Дисертації з теми "Cinéma de création"
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Philippe, Gaëlle. "Le remake-actualisation : une norme de création universelle ?" Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030046/document.
An updating remake is a movie which takes the plot and the characters from a filmof the same nationality released earlier. The remade film develops an hypertextualrelationship with its model. However, its hypertextuality is paradoxical at every stages ofits existence.Its production highlights different working-rules which do not necessarily match itsdeclaration or interpretation. The remake film aims at building itself as a creation and atthe same time, at maintaining a link more or less emphasized with the original motionpicture. Televised or cinematographic, the remake becomes the confrontation place of thedifferent media views. But does the object answer to a universal creative rule?The relative universality of the remakes both shows a unification of the mostindustrial conception of cinema and television and a new way to apprehend the audiovisualcreation
Bourehla, Hedia. "La tradition orale, source d'inspiration à la création cinématographique arabe." Paris 1, 1997. http://www.theses.fr/1997PA010604.
The oral tradition is a mode of traditional way of communication that has played a key role as a vehicle of the knowledge transmission in the arabo-islamic culture. The advent of the Islam and its expansion has led to a major change from an "oral type culture" to a "visual type culture" based mainly on written documents, and image figuration, thus, dispite the religion opposition to the image reproduction. Among the many representation modes that had appeared at that time, calligraphy, which became a new artistic way of writing, the miniature, the painting, the shadow theater, the western theater and in general arts of the image ether fixed or in movement, were from the most important artistic changes. Those new communication moves had evolved as major ways of communication, the oral tradition which had been the unique vehicle for the collective memory storage has to adapt effectively itself to remain as a source of inspiration for artists and creators. One of the most obvious new adaptation mode of the oral tradition that had appeared, the audiovisual creation was one from the most significant. But the audiovisual creation faced many problems mainly because it was a technique imported from foreigner countries. Many trials of the safeguard of the oral tradition have been carried out by several producers and film makers from the oral world the cinema and the television indeed way and do represent the best way to preserve the basic elements of the oral tradition. However the transition from an oral tradition to an image representation tradition (i. E. Cinematographic account) will necessarly lead to a change in the langage form. The analysis of some films made directors form the arab culture, and inspired from earther oral traditio, illustrates the different attitude of the arab film directors towards the inherited patrimony which varies from one to another depending on this moral and intellectual standards in life. Nevertheless, and despite the difficulties faced by the arab oral tradition in integrating completly transmission mode (i. E, cinema), the oral account can without doubt generate new narrative forms in the arab cinema and can be one of the most significant source of its authenticity
Kim, Yang-Hee. "Habiter à la frontière : une question géopolitique vue par le cinéma." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0162.
I started my project by a questioning of the notion of inhabiting, through artistic and cinematic ways. It is going on here under the form of a more intellectual and analytical research, where philosophical and theoretical issues are tackled. This dissertation arises very directly from my actual and personal field experience, and is a development of a large part of my visual works (films, photographies, installations). However, it does not deal immediately with this experience or with these works: they stand, rather, as its empirical foundation, its concrete core. The ideas that I am proffering here are all based on an analysis of the link between cinema at large and the quite particular physical zones designed as “borders” – as inspired by a sensitive perception exerted over a span of more than four years. I am striving here to engage in a consideration of the question, as analytical and as conceptual as possible, without ever abandoning my original point of view, that of a filmmaker whose subject has been embodied in a poetics and in a phenomenology. It is through such a quest of the identity link that one recognizes with a given place (one’s birthplace, a location where one dwells in a stable way), and particularly, in the case of protagonists or authors living in a “deterritorialized” way, that I have endeavoured to put together this thesis, by analyzing, on a par, fiction films and documentaries
Park, Heui-Tae. "Deux modes fondamentaux de la création cinématographique : au-delà de l'émotion (Takeski Kitano) et au-delà du visible (Hong Sangsoo)." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30095.
According to the studies of French philosopher Gilles Deleuze, the arrival of Italian neorealism is the crossing point between a classic form of film (The movement-image) and a modern one (The time-image). Such a distinction is widely endorsed by theorists, critics and historians of films. Far from corresponding to a historical rupture, it refers to two types of films that have their own characteristics. This study intends initially to approach, from Deleuze's typology, the specifics of each of these regimes in terms of creation. The films of Takeshi Kitano, Japanese filmmaker, and Hong Sangsoo, Korean director, are analyzed under this prospect. The former represent a structure based on a classical scheme, while the latter is based on the characteristics of modern film. The analyst also allows following the creative process of these two internationally renowned filmmakers. This study attempts secondly to illustrate that they have a universal perspective in terms of creation
Buyer, Véronique. "Le Mur comme catégorie esthétique centrale dans la création cinématographique de Michelangelo Antonioni (et quelques liens transfilmiques)." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080070.
Beyond the importance of spaces in Michelangelo Antonioni's work, considering the wall allows to highlight the relationships between the characters' sensitive bodies and their environment from this human scale element and to discover that the wall also appears in configurations which do not depend on the notion of volume but on the metacinematographic notion of screen. By studying the various aspects the term "wall" recovers, I attempt to demonstrate that the wall becomes esthetic category by its omnipresence but also by its capacity to extend in all the dimensions of the fable. The thesis is organized according to two ideas-cinemas: the wall-object - which considers the wall according to its most concrete meaning - and the wall-screen - to underline the closeness of the wall, as a surface, with the film screen. In every stage, transverse lines are tightened towards other works and other arts. From this seemingly stable and unchanging element unfold a movement of liberation inherent to the work. Walls are surfaces of movements, forms in movement which lead the characters along the lines of deterritorialisation they propose. As in its concrete reality between two spaces, the wall is always on a limit. Considering the wall is confronting with this limit, this place of shift and instability
Hallé, Esther. "Antonio Pietrangeli, critique et création (1940-1965). : pensées du réalisme cinématographique." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC042.
Antonio Pietrangeli (1919-1968) has been a prominent figure in Italian cinema, as a critic throughout the 1940’s and as a director from 1953. As an actor in the critical debates during the elaboration of neorealism, Pietrangeli places his first film (Empty Eyes, 1953) under the auspices of a neorealist ending season. This style will evolve afterwards towards a realism conceived under the concepts of loss and incompleteness, which is particularly visible in the light of his concern to the condition of women. The present study proposes the first french-language monography about the work of Pietrangeli, with the ambition to establish a dialogue between his critical and filmic work. The hypothesis of a Pietrangelian conception of cinematographic realism, by revealing specific relations between critics and creation, established a dialogue where the realistic question appears as a conceptual tool, which enlightens Pietrangeli's contribution to the elaboration of a cinematic modernism. The first three chapters trace back a "realistic struggle", which is fully part of Italian neorealism’s historiography, and is characterized by its moral specificity. It announces an epistemological transition, meaning that the conception of cinema moves away from an idealistic tradition in favor of existential perspectives, embodied in a filmography where reality, becoming questionable, indicates a skeptical phenomenology, which constitutes the core of the fourth and fifth chapters
Gutman, Pierre-Simon. "La création d'une communauté américaine dans le cinéma de Michael Cimino." Paris 7, 2008. http://www.theses.fr/2008PA070060.
. Michael Cimino's current status in the history of american cinema is very particular, even almost non existent This film maker has asked essentials questions about the american identity. In the trilogy, which constitutes the center of his work (The Deer Hunter, Heaven 's Gate, Year ofthe Dragon}, Cimino takes the Vietnam war to make it the point zero of his own american history. He sets his cinema in the classical hollywood tradition thaï from Griffith to Ford, has always helped build the national identity. Cimino adds the shadow of a doubt, typical from the post Vietnam era. The trilogy presents characters apparently differents, but who all belong to a similar community, made of immigrants with russian roots. The director observes the gradual adaptation of this community in the heart of american society. He evokes the possibility of a national identity built on violence, permanent struggle. The struggle can also be read in a war of classes, provoked by-greed of a certain american society. All these elements turn the melting pot into a very complex entity, who can only barely be held by the observation of strict rituals, able to put together all the different faces of this nation. Maybe the fact Cimino asked questions about the instable and unfinished nature of the melting pot can explain the rejection his movies still suffer in the United States today
Buyer, Véronique. "Le Mur comme catégorie esthétique centrale dans la création cinématographique de Michelangelo Antonioni (et quelques liens transfilmiques)." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080070.
Beyond the importance of spaces in Michelangelo Antonioni's work, considering the wall allows to highlight the relationships between the characters' sensitive bodies and their environment from this human scale element and to discover that the wall also appears in configurations which do not depend on the notion of volume but on the metacinematographic notion of screen. By studying the various aspects the term "wall" recovers, I attempt to demonstrate that the wall becomes esthetic category by its omnipresence but also by its capacity to extend in all the dimensions of the fable. The thesis is organized according to two ideas-cinemas: the wall-object - which considers the wall according to its most concrete meaning - and the wall-screen - to underline the closeness of the wall, as a surface, with the film screen. In every stage, transverse lines are tightened towards other works and other arts. From this seemingly stable and unchanging element unfold a movement of liberation inherent to the work. Walls are surfaces of movements, forms in movement which lead the characters along the lines of deterritorialisation they propose. As in its concrete reality between two spaces, the wall is always on a limit. Considering the wall is confronting with this limit, this place of shift and instability
Martz-Kuhn, Émilie. "Écritures scéniques de la catastrophe humaine dans le théâtre contemporain - Étude de cas & recherche-création." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30048/30048.pdf.
This doctoral thesis in performing arts looks into scenic writings of human disasters in contemporary theatre. It examines dynamics underlying the representation of barbarism within spectacular forms imprinted with a visual dimension. Split into two parts – a first one, critical and a second one, practical -, the work is firstly structured around a corpus composed of three shows : Kamp of the Hotel Modern group, Rwanda 94 of Groupov and Rouge décanté by Guy Cassiers. Through the observation of the works in the light of the complexity and by analysing it with a systemic approach, the study attempts to reveal the moves – aesthetic, perceptive and thematic – that drive these heterogeneous writings. The second part of the thesis deals with a process of experimentation led in the scenic space. The latter, dedicated to outline an original artistic creation, questions occidental memories on the Tutsi genocide in Rwanda. The practical experience echoes back to several issues raised by the critical investigation and proposes another form of reflection, directly led on the stage. Keywords : Contemporary theatre, Research-creation, Complexity, Genocide, Images, Europe.
Dallaire, Frédéric. "Création sonore et cinéma contemporain : la pensée et la pratique du mixage." Thèse, Paris 10, 2014. http://hdl.handle.net/1866/11587.
This thesis describes and analyzes the esthetic, material and conceptual conditions that make the acoustic structures of contemporary cinema possible. The refinement of tools used for manipulating sound, the growing importance the sound designer and the emergence of a new space for sounds to coexist in (brought on by Dolby and multichannel sound systems) are factors that, over the past 30 years, have transformed the way we work with and listen to sound in film. These transformations reveal a new paradigm: mixing gradually imposed itself as the creative and perceptual act capable of accounting for our contemporary sensibility. This thesis explores the effects of the “thought process of mixing” (which functions by resonance, simultaneity, dosage and modulation) on the way we hear and understand the cinematographic experience. Working from the accounts of sound designers (Murch, Beaugrand, Thom Allard…), theoretical texts on film sound (Cardinal, Chion, Campam), documentaries on improvisational musicians (Lussier, Glennie, Frith), fiction films with a acute acoustic sensibility (Denis, Van Sant), philosophical texts on perception (Leibniz, James, Straus, Szendy…) and analyses of the cinematographic sound apparatus, this thesis renders audible the tensions, the recurrences, the structural connections and the problems, old and new, that forge and direct the theoretician, the artist and the auditor’s way of listening. By questioning the auditory dimension of perception, action, space and thought, this thesis aims to change the way we hear, create and think cinema.
Knudson, Ericka. "De l’amour, des femmes et de la Nouvelle Vague : reconfigurations culturelles et création d’une modernité filmique française." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100024.
This research is centered on the idea and practice of a French intimist, cinematic modernity, of an autobiographical nature, inscribed in a cultural tradition where literature is essential in the path to creativity. This work proposes to evaluate the liberation or tension regarding the codes of representation of love at work in certain films, representative of the New Wave, that open an original path to modernity. In France, an entire philosophical and cinephilic movement is founded on the question of modernity: Gilles Deleuze, Alain Bergala, Jean-Louis Leutrat, Jacques Aumont. This study also takes into account the findings of T. Jefferson Kline and the work of Giorgio De Vincenti concerning film that treats literature as a material. Therefore, approaches sometimes considered opposite are presented here as complimentary, seeking to conjugate the aim of Anglo-Saxon and cultural studies (the analysis of the representation of women and the relationships between men and women) with the aesthetic in order to reveal a French characteristic in the modernity of the New Wave – that perhaps goes against the myth of a quasi-documentary « cinéma brut » of improvisation (close to Italian neorealism) – thus a French distinction by their attachment to (or the surpassing of) codes, motifs and topoï of love, to a rhetoric coming from a literary tradition belonging to the French cultural heritage, and by a more profound tendency of these directors to film the intimate, to film women and to film their lives, filtered and revealed by literary « screens »
Tchernava, Irina. "Le cinéma de non-fiction en URSS : création, production et diffusion (1948-1968)." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0095.
The non-fiction cinema, which includes chronicles, documentaries, industrial and educative films is rarely studied as a professional area and as an object of specific political expectations. This studying carries on the daily fabrication of films in Soviet Union from the end of the 1940s till the Kossygin economic reforms in the second half of the 1960s. This work tries to shape up a social history of the soviet cinema industry by studying the professional practices of the film-makers in the Soviet socialist republic of Latvia and in the Sverdlovsk region. It concerns the transformations in film production and distribution by analysing territorial aspect, work conditions, shifting economic role of the non-fiction and materiality of the practices. The period is that of the strengthening of the professional autonomy and the film-makers try to distance themselves from the command whatever are its sources (social, political, industrial)
Tejedor, Manuel. "La caméra, le peintre et le modèle : étude filmique d'une activité de création." Paris 10, 1992. http://www.theses.fr/1990PA100115.
Sherman, Rina. "Aux origines d'une façon de voir, du désir à la volonté de filmer." Paris 10, 1990. http://www.theses.fr/1990PA100110.
In this autobiographic work where only deviations are retained as having historicity, a succession of souvenirs creates the groundwork within which the original landscapes of the author's vision are inflected. The genesis of this vision could be situated at various points : either with its remote origins; or in cape town, the author's place of birth; or even in Paris, place of exile end relentless junction between past origins and the future. Born of an afrikaans calvinist family, the author lingers over a few tableaux : a gilded childhood marled by the first impressions of disarray at the foot of table mountain, followed by the author's youth in Johannesburg, both these periods punctuated by journeys to the Kalahari where her grandparents lived. From a first reconstructed souvenir where "lost in a bed of roses" at the age of three months, in passing by her discovery of racial segregation in a film, the author details a few extravagances of the peoples of her country. This work, a sort of inventory of traces, represents the passage from the desire to share her life experience to the will to transpose it onto film. It is here a matter of concern to recreate a multi-facetted social phenomenon of
Godebarge, Jean-Pierre. "Straub-films ou la musicalité filmique : Bach, Schoenberg et le principe musical dans la création cinématographique straubienne." Paris 3, 1992. http://www.theses.fr/1993PA030080.
Until now, visual approach has been privilegied in cinema , fonorous description makes the music depend on indefined scoring. But they also consider the musical fonction only as a hypostasis of the visual organization in film's frame. We are traying to suggest another trial based on some production choosed among straub j. M. And huillet d. 's movies : straubien films space is based on some acoustical and cimbined principals whichs appear from the composition
Lefort, Christian. "Pier Paolo Pasolini : une philosophie de la création." Paris 8, 1999. http://www.theses.fr/1999PA081663.
Pioud, Géraldine. "Création et (auto-)destruction dans le cinema fossien." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030185.
How can creation and (self-)destruction act in a same creative process ? How could a flm director, who made only fve flms, manage to impose his aesthetic and narrative vision of cinema ? Putting into perspective the life and work of Robert Louis Fosse, also named Bob Fosse, this work asks the question about the link that is established between creation and (self-)destruction in Fosse's cinema. Creation fnds its roots in a classical form of movie-making and the use of "popular" themes. (self-)destruction offers novelty : it enables to always re-create and re-construct. Emerges then a dynamic process that leads to establish the fact that both concepts, creation and (self-)destruction, have always co-existed in the work of Bob Fosse. In contrast to critics specialized in the study of pictorial and cinematographic works, this study accepts its psychobiographical character. This way of doing appears as the only just and effcient way of dealing with the study of an artist who thought that life and show made only one
Godin, Marie-Josée. "L’alliance : recherche-création sur l’application des Cycles Repère à l’écriture dramatique." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30157/30157.pdf.
Cyrulnik, Natacha. "Représenter le monde et agir avec lui : La méthode du documentaire de création." Toulon, 2008. http://www.theses.fr/2008TOUL0008.
ABuilding a representation consists in watching and acting on the word at the same time. Creative documentary film is a way of expression wich is develops both comprehension and knowledge. The case of youth living in a southern France "cité" is a meaningful example of mediology by the way of the object camera in our mediacultural world. Youth change their status by consuming pictures, imitating them, and finally building their own pictures. Interactions between who's filming (the director), who's in front of the camera (the actor), and who's receiving these pictures (the spectators), are the engine to constructe a representation. The challenge consists in giving the world a meaning and appropriating it. Making a movie and building their own identity are linked together
Castanon, Brice. "Renouveau du documentaire en Espagne et nouveau réalisme catalan : le Master en Documentaire de création de l'Université Pompeu Fabra (Barcelone)." Thesis, Reims, 2011. http://www.theses.fr/2011REIML004/document.
As in others European countries, at the end of the 9O's, documentary experiences a new boom in Spain. The Master in Creative documentary of the Pompeu Fabra University takes part to the renewal and is one the main originator. This training center, where a lot of movies are developed, is the origin of a new world of art and promotes the cooperation between producers, creators, technicians and cultural coordinators. In this thesis, we wanted to give an account of the process that considers both local scale (a University) and the global cultural panorama. In a country where "creative documentary" doesn't success in elaborating a tradition, we wanted to question the transmission between filmmakers of different generations in the UPF and, at the same time, the transmission of the concept of "creative documentary", between filmmakers, producers, programm planners. broadcasters and spectators. In these pages, we analyze movies of filmmakers as Jean-Louis Comolli, Joaquin Jorda, José Luis Guerin, lsaki Lacuesta, Ricardo Iscar, Mercedes Alvarez, Xavier Montanyà, Ariadna Pujol, Lupe Pérez and Marc Recha
Gagnon, Marilyne. "Bunker (théâtre), suivi de La représentation de la figure du zombie au cinéma et au théâtre, essai." Mémoire, Université de Sherbrooke, 2014. http://hdl.handle.net/11143/5929.
Foloppe, Virginie. "Dépersonnalisations : du traumatisme à la création." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030131.
Does creation as something to do with the "exercise of severe depersonalization" claimed by Gilles Deleuze in the invention of a personal identity? What methods, directors Alfred Hitchcock, Thomas Vinterberg and Kim Ki-duk they invented to represent women and men subject to the conditions so intolerable that depersonalize them ? Finally, what links can be made between a depersonalization that is a survival strategy to trauma, and another that reflects the tremendous power of the creative act ? My thinking is at the intersection part of two forms of depersonalization in which the psychoanalyst Michel M'Uzan said the radically different fates. Each, he says, is accompanied by distinct affect. Also from these essential differences in the quality of the emotion and the destiny, I analyze in my thesis, the manner in which the creator is able to show us how to deflect the destructive violence of one to for the creative power of the other. Throughout my demonstration, the frequent passages between the narration and the poïesis allowed me, as a result of the proposed Gilles Deleuze and the notion of creativity Donald Woods Winnicott, to consider also creation in terms of identity
Peilloux, Aurélien. "Quête d'un cinéaste autour de la relation dialogique 'art-science' : de l'idée-sentiment dans le processus de création à une approche esthétique de la connaissance." Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC008.
This PhD has been made within the research-creation framework and combines two dimensions : an analytical research one with an artistic practice one (movie making). Therefore, the production of this work consists in both the writing of a manuscript and the production of four movies that refer to each others, discuss together and form a consistent whole. Indeed, they all attempt to respond to the problem raised by this work, namely the invention of hybrid objects between art and science. This question has been developed in two directions. On one hand, the shooting of movies where the staging was inspired by scientific concepts. On the other hand, a study of the creative process from a hybrid methodology, where a scientific approach was combined with a reflection based on my own practice as a movie director. However, these two approaches are fundamentally opposed. The first one relies on the separation between the thinking subject and the analysed object, while the other one relies on a global understanding by the subject which annihilates the distance between him and the world. My experience as a movie director led me to prefer the second approach and I chose to investigate the creative process from my own experience. Again, the result of this reflection is twofold. On the scientific front, I propose an approach of the creative process based on the properties of the aesthetic form. On the artistic front, I shot two movies that stage the frame of the scientific thinking itself
Fouassier, Christophe. "La création cinématographique française et son droit (1895-1995) : l'évolution de l'appréhension juridique d'une activité artistique de sa naissanve à sa maturité." Paris 1, 1999. http://www.theses.fr/1999PA010290.
Niang, Hadja. "Littérature et cinéma africains dans le champ de création de Sembene Ousmane : la source des adaptations." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0007.
Guelwaar, contrary to other works of Sembène Ousmane - Films of which are pulled by news and by novels, followed the inverse sense of the classic plan of the adaptation in the fact that it is a film become novel. Such a peculiarity makes that our work follows two courses: of the paper in the screen and the screen to the paper.The narrative function of Sembène which represents in the writing the art of the African tale constitutes the common point enter a good many of works on the literary and cinematic work of Sembène Ousmane. In leaving of narrative taken care by the "griot-storyteller", our study is anxious to show that the language of the work of Sembène is not only narrative,He is also " monstratif " and especially visual, who language occupies an important part in the reading of the book and the film of Sembène Ousmane
Manzi, Comeau Jeanine. "L'art cybernétique abstrait au cinéma : réflexions sur un essai de transposition filmique du thème de la création." Paris 10, 1985. http://www.theses.fr/1985PA100098.
Lancialonga, Federico. "Contre produire : films, formes et modes de production dans le cinéma collectif italien des années 1950-1970." Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H305.
From the post-war period onwards, Italy witnessed the emergence of new “collective” approaches to film production: in the 1940s and 1950s, it took the form of cooperatives; and in the subsequent decade, it evolved into film collectives or independent film production units. These collaborative endeavors yielded a wide array of films, encompassing a rich diversity of themes and styles : from partisan films to “counter-newsreels,” from fictions to documentaries, culminating in the 1970s militant videotapes. All these films embraced a common political commitment: adopting a collaborative and independent approach for filmmaking as an alternative to the labor-divided and market-oriented film industry. In fact, these films neither embody a desire of withdraw nor a circumstantial response to an inability to break into the well-established commercial networks; on the contrary, they serve as the tangible expression of a deliberate and resolute choice, one made in direct defiance of the prevailing film production system. The neologism “counter-production” aims to underscore the interplay between two fundamental dimensions of the Italian collective cinema: on one hand, the critique of the production modes of “dominant” cinema and, on the other, the embrace of a collaborative approach for filmmaking. In other words, “to counter-produce” extends beyond the mere act of challenging the industry norms, it is also characterized by a critical perspective on certain militant cinematic forms that reduce films to useful tools for political messaging. This dissertation follows a twofold program: it seeks to underscore both the commonalities among these collective practices and the inherent uniqueness found within each cinematic form they explore. By examining a carefully selected body of materials – projects, theories, and collective utopias that surfaced on the “fringes” of Italian cinema during one of the most fertile periods of its history – the overreaching objective is to reevaluate the marginal status of this corpus: rather than occupying a secondary role, it appears to have served as a central and significant experimental ground for pioneering cinematic innovations in Italy from the 1950s to the 1970s
Gignac, Melissa. "Du "scénario" au film : la création du long métrage de fiction aux Etats-Unis et en France dans les années 1910." Paris 7, 2014. http://www.theses.fr/2014PA070087.
My research focused on both American and French feature-length movies from the 1910s. This work relied on three different complementary approaches: industrial, narrative and aesthetic. I focused on three different societies : the Triangle Film Corporation for the American cinema ; the Films Valetta and the Albert Capellani's movies in the S. C. A. G. L. For the French cinema. The first approach concerns screenwriting practices in the film industry in the 1910's (policy of acquiring literary materiel, creation off specific departments - scenario department, lecture department -, etc. ). The second approach - the narrative one - deals with cultural studies and demonstrates how the feature-length movie leads cinema to develop itself in both discursive and political ways. The hypothesis is this one: the feature-length movie permitted the cinema to develop the power of the movie as a social component. Some case studies about drug-films (dealing with opium), colonial films and also melodramas showed how both French and American societies used cinema to represent themselves and tried to employ films to solve their conflicts and contradictions, by a narrative way. The third approach deals with aesthetic and filmic forms
Essoukan, epee Hermann. "La Vision poétique du 'Monde' dans les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache." Electronic Thesis or Diss., Université Grenoble Alpes, 2023. http://www.theses.fr/2023GRALL024.
The present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation
Barreau, Sophie. "Le documentaire télévisé français : de l’art cinématographique à l’industrie audiovisuelle. Etude de cas de la chaîne culturelle ARTE." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030108.
Today the majority of the French documentary pictures are produced by the television industry, and not anymore by the film sector. I am interested in the pre-eminent cultural figure of the French and European broadcasting policy, ARTE. This work tries to rethink the relations between the artistic and the economic, the art and the media, from a field study carried out- held with documentary’s professionals. My analysis develops its structure around three main lines : the evolution of the French documentary’s market , the changes of the symbolic sense and the mode of conception of the documentary pictures, the redefinition of the roles-functions and professional identities of the actors who are implied in the process. The television’s progressive arrival, together with the institutionalization and the establishment of the cinema as artistic practice, disrupted-changed completely the documentary’s market at the level of its economic system of production, distribution [broadcasting], as well as the public subsidies-funds to support the creation. The taxonomy "documentary" is historically transformed. Born with the cinema, this last one loses its qualification of artistic activity by becoming gradually integrated into the media system of the small screen. To understand the diachronic processes by which is made the hybridization of the genres cinema and broadcasting, it seems necessary to analyze the « operators of genre » , i.e. those who define it. To understand better the new documentary programming of ARTE, I analyze the mechanisms of its production and those who participate in it. The creation develops around complicated, erratic and often conflicting processes of socialization and cooperation. The arrival of a new dominating actor in the creation, a television’s employee, causes profound changes in the production line of the pictures
Cheung, Wai-Kwong. "Questions esthétiques et questions techniques autour de la création d'un film d'art en image de synthèse : "Sous d'autres cieux"." Paris 8, 1994. http://www.theses.fr/1994PA080982.
The emergence of new technics for picture production has an incidence on the comportements in individus and in the society. It's just to observer the role of medias where these new images were largely employed. Because of this spectaculary effet, does-it proportionnally have a deep changement on the relation between the designer and his work ? the purpose of this thesis is to compare what we could call the tradition into arts to un ne path towards pictures on which we find th computer. The aim of the analysis is to locate process differences and to mesure them
Délicat, Marcelle. "Le pictural dans la création artistique littéraire, bédéiste et cinématographique. Une lecture intermédiatique des fictions biographies des peintres du début du XXème siècle." Thesis, Pau, 2018. http://www.theses.fr/2018PAUU1041/document.
The aim of this thesis is to read through the media hosts that are the literature, comics and cinema, the presence of pictorial elements in biographical fiction. Here is about a comparative study that considers art as a construction’s place but also the conservation of the history in general and artistic history in particular. In general, the interactions between the pictorial and other arts take two ways. The first way or orientation is the reconstitution of the pictorial field and it's functioning. And the second way or orientation goes through the reappropriation of techniques and means of creation producing pictorial effects with other artistic forms. The insertion of the pictorial may suggests a clear tension between the host media and the inserted form and the result is divided between opacity and transparency; homogeneity and heterogeneity of the host media
Orard, Catherine. "De l'inachevé au cinéma." Paris 1, 1998. http://www.theses.fr/1998PA010516.
The introductory passage of a philosophical nature states the pre-conceived theoretical ideas, contemplation on the whys and wherefores of research and its limits : reflection on the notions of works of art and creation, a full review of the accomplished and the non-accom- plished, of a whole and of a fraction of perfection and non fulfilment and total desire, with reference to T. W Adorno, m. Blanchot, W. Jankelevitch. Where does the notion of the value of total achievement find its bearinf ? What element covers the needs of perfection ? is completion the basic reality of the art of creation ? These issues lead us the relativity of these parameters which describe the classifical work of art "closed form", the quintessence of perfection. . . With these views in mind, this thesis intends to review a large cinematographic corpus. Fellini, Ruiz, Cassavetes, Rivette, Antonioni, Resnais, Wenders, Kieslovski, Tarkovski. . . Where the question is how the world of cinema fails under its own force and breaks with a classical conception of cinematographical art, where ce notions of biginning and of end are steadfast, where a logical developpement in a global sense has a stronghold. . . Constant fluctuation, and obsessive piling-up, wild spending, versatile positioning of the reality and the metamorphosed, an opening to the unexpected, the extraordinary, the improvisation of a work of art which claims broadmindedness and freedom and is free of preju- dice ; here we embrace the development of a real living creature with no climax ; distorsion, diversion, no narration, mysterious messages spin their webs ; no fixed route, complete freedom of interpretation : each director suggests we look into the idea of non-fulfilment within the cinema. Their films show the very image of movement, the flexibility of time with its stoppings and startings : the moulding into a form. The progress within the production is shown at its best to the detriment of the finished product. A film becomes an element of risk, reservation, expectation and even failure. The images fight constantly against the effect of immobilisation and fossilization, leaving all the senses their freedom of movement, never sure, never actually knowing. .
Cutler, Wendy. "Les films bollywoodiens des années 1970-80 : de la réactualisation des mythes anciens à la création de figures mythiques nouvelles." Phd thesis, Angers, 2011. https://theses.hal.science/tel-00979507.
The following thesis focuses on Bollywood cinema from the 1970s and 1980s and the modernizing of ancient myths. The main goal of this research is to concentrate on how Indian popular movies modernize ancient myths by creating new mythical figures, like the " Angry Young Man " played by the actor Amitabh Bachchan, considered as a God in India. This type of cinema can be considered as a modern means of representation of ancient myths, having the ability to adapt these myths according to the demands of the public and the social context of the period in question. A selection of Indian popular movies will be analysed in order to decipher the specific codes of Bollywood cinema, but also in order to find links between different mythologies and civilizations. In view of the subjetcs mentioned, this research will be in line with an intercultural and interdisciplinary approach. Indeed, Indian popular cinema will be highlighted as being a true communications tool, an open window allowing a glimpse on a whole different culture, but also a means of representation of different beliefs, such as those linked to Hinduism - the main religion in India which is particularly represented in the Arts (such as cinema )
Cutler, Wendy. "LES FILMS BOLLYWOODIENS DES ANNÉES 1970-80 : DE LA RÉACTUALISATION DES MYTHES ANCIENS À LA CRÉATION DE FIGURES MYTHIQUES NOUVELLES." Phd thesis, Université d'Angers, 2011. http://tel.archives-ouvertes.fr/tel-00979507.
Maatoug, Safa. "Peinture et cinéma d'animation : investigation en poïétique chromatique." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20050.
This thesis in chromatic poïétic focuses on the relation between painting and animated cinema. it is particularly interested in Florence Miailhe's pictorial and cinematographic work.This thesis is based on a personal artistic practice, nourished by many different experiences; it aims to participate in contemporary approaches to artistic creation and reflection and in the objective of giving my work infinite visibility to cinematographic artistic practices. It is an experimental research which allows to deepen knowledge on the originality of the experience of the cinematographic artists, to explain and analyze their films, to show the meaning and the poetic study chromatic of their creations and its impact in the field of visual arts and cinema. I want to identify the innovative character and to study the technical, scenic and aesthetic repercussions. This investigation is primarily poetic without neglecting the aesthetic and symbolic aspects. the stakes of color and the notions of color, invention, creations will be questioned
Fleckinger, Hélène. "Cinéma et vidéo saisis par par le féminisme (France, 1968-1981)." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030188.
May 1968 in France opens the way to a renewal of a cinema of social and political intervention that most often adopts a documentary form. Two years later, the Women's Liberation Movement a "new feminism" emerges and invites women to fight against their own oppression and for a freedom of choice with matters regarding their body and their sexuality. This thesis proposes to study the relations forged between cinema, video and feminism between 1968 and 1981 in France, both historically and aesthetically, in terms of production/distribution practices and film forms. In what ways has the camera been invested with the task of accompanying and popularizing feminist struggles ? What has the impact of feminism been in the field of cinema and video ? A look at a rich, diverse and little known body of films allows us to trace this complex history and to show that, as a powerful anti¬establishment and direct action instrument, the camera imposes itself as a preferred means of expression and creativity in women's search for an individual and collective identity. The first part addresses the sudden development of the "woman question" in a militant cinema that reconfigures itself after May 1968 : the opening of a specific feminist coalition within a cinema that was mostly oriented towards class struggle reveals itself as very limited and sometimes antagonistic. The second part questions the appearance of an autonomous feminist practice by women that takes a political approach to self-representation in the field of video activism. Here, taking hold of the camera is a response to a political need to speak out and to reappropriate their body and their sexuality through the image. Beyond the hard core of militant films, the third part examines the uses and the feminist politics of cinema. In particular, it puts "women's cinema" to the test in terms of feminism in order to closely examine its theories and practices
Guimarães, Pedro Maciel. "Créer ensemble : l'apport des collaborateurs de création à l'oeuvre de Manoel de Oliveira." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030127.
A film is a collaboration work that feeds on the different sensibilities of the professionals who make it and contribute, more or less significantly, to its author. This study focuses on the key moment of every work of art, its creation. The study of the poetics of film – the making of film – allows for a more profound understanding of the aesthetic challenges involved. Specifically addressing the collaborative relationships of Portuguese filmmaker Manoel de Oliveira, involves inquiring how the ideological, personal and professional relationships the filmaker has with his collaborators determines his concepts of image, editing, his choice of actors and the process of adapting a literary work. The chosen professionals are Portuguese actor Luis Miguel Cintra, French editor Valerie Loiseleux, Swiss Cinematographer Renato Berta and Portuguese novelist Agustina Bessa-Luis. By analyzing these bilateral relationships, this study questions how the presence of the collaborators influences the concept of Oliveira’s scene setting, as well as how being a privileged interlocutor of the Portuguese filmmaker influences the careers of these collaborators. Without calling the author’s work into question, we believe in collaborative cinema, a cinema that says « us » instead of « me ». A cinema where the collaborator is not only a witness to the making of films, but also a sensitive surface and an active presence put to the test in the creation process which he integrates and integrates him
Floquet, Pierre. "Le langage comique de Tex Avery : dix années de création à la M.G.M : 1942-1951." Bordeaux 3, 1996. http://www.theses.fr/1996BOR30039.
Through a conceptual reference to semiotics, the aim of this study is to assess that tex avery's comic language is organised, in his cartoons, around original laws, together with the innovating set-up of the gags. They are rooted in the codes of burlesque cinema. However, these gags break free of its conventional rules and go beyond them, whether the pragmatic relations with the audience, the selection and use of the themes, or the cinematic syntax itself is at stake. Avery's comic language gives a fresh interpretation to the narrative thread of chasing. It evolves through the varied use of the gags, as well as through their grouping within the cinematic structure. Moreover, it is both absurd and transgressive. Avery turns every aspect of reality into his own representation of it, which is not only humoristic and oneiric, but also very much up to date
Dugas, Hélène. "Le rêveur, scénario de film ; suivi de Étude sur la lucidité onirique et réflexion sur le processus de création scénaristique." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33627.pdf.
Fiant, Antony. "Otar iosseliani : tel un demiurge a la surface du film." Caen, 2000. http://www.theses.fr/2000CAEN1291.
Paré, Denise. "Les contes de l'Oikos, création scénaristique, suivi de Une écocritique de la représentation filmique de l'habitat urbain." Mémoire, Université de Sherbrooke, 2014. http://savoirs.usherbrooke.ca/handle/11143/88.
Elipe, Gimeno Javier. "Composer d'après le cinéma muet : une approche théorique et pratique." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080127/document.
This work studies the relationship between the film’s narrative language and the contemporary music speech. The starting point of this work is the study of the new contemporary scores, which were composed for silent films from the 1920’s onwards. To reach these goals, we started from a theoretical vision, to subsequently perform a practical analysis. This gave us the important points to create our analysis model to be used for music composition. This model allows us to clarify the relationship between the film and the music, based on two main axes: the “anchoring points” (giving us the articulation points between the music and the film) and the “reference points” (which deals with the formal elements of both film and music speech). In the last part of our work, we have applied our model to the composition of four personal projects, which were created as an artistic conclusion of our research
Kouts, Aurite. "Silence on tourne! Incidences des interactions entre acteurs dans le cadre d'un processus creatif." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0032.
This thesis studies the nuts and bolts of the filming of a feature film through the interactions of the people working on the set in the particular context of Israeli cinema. My thesis follows the works of sociologists of the broader interactionist school of thought such as Howard Becker or Erving Goffman. The thesis is based on several months of fieldwork as a participant observer on the film set of a contemporary Israeli feature film filmed mostly in Jerusalem as well as thirty interviews which bring an unprecedented overview of the way films are made in the country. Principal photography is the stage of intense collective action during which different agents interact together in a creative process. Thus, the film set is at the center of rich and particular social interactions. By analyzing those interactions, one can uncover their influence on the making of the film. The thesis also demonstrates the peculiarities of filming a feature film in a city, Jerusalem, where religion and the geopolitical context affect the codified organization of the film set
Pailler, Jérémy. "Un cinéma d'animation plasticien : expérience de l'interstice, poétique de la tresse." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20086.
Animation is «the art of manipulating the invisible interstices that lie between frames». Animator Norman McLaren explains that building movement depends on a research practice, that we can only see the result on screen. An experimental cinema can be defined from his comment. The « invisible interstice » opens with the creation of each new image, and so does the creative disorder, that goes along with questioning the artistic practice and the film development. During production, animators experiment the interstice. New narrative and visual forms can emerge from such an approach, which stimulates dialogues and invention : fixed pictures meet moving pictures, fiction crosses creative development, and media interlace. A poetic of the braid builds itself. This PhD proposes to characterise and tell the creator's explorative journey, and to define his process. We will identify the enlaced forms he creates, and we will propose concepts such as « filmed illustrations » and «ectoplastic» material. Experimental cinema will be defined as a « third » or an « out » cinema. This PhD adopts a line of creation and research, based on a continuous relationship between artistic experiences and theory
Welker, Cécile. "La fabrique des "nouvelles images" : l’émergence des images de synthèse en France dans la création audiovisuelle (1968-1989)." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA116/document.
Between the first PhD in computer graphics (defended in 1968) and the first entirely synthetic advertisement broadcast on television (1983), computer-generated images became “new images”. The aim is not to assess these so-called new images according to their distinctive qualities of rupture or continuity, as the expression would suggest, but rather to study their mode of production and representation in order to determine what they show from the techniques employed, and the imaginative worlds that they convey at the time of the emergence of digital images, like so many creative suggestions but also ideological issues. Studied first from a technical, then from an aesthetic point of view, thanks to the cross-study of testimonies, grey literature and a formal analysis of the movies, these productions show a process of recovery of the medium, before and after the image. This PhD not only defines an “official” history of computer-generated images in France, replacing as precisely as possible the productions in their technical, political and cultural environment, but it also reveals when computer-generated images are innovating products, from their places of fabrication to their places of legitimacy. The conclusions question the different local circulations of people, tools and images, at a time when the cultural policies of the year 1981 promotes the bond between art and computer, and the indiscipline of creations
Champagne, Renée. "Lavoisier à la mer : recherche-création autour de la problématique de la réception théâtrale." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25651/25651.pdf.
Langlois-Marcotte, Dominic. "Adaptation cinématographique de la nouvelle Femme de lumière de Claude Vallières : scénario, film, démarche de création et réflexion sur la lumière dans le film noir." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28116/28116.pdf.
Le, Blanc Florence. "Les épaves scintillantes : emplois autofictionnels de la photographie au sein du récit filmique." Doctoral thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/36804.
Lafleur, Valérie. "QI GONG CRÉATEUR. Potentialité du Qi Gong comme outil de création au théâtre." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29414/29414.pdf.