotografia, planos, movimentos de câmera, cenários, montagem e outros. Almejamos, ainda, conhecendo a trajetória de Abujamra e as relações extrafílmicas entre sua música e os diferentes contextos e condições de composição e produção musical para discos e filmes, compreender o lugar do compositor no processo de realização cinematográfica no Brasil. Propomos uma análise estética e contextual das obras cinematográficas ficcionais em longa-metragem com trilha musical assinada por Abujamra, articulada à sua biografia e às formulações teóricas brasileiras e estrangeiras relacionadas ao som e à música de cinema.This study aims to investigate the contribution of the composer, instrumentalist, actor and multimedia artist André Abujamra to brazilian cinema, in reference of the composition of musical soundtracks and its articulation with films they were created for. It was intended to approach the artist\'s career in film from his debut in fictional feature films at the beginning of \'Retomada\' of brazilian cinema (1995), looking for the relationship between the creative process, the diversity of musical references and multifaceted activities in the arts, to verify the characteristics of his film scoring signature. It was an exercise of a film analysis focused on sound and its joints with the image, by relating André Abujamra scores both to other sound elements of the films in which he participates as a composer - pre-existing songs, noises, dialogues, silence effects and others - and to the various visual elements of those films - photography, plans, camera movements, scenarios, film editing and others. From knowing Abujamra\'s carreer and extra-filmic relations between his music and the different contexts and conditions of composition and production for records and films, this study also aims to understand the place of the composer in the filmmaking process in Brazil. It proposes an aesthetic and contextual analysis of fictional feature films whose scores are signed by Abujamra, linked to his biography and Brazilian and foreign theoretical formulations about film sound and music.
7
Hera, Daniel [Verfasser], and André [Akademischer Betreuer] Zimmermann. "Leiterplattenbasiertes Packaging zur Systemintegration mittels Film-Assisted Transfer Molding / Daniel Hera ; Betreuer: André Zimmermann." Stuttgart : Universitätsbibliothek der Universität Stuttgart, 2018. http://d-nb.info/1162893648/34.
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8
Tigervall, Carina. "Folkhemsk film : Med ”invandraren” i rollen som den sympatiske Andre." Doctoral thesis, Umeå : Sociologiska institutionen, Umeå universitet, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-457.
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Bernard, de Courville Florence. "Problématique du double cinématographique dans Oedipe roi de Pier Paolo Pasolini, Hiroshima mon amour d'Alain Resnais et dans les analyses critiques d'André Bazin." Paris 3, 2004. http://www.theses.fr/2004PA030144.
Повний текст джерелаАнотація:
Œdipe roi de Pier Paolo Pasolini (1967), Hiroshima mon amour d’Alain Resnais (1959) et les textes critiques d’André Bazin se donnent à la fois comme les témoins et les acteurs d’une relation théorique en acte qui se propose de réfléchir à la notion de mimesis dans la modernité cinématographique. Ces trois systèmes sont le fondement d’une interrogation sur la représentation et l’imitation cinématographiques au sein de ce que Jacques Rancière nomme « le régime esthétique de l’art », à partir d’un retour vers ce qui constitue l’essence de la mimesis : les textes de Platon et ceux d’Aristote. Une hypothèse est ici avancée : du cinéma moderne émergerait un paradoxe, celui du double cinématographique, suivant lequel le cinéma serait à la fois présenté comme une duplication, la reproduction parfaite de son modèle, reproduction qui double le monde jusqu’à se confondre avec lui, et comme le double grotesque des corps, ressemblance trompeuse, épuisée, imitation dérisoire d’un modèle. Ce double statut implique que la duplication cinématographique soit régie par une logique du même et de l’autre, de l’identité et de la différence, de la présence et de l’absence. Cette émergence de la mimesis au cœur du cinématographique soustrait la copie cinématographique, le double, à la valeur de l’imitation ontique, saisie comme imitatio, comme action de reproduire ou de chercher à reproduire suivant la logique de l’homoïosis, d’où la nécessité d’étudier les conséquences de l’immersion de ce concept antique dans la notion de modernité cinématographiqueEdipo Re by Pier Paolo Pasolini, Hiroshima mon amour by Alain Resnais and reviews by André Bazin are the testimonies of a theory which tackles the problem of mimesis in the ²cinema modernity ²; this modernity has been raised by Gilles Deleuze. Those three systems are the basis of a questioning about the representation and imitation in cinema, within Jacques Rancière calls ² the ‘aesthetic’ form of art², a questioning based on the first texts dealing with mimesis : the works by Plato and Aristotle. Let’s bring forward the following hypothesis : modern cinema has emphasized a paradox entitled ² double cinématographique ², implying that cinema is both a duplication – a perfect reproduction of an original, a reproduction which copies the world to become one and the same thing – and a grotesque replica of a matter, a misleading resemblance, and a derisory imitation of an original. This double status implies that the cinema duplication is ruled by a logic of similarity and difference, a logic of presence and absence. This emergence of mimesis leads to the following awareness : the cinema replica does not only mean reproducing or trying to reproduce according to the homoïosis logic, hence the necessity of studying the consequences of the insertion of this antiquity concept in the "cinema modernity" notion
10
Seyferth, Immanuel [Verfasser]. "Zwischen Dokumentation und Fiktion: Die Kongoreise von André Gide und Marc Allégret / Immanuel Seyferth." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2020. http://d-nb.info/1217974199/34.
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11
Cavalcante, André Bezerra. "Programa de microcrédito no nível local: uma alternativa de política pública para ampliar as oportunidades de negócio dos micro e pequenos empreendimentos formais e informais." reponame:Repositório Institucional do FGV, 2002. http://hdl.handle.net/10438/5194.
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Previous issue date: 2002-02-26T00:00:00ZO microcrédito e o microempreendedor no nível local são os objetos de estudo desta dissertação. Seu objetivo central é verificar a possibilidade de um programa de microcrédito ser alternativa viável de política pública de geração de emprego e renda com capacidade de ampliar as oportunidades para realização de negócio dos microempreendimentos formais e informais no contexto local. Para tanto, é realizada uma descrição e análise do programa de microcrédito do Município de Santo André (SP), em desenvolvimento desde maio de 1998.
12
Carlsson, David. "Skapandet av minnen i US-amerikansk och kinesisk krigsfilm under efterkrigstiden." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-54011.
Повний текст джерелаАнотація:
Den här uppsatsens fokus ligger i mångt och mycket på Kinas och USA:s ombytliga relation med Japan under efterkrigstiden. Japanernas illdåd i Östasien och Stilla Havet under andra världskriget lämnade ett stort avtryck i både den kinesiska och US-amerikanska filmkulturen. Den japanska karaktären i film har varit lika ombytlig som de kinesisk/japanska och US-amerikanska/japanska politiska relationerna sedan andra världskrigets slut. Uppsatsens analys kommer jämföra ett mindre antal kinesiska och US-amerikanska filmer med varandra och peka på likheter och olikheter i hur man framställt japaner med hjälp av olika konventionella stilgrepp inom film såsom kinematografi, musik och ljud. Från propagandafilmer och dokumentära redogörelser, till humanistiska skildringar och dramatiska återberättelser; den japanska karaktären har tagit sig många olika skepnader genom åren. Det är svårt att definiera några absoluta drag som sammankopplar de otal av japanska rollkaraktärer som kommit och gått. Något som man kan vara ganska säker på dock är att politik, historia och film i många avseenden går hand i hand med varandra.
13
Goritsas, Helen. "Beyond the limits of the auteur: on the possibility of an encounter theory of modern cinema." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9493.
Повний текст джерелаАнотація:
Despite contention and criticism, auteur theory has significantly influenced screen studies for over half a century and has framed the recurring “brand” or “style” of a director’s personal vision as cinema’s major creative force. Bounded as that theory is within one person’s thoughts and defined in terms of a director’s finite subjectivity what of the auteur’s relation with the world beyond their private selves? As a counterpoint to the exaltation of the cult of the director and in order to restore to film its value as a work, both this thesis and my associated studio practice will engage in a meditation on the idea of surpassing the self in the process of creation. This is an acknowledgement of an act in which one is both present but in a moment of leaving the self behind, dissolving the barrier between self and other as exemplified by the director’s willingness to yield to the work and during acts of genuine collaboration. In choosing the human factor, despite the industrial nature of film production, the view of authorship offered - the possibility of an Encounter Theory of Modern Cinema, a dialogical philosophy of transformative meeting will endeavour to broaden the concept of the auteur, beyond the self-enclosed, private subjectivity of the director. Encounter theory is grounded upon the percussive seeds of Personalist humanism which so informed the criticism of film theorist Andre Bazin. Personalism affirms the absolute dignity and value of persons as subjects and not as objects in which each person is not isolated from others but engaged in interpersonal relations. In acknowledging the interdependence of existence, Encounter Theory thus constitutes a refutation of an either/or division and proposes an aesthetics of cinema concerned with “relation between.” The overall aim of this thesis is to explore in depth the film medium’s primary artistic advantage, namely, its capacity to derive benefit from the negation of the presence of man, an acknowledgment of the continuum of existence in the very absence of one’s own self. Andre Bazin’s reflection upon “the world in its own image” interestingly pointed to this very challenge in cinema: the manifestation of the unique image that could overcome the distinction of the subject and object dichotomy, neither the expression of individual subjectivity, the distorting perspective of a singular point of view, nor the representation of illusion, acting as a barrier between life and art. In starting from the premise that it is from relations that we deduce things, it is concluded that “personal vision” is not an isolated phenomenon and that connectedness is an integral part of our relationship to one another and the world around us.
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Klossek, André [Verfasser], and Martin [Akademischer Betreuer] Kittler. "Optical characterization of thin-film Si solar cells and knowledge transfer from bulk mc-Si / André Klossek. Betreuer: Martin Kittler." Cottbus : Universitätsbibliothek der BTU Cottbus, 2013. http://d-nb.info/1045604135/34.
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Körner, André [Verfasser], and Michael [Akademischer Betreuer] Gissenwehrer. "Theatralisierung der Lebenswelt durch Reality TV Formate : die Simulation im grellen Licht der Wirklichkeit / Andre Körner. Betreuer: Michael Gissenwehrer." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2015. http://d-nb.info/1105373800/34.
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16
Filip, Hallbäck. "Humour Noir (eller svart humor) : Termens upphovsperson kliver in i filmvetenskapens värld." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-70590.
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The essay is a theoretical analysis on genre, based on André Breton's views on black humor. Breton is believed to be the person who is the mind behind the term "black humor", but his views on black humour have not – as far as I’m concerned – been applied in a film-scientific context. There is no cohesive view of the genre concept, as reflected in four selected genre theorists' texts that I selected. Texts that also have been published in various decades. The disposition for my essay is to begin by clarifying the definition of “black humour” by Breton and then highlight the key ideas of Leo Braudy, Thomas Schatz, Rick Altman and David Bordwell. In the end, I will try to interpret the ways in which black humor can be formed as a genre of its own. My conclusion is that there is no clear answer to how black can be formed as its own genre, but on the other hand there are a number of critical perspectives on the genre concept. Together, all theorists demonstrates complex relationships between ideological roots and present-day added significance. In the final discussion, I argue that there is a need to continue studying more about "black humor" by adding additional relevant dimensions and linking them to genre theory.
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André, da Rocha Andreza [Verfasser], and Christer [Akademischer Betreuer] Petersen. "The Birth of Brazilianism : the stereotypical representation of Brazil in the context of cultural imperialism and media concentration [[Elektronische Ressource]] / Andreza André da Rocha. Betreuer: Christer Petersen." Cottbus : Universitätsbibliothek der BTU Cottbus, 2013. http://d-nb.info/1031666990/34.
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Pozzo, Ezequiel Dal. "O problema do mal repensado : uma abordagem filos?fico-teol?gica em Andr?s Torres Queiruga." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2017. http://tede2.pucrs.br/tede2/handle/tede/7718.
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Evil has always been a problem that has given both philosophy and religions thinking. This task is not finished. We will here reflect the problem of evil in its condition of inevitability, sustained in the finitude and limit of the reality of creation itself. We will depart from evil as a reality that affects every human being, independent of his beliefs, demystifying the classic dilemma of Epicurus. Through the concept of pisteodic?ia we will perceive that each person, group, or religion will find its answers and ways of dealing with evil. To speak of theodicy we will distinguish the "short way" and the "long way". The first portrays the traditional view of theology, where, even in the contradiction between arguments, it helps to maintain trust in God despite evil. The "long way" wants to show a logical faith, with coherence of arguments. It wants to guarantee the reasonableness of theodicy, built from the assumption of the autonomy of terrestrial realities demonstrating the action of God Love in the world, as Antimal. This continued action guarantees the creature, not the elimination of all evils in this world, but the fullness of eternity. This itinerary makes it possible to rethink various theological theories, among them original sin, the miracle, the holocaust and hell, as well as a new image of God translated into new language.
O mal sempre foi tema para discuss?es e reflex?es tanto para a filosofia, quanto para as religi?es. Essa tarefa n?o est? acabada. Refletiremos aqui o problema do mal em sua condi??o de inevitabilidade, sustentada na finitude e no limite da pr?pria realidade da cria??o. Partiremos do mal como uma realidade que afeta todo ser humano, independente de suas cren?as, desmistificando o cl?ssico dilema de Epicuro. Atrav?s do conceito de pisteodic?ia perceberemos que cada pessoa, grupo ou religi?o vai encontrando suas respostas e maneiras de lidar com o mal. Para falar de teodiceia distinguiremos a ?via curta? e a ?via longa?. A primeira retrata a vis?o tradicional da teologia, em que mesmo na contradi??o entre os argumentos, ajuda a manter a confian?a em Deus, apesar do mal. A ?via longa? quer mostrar uma f? l?gica, com coer?ncia de argumentos. Quer garantir a razoabilidade da teodiceia, constru?da a partir do pressuposto da autonomia das realidades terrestres demostrando a a??o do Deus Amor no mundo, como Antimal. Essa a??o continuada garante a criatura, n?o a elimina??o de todos os males nesse mundo, mas a plenitude da eternidade. Esse itiner?rio possibilita repensarmos v?rios termos teol?gicos, entre eles, o pecado original, o milagre, o holocausto e o inferno, assim como permite uma nova imagem de Deus, traduzida tamb?m em linguagem nova.
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Ström, Axel. "American Sniper: En propagandafilm för den amerikanska krigsmakten : En kvalitativ diskursanalys av en patriotisk krigsfilm." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27061.
Повний текст джерелаАнотація:
This paper is on propaganda in Clint Eastwoods American Sniper (2014). With this film in focus I have conducted a qualitative discourse analysis to extract subtle hints of propaganda in selected scenes from the film. I proceed from theories that discuss propaganda, orientalism and us-and-them, but I have also researched government pressures on film, and media research on its influence on people. This paper shows in combination with these theories that propagandistic messages can be identified through mainly the use of us-and-them. In American Sniper (2014) the image of USA is strengthen by establishing a negative and wrongful portrayal of their counterparts, making them nothing but evil or helpless.
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Debei, Audrey. "A aporia da cidadania em tempos neoliberais: estudo da Instituição Assistencial Educacional Amélia Rodrigues em Santo André - SP." Pontifícia Universidade Católica de São Paulo, 2008. http://tede2.pucsp.br/handle/handle/2879.
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Previous issue date: 2008-11-14The main objective of this research is Instituição Assistencial Educacional Amélia Rodrigues, located in Santo André-SP. The context of this search is the period which takes 1989 to 2002, and refers to social policies that were developed in Santo André's district, once they are an inflection point in approach of "social issues", as much to the project of reconstruction of district' s identities, thus of the project Regional Strategic Planning. This research seeked, in these programs, comprehend the emphasize to the volunteer work within a critical point of view about the roll of Non Governamental Organizations (NGO's) into the execution of neoliberal policies. The organization was founded in 1979, as bunâ1e up activities promoted by Social Assistant Department of "Centro Espírita Bezerra de Menenzes", which emerges as an organization that blows the line between traditional philanthropy and the redeployment into "social entrepreneurs", especially during the decades of 1980 and '1990. As long as the institution consolidate e rearrangements to the "third sector" administrative way, lined up to district strategic planning. In this way, is possible to detect an aporia between the speech based on citizenship, at the same time theirs focus in social management built obstac1es to theirs programs and activities, in the sense of goes beyond the line of social needs, taking down the emancipation perspective of struggle
O principal objetivo desta pesquisa centrou-se na Instituição Assistencial Educacional Amélia Rodrigues ,localizada no município de Santo André - SP. O contexto da pesquisa abrange o período que vai de 1989 a 2002, e refere-se às políticas sociais mais amplas desenvolvidas no município, visto que as mesmas constituem-se em um ponto de inflexão importante tanto para a abordagem das questões sociais, quanto para a reflexão sobre a reconstrução da identidade no município por intermédio do Plano Estratégico Regional. Procurou-se ver, nestes programas, a ênfase dada à questão do voluntariado no interior de uma perspectiva crítica sobre o papel das Organizações Não-Governamentais (ONGs) na implementação das políticas neoliberais. Fundada em 1979, através dos desdobramentos das atividades promovidas pelo departamento de Assistência Social do "Centro Espírita Dr. Bezerra de Menezes", emerge como uma entidade exemplar que rompeu o limiar entre a "filantropia tradicional" e o "empreendedorismo social", sobretudo nos anos que vão de 1980 a 1990. Ao se reestruturar ao padrão de gestão do chamado "terceiro setor", alinha-se ao planejamento estratégico municipal. Nesta trajetória, é possível detectar ~ma aporia entre um discurso voltado para a cidadania, ao mesmo tempo em que seu foco na gestão social constitui-se em obstáculo aos beneficiários de seus programas e atividades, no sentido de ultrapassarem os limites de suas carências sociais, esmaecendo o horizonte da emancipação social
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Billaut, Manon. "André Antoine, metteur en scène de la réalité. Une expérimentation appliquée au cinéma (1915-1928)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA170.
Повний текст джерелаАнотація:
Célèbre dans l’histoire du théâtre pour avoir fondé en 1887 le Théâtre-Libre et ainsi révolutionné la mise en scène moderne, André Antoine a consacré la dernière partie de sa vie au cinéma, tournant huit films entre 1915 et 1922 pour la Société cinématographique des auteurs et gens de lettres, puis pour la Société d’éditions cinématographiques, avant de se consacrer à la critique, dramatique et cinématographique, dans plusieurs journaux. Cette dernière partie de sa vie laissa peu de traces dans l’histoire du cinéma et ses films, comme ses critiques et textes théoriques sur le cinéma, sont encore méconnus. Inspiré par les théories naturalistes d’Émile Zola, Antoine appliqua au nouvel art une méthode rigoureuse reposant sur l’expérience du milieu. Il se heurta ainsi aux tendances avant-gardistes qui gagnèrent le cinéma au début des années 1920. Or, c’est l’intérêt de cette valeur expérimentale de son cinéma, où priment la recherche, l’observation et l’expérience, que cette thèse met en lumière, en montrant les réseaux de convergence entre la méthode singulière d’Antoine et les pratiques et discours qui animèrent le cinéma au tournant de la Première Guerre mondiale, moment clef de sa légitimation en tant qu’art. Cette étude repose sur une analyse approfondie des films d’Antoine, de ses archives personnelles, des archives de production, et des nombreux écrits qu’il a produits sur le cinéma, entre 1915 et 1928, année de rupture dans un combat pour la reconnaissance de l’auteur de film qui opposa le metteur en scène aux cinéastes de la Première vagueAndré Antoine’s place in theatre history is earned through his 1887 founding of the Théâtre-Libre and revolutionizing of modern mise en scène, but it is cinema that occupied the last part of his life as he made eight films between 1915 and 1922 for the Société cinématographique des auteurs et gens de lettres (“Film Society of Authors and Men of Letters”) and then for the Société d’éditions cinématographiques (“Society of Film Editions”), before devoting himself to theatre and film critic in several newspapers. These late years left few traces in film history, and both his films and his critical and theoretical writings remain largely unknown. Inspired by Emile Zola’s naturalist theories, Antoine took to the new art form a rigorous method based on the experience of environment. He clashed with avant-garde trends which were making their way to cinema in the early 1920s. This thesis highlights the experimental value of Antoine’s cinema, which gives a special role to research, observation and experience, by demonstrating the convergence of his special method with practices and discourse animating cinema at the turn of the World War I, a key moment of its legitimation as an art form. This study is based on in-depth analysis of Antoine’s films, his personal archives, production notes, as well as numerous texts he wrote on cinema between 1915 and 1928, the climactic year in the struggle for authorship recognition between Antoine and filmmakers of the First avant-garde
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Borg, Kristian. "Blåvitt begär : Postkoloniala läsningar av finskhet, klass och genus i svensk film." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-21752.
Повний текст джерелаАнотація:
Uppsatsens huvudsyfte är att studera finska representationer i svensk spelfilm ur ett postkolonialt perspektiv. Med en diskursanalytisk ansats och med stöd i psykoanalys, postkolonial och feministisk teori diskuteras hur finsk etnicitet konstrueras, omförhandlas och samverkar med kategorier som genus, sexualitet och klass i svensk spelfilm från 1980 till 2010. Författaren vill visa på vilka sätt representationerna kan kopplas till en postkolonial relation mellan Sverige och Finland. Ett annat syfte är att ge exempel på hur postkolonial teori kan tillämpas i en svensk-finsk kontext. Fyra filmer analyseras: Två killar och en tjej, Seppan, Populärmusik från Vittula och Kid Svensk. Varje filmanalys utgår från ett tema: 1) hur etnicitet kan kopplas till olika rum eller miljöer; 2) hur kategorier som sexualitet, klass, genus och etnicitet samverkar; 3) hur etnicitetsbegreppet kan töjas samt 4) hur olika motståndsstrategier kan se ut. En central slutsats är att representationerna av finnar i svensk film ingår i en kolonial diskurs. Filmiska representationer är en del i denna diskurs. När den etniska kategorin finskhet är närvarande i svensk film aktiveras olika maktordningar som vilar på historiska stereotyper och sociala och materiella förhållanden. Men även motståndsstrategier blir synliga. Finnar och finskhet framstår och konstrueras ofta som något exotiskt och skrämmande men samtidigt begärligt i en svensk kontext.
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Loiselle, André. "The function of Andre Brassard's film "Il etait une fois dans l'Est" in the context of Michel Tremblay's "Cycle des Belles-soeurs"." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28421.
Повний текст джерелаАнотація:
A number of Michel Tremblay's plays are referred to as the "Cycle des Belles-Soeurs". This ensemble of works, bound by a commonness of dialect, characters and milieu, constitutes a coherent dramatic universe. In l973, five years after the premiere of the first play of the Cycle (Les Belles-soeurs). Michel Tremblay and Andre Brassard, who has directed most of Tremblay's plays, temporarily left the stage to prolong the elaboration of the "Cycle des Belles-soeurs" in a film called Il etait une fois dans l'Est. Rather than being an adaptation of one specific work, the film gathers a dozen of Michel Tremblay's characters from six different plays.
When it first came out, Il etait une fois dans l'Est was perceived by many critics as a film anthology of Michel Tremblay's plays: a work which points out to, compiles, and summarizes other works but which has little artistic value of its own. Luc Perreault, for instance, wrote in l974 that the film is "une anthologie pure et simple de ce qu'il(M. Tremblay) a deja cree"(l). It is as such -- an anthology of Tremblay's plays --that the film is still often described today. In the l988 edition of the Dictionnaire du cinema quebecois. Michel Coulombe and Marcel Jean call the film an "anthologie anticipee de l'oeuvre de Tremblay".(2)
The author of this thesis disagrees with the notion of the film as an anthology of Tremblay's plays. The purpose of this study is thus to demonstrate that Il etait une fois dans l'Est is a work whose function in the Cycle is as genuine, as exclusive and as integrated as that of Hosanna. En pieces detachees or any other play of the ensemble.
To study the function of the film in relation to the "Cycle des Belles-soeurs", the author conducts a two-part analysis covering both the dramatic universe of the plays, and its cinematic re-presentation. The first, and main part of this work is devoted to a study of the relationship between the stage characters and their cinematic counterparts. In the second part of the thesis, the author concentrates, first, on a specific analysis of the film, and finally, engages in an overall consideration of the interrelation of the plays and the film in order to establish the organic function of Il etait une fois dans l'Est in the context of Michel Tremblay's "Cycle des Be lles-soeurs". The methodological approach of the author is based on theories of the semlotic of Theatre and Cinema, as well as on some aspects of phenomenological, psychoanalytical and spectator/reader-response criticism.
The conclusion drawn at the end of the thesis is the following:
The function of Il etait une fois dans l'Est in the context of the "Cycle des Belles-soeurs" is one of demarcation. It indicates the passage of the dramatist from a "Theatre Quebecois" practice, to a mode of writing characterized by a lesser interest in the immediate politics of the nation, and a greater preoccupation with universal themes.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Cristiani, Valentina. "“Ad ogni donna pensata come amore in un attimo di libertà” Fabrizio De André tra due mondi: Georges Brassens e Leonard Cohen." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16480/.
Повний текст джерелаАнотація:
Il presente lavoro si propone di analizzare approfonditamente il processo traduttivo nell’opera del cantautore italiano Fabrizio De André, in quanto virtuoso esempio di traduzione etica e culturale. In modo particolare, approfondiremo in questo excursus il lascito della poetica di Georges Brassens e Leonard Cohen nella visione deandreiana, attraverso un’analisi comparativa dei brani originali in lingua francese e inglese e dei brani tradotti in lingua italiana, nell’alveo di una tematica che costituisce a pieno diritto il vero e proprio fil rouge nell’opera dei tre autori: la declinazione della figura femminile come esempio di dignità e resilienza, anche e soprattutto in contesti sociali di emarginazione.
Prenderemo, inoltre, in esame il caso specifico della traduzione della canzone d'autore, che costituisce un esempio di grande rilevanza nell'ambito traduttivo, in quanto chi è chiamato a tradurre deve possedere conoscenze ritmico-musicali di un certo spessore, oltre a competenze linguistiche e traduttive.
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Landeros, de Casolari Leopoldina <1958>. "Estudio lingüístico, transcripción y edición del Regimiento de tomar la altura del polo en la mar y cosas tocantes a la navegación de Andrés García de Céspedes." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9883/1/landeros_de_casolari_leopoldina_tesi.pdf.
Повний текст джерелаАнотація:
Estudiar la lengua del Regimiento comprendía identificar las peculiaridades gráfico- fonéticas, las estructuras morfosintácticas, el aspecto discursivo y el léxico específico; con el manuscrito y la publicación del 1606 preparamos la edición crítica.
Usamos el programa AntCon (2019) y TagAnt (2015) de Anthony Laurence para el procesamiento lingüístico informático.
Al hacer la transcripción encontramos un número inesperado de peculiaridades gráfico-fonéticas en relación con el uso actual: 39 vocálicas y 77 consonánticas; algunas de ellas no habían sido señaladas por los expertos. La estructura sintáctica predominante es la relativa. Las conjunciones subordinantes más usadas son las causales, las concesivas y las temporales; los ordenadores del discurso son primeramente, últimamente y finalmente; los conectores del discurso son entonces, de hecho, para mí. El autor usa tendencialmente cultismos, el mayor número de frecuencias del léxico específico son del campo de la Astronomía y de la Geometría y 372 vocablos presentan una estructura compleja. El número de los lemas dividido entre el total de las palabras de un texto permiten obtener su riqueza léxica, la del Regimiento es 0.047, es decir, muy baja.
Al comparar el texto del manuscrito con su publicación de 1606 encontramos diferencias gráfico-fonéticas, morfosintácticas, léxicas, omisiones, ideas parafraseadas y cambios de contenido.
Tratándose de un manuscrito era imperante hacer un estudio paleográfico que nos permitiera determinar la autoría de la obra, dado que a primera vista se observan dos tipos de caligrafía; para ello tuvimos que identificar la escritura de García de Céspedes a través de la comparación de otras obras manuscritas suyas. Así fue como encontramos un libro que no es suyo, aparece con su nombre, pero él no lo tradujo ni lo comentó: Theóricas de planetas de Iorge Purbachio con el comento de Andrés García de Céspedes; es decir, también hemos obtenido un resultado no programado ni esperado.The study of the Regiment's language included the identification of graphic phonetic peculiarities, morphosyntactic structures, the discursive aspect and the specific lexicon. With the manuscript and its publication of 1606, we prepared a critical edition. We used the AntCon (2019) and TagAnt (2015) programs by Anthony Laurence for computer language processing. When doing the transcription, we found an unexpected number of peculiarities graphic-phonetic in relation to current use: 39 vowels and 77 consonants, some of them had not been indicated by the experts. The structure predominant syntactic is the relative. The most used subordinating conjunctions are causals, concessive and temporals. The words that order the speech are primeramente, últimamente y finalmente; the discourse connectors are de hecho, entonces, para mí. The author tends to use cultisms, the largest number of frequencies in the specific lexicon are from the field of Astronomy and Geometry, and a large number of the words present a complex structure (372). The number of lemmas divided by the total of the words in a text allow obtain its lexical wealth; that of the Regiment is 0.047, that means, very low. Comparing the text of the manuscript with its publication of 1606 we find differences graphic-phonetic, morphosyntactic, lexical, omissions, paraphrased ideas and content changes. In the case of a manuscript, it was imperative to make a paleographic study that would allow us to determine the authorship of the work, since at first glance two types of calligraphy are observed. For this, we had to identify Garcia de Céspedes's writing by comparing other handwritten works of his. This is how we found a book that is not his, it appears with his name, but he did not translate it or comment on it: Theóricas de planetas de Iorge Purbachio con el comento de Andrés García de Céspedes.
Studiare la lingua del Regimiento comprendeva l’identificazione delle peculiarità grafico-fonetiche, le strutture morfosintattiche, l’aspetto discorsivo e il lessico specifico; con il manoscritto e la sua pubblicazione del 1606 abbiamo fatto l’edizione critica. Abbiamo usato i programmi AntCon (2019) e TagAnt (2015) di Anthony Laurence per il processamento linguistico informatico. Facendo la trascrizione abbiamo trovato un numero inaspettato di peculiarità grafico-fonetiche in relazione all’uso attuale: 39 vocaliche e 77 consonantiche; alcune di loro non sono state indicate dagli esperti. La struttura sintattica predominante è la relativa. Le congiunzioni subordinati più usate sono le causali, le concessive e le temporali; gli ordinatori del discorso sono primeramente, últimamente y finalmente e i connettori del discorso sono de hecho, entonces e para mí. L’autore usa tendenzialmente cultismi, il maggior numero di frequenze del lessico specifico sono del campo dell’astronomia e della geometria e un numero significativo dei vocaboli hanno una struttura complessa (372). Il numero dei lemmi diviso fra il totale delle parole di un testo permette di ottenere la sua ricchezza lessicale; quella del Regimiento è 0,047, vale a dire, molto bassa. Confrontando il testo del manoscritto con quello della pubblicazione del 1606 abbiamo trovato differenze non soltanto grafico-fonetiche, ma anche morfosintattiche e lessicali, oltre ad omissioni, idee parafrasate e cambiamenti di contenuto. Trattandosi di un manoscritto era imperante fare uno studio paleografico (non era stato fatto prima) che ci permettesse d’identificare l’autore dell’opera, giacché a prima vista si osservano due tipi di calligrafia; per questo abbiamo dovuto identificare la scrittura di García de Céspedes attraverso la comparazione di altre opere manoscritte sue. È stato così che abbiamo trovato un libro che non è suo, appare con il suo nome, ma egli non lo ha tradotto né commentato: Theóricas de planetas de Iorge Purbachio con el comento de Andrés García de Céspedes.
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Dindic, Sabina. "”Det är roligt att provocera mina elever” : - En studie om hur gymnasielärare inom historieämnet använder sig av film och andra populärkulturella material i sin undervisning." Thesis, Jönköping University, Högskolan för lärande och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-53307.
Повний текст джерелаАнотація:
This study examines how eight upper secondary school history teachers use popular culture whilst teaching history. The study allows the teachers to justify why they use popular culture as a tool for teaching. It also allows them to interpret how their students experience popular culture in their history teaching. The purpose of this study is to investigate what the use of popular culture looks like in the teaching of these eight history teachers. The questions of which the study is based on are: How do teachers use popular culture in their history teaching? How do teachers justify their choices of popular culture in their history teaching? How do teachers interpret that their students experience popular culture in their history teaching? The essay conducts qualitative interviews and the source material comes from interviews with eight history teachers. The analysis tools used in this study are history use and historical thinking concepts. They are used to sort out and categorize the history teachers’ reasoning behind how and why they use popular culture in their teaching. From the teachers’ interviews and reasoning, one can see that popular culture fulfills six different purposes. It appears that popular culture could be used as a means of: working with the use of history, using historical evidence, using popular culture to create variety in teaching, using popular culture for interesting, enlivening and relevance, to work with historical significance as well as using popular culture to discuss past and present. One could also see that the teacher’s interpretations of the students experiences were something that the teachers frequently discussed. Further, one could see that the use of history, as well as historical thinking concepts were used in connection with popular culture.
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Magnuson, Markus Amalthea. "The Dig : De grafiska äventyrsspelen som flyktigt medium." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-179044.
Повний текст джерела
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Sjölund, Jonna. "Colin Nutleys filmskapande utifrån svenska filmkritiker : en receptionsstudie." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101200.
Повний текст джерелаАнотація:
Detta är en receptionsstudie om mottagandet av ett urval av Colin Nutleys filmer och serier, om hur dessa filmer togs emot av svenska kritiker. Genom en närläsning av recensioner vill denna studie forska kring hur det offentliga samtalet ser ut, samt att ta reda på om man kan koppla kritiken till auteurteorin. Studien undersöker vilka återkommande stildrag och metoder Nutley använder sig av i sitt filmskapande, samt hur kritikerna kommenterar detta i sina recensioner. Slutsatsen i denna studie besvarade hur det offentliga samtalet ser ut samt hur det går att koppla till ett auteurperspektiv.
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Bikowski, André [Verfasser], Recardo [Akademischer Betreuer] Manzke, Klaus [Akademischer Betreuer] Ellmer, and Marius [Akademischer Betreuer] Grundmann. "The relation between the deposition process and the structural, electronic, and transport properties of magnetron sputtered doped ZnO and Zn1-xMgxO films / Andre Bikowski. Gutachter: Recardo Manzke ; Klaus Ellmer ; Marius Grundmann." Berlin : Humboldt Universität zu Berlin, Mathematisch-Naturwissenschaftliche Fakultät I, 2014. http://d-nb.info/1053704054/34.
Повний текст джерела
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Abrahamsson, Daysury. "Colombianer på bioduken : Representationen av tre Hollywoodproducerade actionfilmer." Thesis, Linköping University, Department for Studies of Social Change and Culture, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-21157.
Повний текст джерелаАнотація:
The purpose of the thesis was to analyse three action films; Collateral Damage from 2002; Clear and Present Danger from 1994; and Scarface from 1983, in order to see how Colombians are represented in these movies.The action genre comprises of different stereotypes where the hero and the villain are represented in conjunction to each other. The analysis is about the way the films content and form are used to uphold the representation of Colombians, but also the villain and the hero more generally.
Critical Discourse Analysis was used, as main method, and the concepts of denotation and connotation guided the analysis. . The main conclusion is that the three movies reproduced an already established collective stereotype of Latin Americans, stereotype that includes both Colombia and Colombians.
Syftet med uppsatsen var att analysera tre actionfilmer: Collateral Damage från 2002; Clear and Present Danger från 1994; och Scarface från 1983 för att se hur Colombianer representeras i filmerna. Actiongenren består av olika stereotyper där främst actionhjälten och skurken ställs i relation till varandra. Analysen gick ut på att se på vilket sätt filmernas innehåll och form användes för att framhäva främst representationen av colombianerna, men även skurken och hjälten.
Som metod användes en kritisk diskursanalys där begreppen denotation och konnotation var vägledande.
Analysen visade att filmerna reproducerade en redan etablerad kollektiv stereotyp bild av latinamerikaner, som inkluderar både Colombia och colombianer.
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Servel, Charlotte. "Le cinéma burlesque, une autre origine du surréalisme : les pratiques des surréalistes analysées au prisme des films burlesques pendant les années folles." Thesis, Université de Paris (2019-....), 2020. http://www.theses.fr/2020UNIP7081.
Повний текст джерелаАнотація:
Plusieurs études riches ont documenté la naissance du surréalisme en la reliant pour l’essentiel soit à la découverte de Freud et de l’inconscient, soit aux principales figures poétiques l’ayant précédé. Ce travail vise à compléter ces études par une nouvelle perspective, celle du cinéma burlesque. Cette thèse montre que le cinéma burlesque a joué un rôle dans l’émergence du surréalisme pendant les Années folles. Lorsque l’on relit les textes de cinéma des surréalistes en les associant aux films burlesques, tout en les mettant en perspective avec d’autres documents critiques et scénaristiques de l’époque et en les prolongeant par des sources qui permettent de saisir leur expérience cinématographique, on observe alors que le cinéma burlesque a agi comme un « excitant » sur les surréalistes qui a mis en mouvement leur imagination, leur écriture et même leur corps. En identifiant le cinéma burlesque comme l’une des origines du surréalisme, cette thèse cherche à revaloriser la dimension burlesque des pratiques surréalistes. La première partie examine les pratiques de spectateur des surréalistes et interroge leur dimension burlesque. La deuxième partie porte sur les écrits surréalistes consacrés au cinéma burlesque et vise à montrer que les films de Charlot et Cie ont été des « excitants » théoriques pour les surréalistes. La troisième partie s’intéresse enfin aux scénarios écrits par les surréalistes et se demande si leur nature burlesque peut s’insérer dans les milieux cinématographiques des Années follesThe birth of surrealism has been documented by several rich studies, mostly linking it to either the discovery of Freud and the unconscious, or to the main preceding poetic figures; without questioning the validity of these studies, this work aims to complete them with a new perspective, slapstick cinema. This thesis shows slapstick cinema’s role in the emergence of surrealism during the Années folles (1920s). Re-reading the surrealists’ cinema writing alongside slapstick movies, comparing them to contemporaneous reviews and scenarios, and expanding upon them with sources allowing to grasp their cinema experience, we can see slapstick cinema acting as a “stimulant” on surrealists, setting in motion their imagination, their writing, their body even. By singling out slapstick cinema as one of the origins of surrealism, this work aims to highlight the “burlesque” in surrealist practice. The first section looks at the surrealists’ movie-going habits and likens them to slapstick behavior. The second section focuses on the surrealists writing devoted to slapstick films and aims to show that Charlie & Cie were stimulants to the surrealist theory. The third and final section looks at the scenarios written by the surrealists and asks whether the slapstick angle fits the cinema industry of the Années folles
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Weber, Minon. ""Do not fade, do not wither, do not grow old" : En adaptionsanalys av tid och rum i Sally Potters Orlando (1992)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104376.
Повний текст джерелаАнотація:
For almost a century, Virginia Woolf has enchanted readers all over the world with her novel about the gender fluid and time travelling character Orlando. British director Sally Potter adapted Orlando into film in 1992, and her adaptation has since gained immense fame and a continuous presence in world cinema. Potter's Orlando has been the object of a great deal of scholarly interest. However, previous research has predominantly focused on questions of gender and sexuality. Considerably underdiscussed is the film's fascinating conception of time and space. This thesis therefore sets out to analyze Sally Potter's Orlando in order to demonstrate how time and space is shaped in the film. Theories developed by George Bluestone and André Bazin form the theoretical framework of this thesis. Through a close reading of the film, this thesis demonstrates that Potter establishes an unconventional temporality and spatiality through constructing a nonlinear, often contradictory temporality conveyed through contrasts between the organic and the fantastic, the real and the fictitious. Furthermore, the analysis finds that spatiality in Potter's Orlando is presented as multidimensional, allowing certain characters the possibility to inhabit a "fluid spatiality". Through presenting the past and the present as fused, Potter's Orlando can be understood through the optics of Bluestone's concept of "the flux of time" and Henri Bergsons la durée réelle. Simultaneously, breaks in the narrative presented through intertitles can be read as representing Bergsons idea of l'étendu, while also establishing a tangible spatiality.
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Joubé, Poreau Martine. "Biographie d'un artiste dramatique oublié : romuald Joubé (1876-1949)." Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1005.
Повний текст джерелаАнотація:
Ce projet a vu le jour afin de tirer de l'oubli un artiste dramatique nommé Romuald Joubé, né en 1876 et décédé en 1949. Cet homme était mon ancêtre, c'est l'oubli familial et collectif dont il a été victime qui a suscité la réalisation de ce travail. Il a eu la particularité de devenir un acteur reconnu au théâtre et au cinéma muet, en traversant deux guerres mondiales. Cette biographie s'attache à faire découvrir l'évolution du jeune comédien et celle du milieu théâtral et cinématographique de la première moitié du XXe siècle. Son parcours le mène de Saint-Gaudens à Paris, de l'Odéon à la Comédie-Française, des tournées européennes aux tournées internationales où il côtoie les grands noms du théâtre et du cinéma tels qu'André Antoine, Sarah Bernhardt, Abel Gance. Devenu une vedette il ne renie jamais sa région pyrénéenne où il crée un théâtre de verdure et défend ardemment le théâtre de plein air jusqu'à la fin de sa vie. Son éclectisme lui permet d'interpréter différents répertoires. Aussi remet-il en cause certaines idées reçues sur l'histoire du monde théâtral, par exemple le clivage entre Théâtre commercial et Théâtre littéraire. Acteur du cinéma muet, il est aussi intéressé par la radiophonie en 1936 et plus tard il fera une expérience au cinéma parlant avec Sacha Guitry. Homme entre tradition et modernité, Joubé révèle les ambiguïtés du monde artistique en temps de guerre. Cet homme aux multiples dons, à la fois acteur, dessinateur, peintre, spécialiste de la langue gasconne, se battra jusqu'à sa mort pour défendre l'art de qualité pour tous, sans jamais oublier sa famille et ses racinesThis project has been conceived to get out of oblivion Romuald Joubé (1876-1949). He was a professional dramatic artist and an ancestor of mine. Because of this familial and collective forgetting of the great works of Joubé, the main goal of this thesis is to reveal his biography. He became a famous and talented theatre and silent movie actor by crossing two world wars.This biography presents the evolution of Joubé as a young stage actor as well as the evolution of theatre and cinema during the first part of the twentieth century. From Saint-Gaudens (France) to Paris, and from Odéon to the Comédie-Française, Joubé met some of the great actors such as André Antoine, Sarah Bernhardt or Abel Gance. Even if he became famous at Paris, he did not forget his native region: Southwest of France and the Pyrénées. He created an open-air theater in this region. Until the end of his life, he promoted the open-air theatre. Joubé could play many different roles. He was also a silent film actor. Then in 1936, he got interested in radio. He accepted then sound films with Sacha Guitry. Tradition and modernity characterize this major and forgotten actor of the twentieth century. The biography of Joubé also brings us into the lives of artists of this period. Finally, Joubé, as an actor but also as a painter, a draughtsman and a defender of Gascon language. He will fight up to his dead to defend the quality art for all, without over forgetting his family and his region
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NOWACKI, Kacper Wiktor. "La Dynamique de l'érotisme : étude comparative des Romans : La Marge d'André Pieyre de Mandiargues et la La Pornographie de Witold Gombrowicz." Doctoral thesis, Università degli studi di Bergamo, 2015. http://hdl.handle.net/10446/32799.
Повний текст джерелаАнотація:
The research focuses on the comparative study of eroticism in two novels: The Margin by André Pieyre de Mandiargues and Pornografia by Witold Gombrowicz. Following the new comparative approach (Apter, Casanova, Moretti) from a cultural and literary perspective, the project explores the ways in which eroticism can be understood (or misunderstood) in the history of ideas, in literary criticism and finally in literary works. Starting from an epistemological inquiry, the contrasting literary histories of Poland and France and theoretical approaches developed by Bataille, Foucault, Barthes and Deleuze, the project shows the cultural differences in representing eroticism in literature. Furthermore it compares how Mandiargues and Gombrowicz defend the necessity and the danger of eroticism in literature through their critical writing. Finally, thanks to a deep textual analysis of the two novels, the study seeks to explain the dynamics of literary eroticism understood as a theme that is either descriptive or narrative. The two novels show how the erotic dream can be explored through narrative temporality or space and consequently lead to photographical or cinematographical interpretations. This research intends to highlight the role of these writers in the discussion of contemporary ars erotica in global literature and to encourage the study of eroticism in comparative literatureLa recherche se focalise sur l’étude comparative de l’érotisme dans deux romans : La Marge d’André Pieyre de Mandiargues et La Pornographie de Witold Gombrowicz. Conformément à la nouvelle approche comparative (Apter, Casanova, Moretti) et dans une perspective culturelle et littéraire, le projet explore la façon dont l’érotisme peut être entendu (ou malentendu) dans l’histoire des idées, dans la critique littéraire et dans les œuvres littéraires. À partir d’une enquête épistémologique, de l’histoire contrastive du contexte littéraire franco-polonais et des enjeux critiques développés par Bataille, Foucault, Barthes et Deleuze, le projet montre les différences culturelles dans la représentation de l’érotisme littéraire. En outre, il compare la façon dont Mandiargues et Gombrowicz défendent la nécessité et le danger de l’érotisme dans la littérature, à travers leur écriture critique. Enfin, grâce à l’analyse des deux romans, l’étude tend à expliquer la dynamique de l’érotisme littéraire compris comme un thème tantôt descriptif tantôt narratif. Les deux romans montrent comment le rêve érotique peut être exploré à travers la temporalité narrative ou à travers l’espace et, par conséquent, comment ils peuvent conduire à des interprétations photographiques ou cinématographiques. Cette recherche vise à mettre en évidence le rôle de ces écrivains dans une discussion sur l’ars erotica contemporain dans la littérature mondiale et cherche à encourager l’étude de l’érotisme dans la littérature comparée.
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Särnbrink, My. "Arns makt : Representationer av makt, positivt kapital och livsmål i berättelserna om tempelriddaren Arn." Thesis, Linköpings universitet, Kultur, samhälle, mediegestaltning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-70805.
Повний текст джерелаАнотація:
Uppsatsen behandlar böckerna och filmerna om Arn och undersöker genom berättelserna vilka representationer av makt, positivt kapital och livsmål som gestaltas. Uppsatsen baseras på den teoretiska tanken att populärkultur innehåller representationer med budskap, värderingar, normer och föreställningar gällande vår verklighet och därigenom påverkar vår uppfattning om världen, vår plats i samhället, vår identitet och vår uppfattning om vad som är värdefullt, viktigt och sant.My Särnbrink hette tidigare My Ravin.
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FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria." Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.
Повний текст джерелаАнотація:
Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.
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Wiegand, André [Verfasser]. "Optimierung der Wirtschaftlichkeit regionaler und lokaler Fernsehsender / vorgelegt von: André Wiegand." 2004. http://d-nb.info/97246395X/34.
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André, Alexander [Verfasser]. "Force-induced structural transitions in cross-linked deoxyribonucleic acid films / von Alexander André." 2007. http://d-nb.info/986683590/34.
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Petříková, Linda. "Proti adaptaci: za transdisciplinaritu a menšinový film." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-342309.
Повний текст джерелаАнотація:
Against Adaptation: Toward Transdisciplinarity and Minor Cinema Linda Petříková Abstract Over the past decades, the field adaptation studies has been trying to break new grounds and escape the confines of the predominant fidelity discourse. This thesis wants to propose new perspectives that have been widely underrepresented, at least in the Anglo-American context, drawing attention to the great relevance to adaptation of the writings of French critical thinkers, most notably Gilles Deleuze and his two-volume publication on cinema and Jacques Rancière and his continuation/reevaluation of Deleuze's film-related concepts. Without directly addressing questions of adaptation, the way both philosophers think about cinema is inseparable from their thinking about literature and indeed about other arts and media, exemplifying new transdisciplinary approaches to adaptation this thesis hopes to encourage. Even though it might seem counterintuitive, considering the efforts of adaptation studies to cut the roots it has grown within literary departments, I chose three Shakespearean adaptations for the case studies as I believe that such focus will enable us to see more clearly the significance of interstices as much as of the links the films form with the text. Jean-Luc-Godard's King Lear, Orson Welles's Chimes at...
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Descheneaux, Audrée. "Idées, espoir et grande illusion : quand le compositeur s'engage." Thèse, 2011. http://hdl.handle.net/1866/8601.
Повний текст джерелаАнотація:
La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).Cette étude porte sur la musique de film des années 1930 en France, durant la décennie qui a vu naître et évoluer le cinéma parlant. Le cinéma de cette période y est appréhendé à travers son statut artistique et son rôle dans la transmission des idées. Dans le contexte de la crise économique et des bouleversements politiques et internationaux qui sévissent, les années 1930 offrent aux artistes, écrivains et compositeurs français, une opportunité de redéfinir leur rôle dans la cité, en intervenant à travers un médium nouveau. Ces circonstances, propices à la définition d’un nouvel engagement en arts, guident le choix de trois films à partir desquels sont analysées les contributions musicales et la démarche du compositeur en lien avec ses motivations et ses attentes face au cinéma. En se penchant sur l’aspect musical de ces films, l’auteure cherche à dégager le rôle de la musique au sein des processus de communication artistiques, dans le but de comprendre les moyens avec lesquels le compositeur défend ses idées tout en collaborant à celles du réalisateur. À quel point l’engagement du compositeur s’arrime-t-il à la réalité de l’industrie cinématographique? À quel point la musique permet-elle l’expression des idées au sein d’un art dont elle n’est qu’une composante? C’est à ces questionnements que cette recherche a voulu donner voix, tout en faisant une place privilégiée à la musique elle-même.
The subject of the present study is film soundtracks from the 1930s in France. The music under examination originated during a decade which saw the birth and early development of talking films. French cinematographic productions from this period are examined on the basis of their artistic status and their role in the transmission of ideas. The pandemic economic crisis, combined with international political upheavals, were actual incentives for artists, writers, and composers to redefine their societal role through an innovative artistic medium, and to give voice to new types of artistic engagement. The choice of the three cinematographic works in this study is based on these conditions; their soundtracks are analyzed in relation to composers’ motivations and expectations of what cinema had to offer them. By closely examining the musical components of these films, the author also aims to define the ways in which music, among other artistic communication processes, was a vehicle for composers to defend their own ideas while endorsing those of a film’s director and/or producer. At what point does the composer’s personal engagement coincide with the requirements of the film industry during the period under examination? What are the limitations of the musical expression of ideas, in the context of an art form in which music was only a component part? These questions are at the heart of this study, with the music itself as the primary focus of research.