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Codó, Martínez Jordi. "El cinema com a espai intercultural. La influència asiàtica en el cinema d'Occident: contextos, conceptes i casos." Doctoral thesis, Universitat Ramon Llull, 2013. http://hdl.handle.net/10803/104535.
Повний текст джерелаАнотація:
En un món social cada cop més nodrit per les interconnexions culturals, el cinema - expressió artística que és filla inequívoca del seu temps- es conforma des dels seus inicis a través de la integració i la interacció de formes expressives diverses i allunyades. Els darrers tres lustres han vist un impuls en la referida tendència, promoguda per la globalització de la indústria fílmica i, en bona mesura també, pel creixement (i/o la voluntat exportadora) dels cinemes asiàtics. La influencia d'aquests cines en el mainstream internacional (ja sigui el de l'entreteniment o el d'art i assaig) és cada cop més patent, i s'aventuren noves formes d'expressió cinematogràfica i d’anàlisi. El present treball vol reflexionar sobre la naturalesa d'aquests intercanvis, tot observant quines idees i practiques es posen en joc en la producció de films de caràcter transnacional. Conceptes com 'interculturalitat', 'cinema nacional', 'autoria' o 'orientalisme' en són els protagonistes, juntament amb l'estudi d'un cas: la influencia del cinema japonès en !'obra de Jim Jarmusch.En un mundo social cada vez más nutrido por las interconexiones culturales, el cine expresión artística que es hija inequívoca de su tiempo- se conforma desde sus inicios a través de la integración y la interacción de formas expresivas diversas y alejadas. Los últimos tres lustros han visto un impulso en la referida tendencia, promovida por la globalización de la industria fílmica y, en buena medida también, por el crecimiento (y/o la voluntad exportadora) de los cines asiáticos. La influencia de estos cines en el mainstream internacional (ya sea el del entretenimiento o el de arte y ensayo) es cada vez más patente, y se aventuran nuevas formas de expresión cinematográfica y de análisis. El presente trabajo quiere reflexionar sobre la naturaleza de estos intercambios, observando qué ideas y prácticas se ponen en juego en la producción de filmes de carácter transnacional. Conceptos como 'interculturalidad', 'cine nacional', 'autoría' u 'orientalismo' son los protagonistas, junto con el estudio de un caso: la influencia del cine japonés en la obra de Jim Jarmusch.
In a social world increasingly nourished by cultural interconnections, film -an artistic expression that is an unequivocal output of its time- has been shaped from its beginnings through the integration and interaction of various and distant forms of expression. The last fifteen years have seen a boost in the aforementioned trend, promoted by the globalization of the film industry and, to some extent also by the growth (and / or will to export) of Asian cinemas. The influence of these cinemas in the interntional mainstream (either for entertainment or arthouse) is increasingly evident, and puts forward new forms of cinematic expression and analysis. The present work reflects on the nature of these exchanges, by observing which ideas and practices come into play in producing films with a transnational personality. Concepts such as interculturality, national cinema, authorship or orientalism are the protagonists, along with a case study: the influence of Japanese cinema in the work of Jim Jarmusch.
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Manzo, Liliana <1988>. "Il cinema indipendente in Cina." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3540.
Повний текст джерелаАнотація:
Questa tesi propone un’analisi dettagliata del rapporto tra i registi Zhang Yuan, Wang Xiaoshuai e Jia Zhangke, tre dei maggiori esponenti della generazione underground/indipendente della Cina moderna, con la censura cinese e i festival cinematografici internazionali. Prendendo in esame ogni singolo regista ho indagato il quadro generale della situazione che vede i registi indipendenti cinesi a cavallo tra il cinema mainstream e quello underground.
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Carter, Sandra Gayle. "Moroccan cinema : what Moroccan cinema? /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Повний текст джерела
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Turajlic, M. "Cinema Komunisto : cinema as a memory site." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/9qx73/cinema-komunisto-cinema-as-a-memory-site.
Повний текст джерелаАнотація:
Cinema Komunisto is a documentary film about the use of the cinematic image in the creation of the political narrative of socialist Yugoslavia, taking as its starting point an abandoned film studio that had once been the crown-jewel of the Yugoslav film industry. An intensive five-year research process resulted in a story told through a montage of clips from fiction films and exclusive documentary archive, interspersed with interviews with key filmmakers, actors and studio bosses, as well as President Tito’s personal projectionist. In the introduction, a brief historical overview establishes the central position of cinema in socialist Yugoslavia, its contribution to the ‘imagined community’ in it’s articulation of political myths and the narration of the common past. Transitioning over to the present-day, the commemorative function of cinema is discussed in the context of post-war and post-socialist public discourse. A theoretical analysis of the relationship between cinema and history follows. Beginning with the concerns over the use of cinema as historical document, it extends to challenges faced by filmmakers seeking to ‘revision’ the past (Rosenstone, 2006)through the making of historical films. Starting with the Annales historians, such as Marc Ferro, and their contribution to the liberation of film from the requirements of written historiography, the argument is made for separating visual historical discourse from historical evidence (Ernest, 1983) and the challenge of making films with cinematic language (de Baecque, 2008)) is taken on. The final theoretical section discusses the impact of the ‘memory turn’ on the meeting between cinema and history, and argues for adopting the key concepts of cultural memory, such as it’s present-day operation, instrumentality and mediality as useful tools for this inquiry. Pierre Nora’s concept of lieux de mémoire proves fundamental as an analytical tool of the analysis of films as ‘memory sites’. The memory turn is then situated within the context of postsocialist societies, such as Yugoslavia, where films become a useful means ofrepresenting the ‘transition of meanings’ taking place. Adopting the concepts of Robert Rosenstone, the next section responds to the challenge of developing ‘rules of engagement’ that would allow for a particular ‘historical understanding.’ By situating Cinema Komunisto within the tradition of refractive cinema (Corrigan, 2011), particularly the use of cinema as an expression of history (Godard’s Histoire(s) du cinéma) or of history written by decree (Marker’s The Last Bolshevik), I set out to assess and build on aesthetic and philosophical concepts developed by Marker and Godard. Closer to home, inspiration is drawn from filmmaker Dušan Makavejev and his approach of developing ‘theory in practice’ in Innocence Unprotected. The elaboration of rules of engagement involves re-working the visual material, including the free mixing of documentary archive and clips from feature films, decontextualising and interrogation of images. Use of concepts such as that of intentional disparity (Baron, 20014) allows the subversion of the intended use of images. Thesection on narrative voice questions the establishing of the right critical distance and subjective positioning of the author as narrator. Following the decisions to eschew an all-knowing voice-over, and to rely on character-narration, the editing approach becomes vital. Montage allows the elaboration of a philosophical approach, invoking Benjamin’s concept of the dialectic image land the rapprochement of historical fragments to provoke critical reflection. Finally, temporal disunity and spatial articulation are discussed as narrative strategies. Temporal non-linearity and parallels in the dramaturgy add the ability to chart transitioning historical meanings into the present-day, tying back to concepts of social memory as the traces of the past in the present. Spatial narration is discussed in light of situated testimonies in geographical lieux de memoire, and the narrative and symbolic meaning of ruins, as markers of social forgetting. Both strategies prove to be valuable as ‘rules of engagement’, in particular because of the political dimension of constructing memory texts. In conclusion it is argued that the historical understanding achieved by the adoption of the discussed ‘rules of engagement’ achieves a reconciliation of subjective truth and intimate lyricism, with the philosophical and pedagogical aim of a critical reflection on conventional historical narration. As a memory text, Cinema Komunisto positions memory before historical truth, and ultimately managing to find meaning in ruins.
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Silva, Iomana Rocha de Araújo. "Cinemas fluidos: análise das interrelações entre cinema independente experimental brasileiro e arte contemporânea no contexto pós-cinema." Universidade Federal de Pernambuco, 2014. https://repositorio.ufpe.br/handle/123456789/13154.
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A partir da observação do contexto atual da produção do cinema independente experimental brasileiro, notamos a interação estética e conceitual deste cinema com elementos da arte contemporânea. Esta produção nos remete a um contexto caracterizado pela expansão dos conceitos do que se entende por cinema, transbordando as características formais e estéticas do cinema tradicional. Numa primeira parte enfatiza-se alguns filmes dentro do que chamamos aqui de cinema independente experimental contemporâneo brasileiro, e a partir deles é feito uma analise associativa com segmentos da arte contemporânea, como a performance, arte processual, arte conceitual, criações em rede, minimalismo, entre outros. Em uma segunda parte, observase esta produção cinematográfica e essa interação com a arte contemporânea enfatizando a experiência estética. Foca-se na valorização da sensibilidade e subjetividade do espectador em sua relação com a obra, tendo por base teóricos como Didi-Huberman e Merleau-Ponty. Por fim, embasado pelo conceito de “efeito cinema” de Philippe Dubois, apontamos para um cenário de filmes fluidos, uma experiência imersiva que evoca a participação do espectador para preencher seus vazios, filmes em que o espectador se faz necessário para a obra se fazer completa, evocam uma experiência estética específica, à qual associamos o conceito de “efeito instalação”.
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Xue, Fei <1993>. "Cinema cinese e società ——Traduzione e commento traduttologico di tre capitoli del libro Il cinema asiatico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15385.
Повний текст джерелаАнотація:
Abstract
Chinese film has a history for more than a century. The Chinese film records the great changes in politics, economy, and culture within the hundreds of years of history. Chinese filmmakers, have spread the Chinese culture to all parts of the world. Nowadays Chinese movies have gradually become an indispensable part on the important international film festival, they are constantly updating people’s understanding of China all over the world.
The first chapter of the thesis focuses on the social changes in China and its impact on the development of Chinese film, the role of Chinese drama and kung fu in Chinese movies, and the China’s sixth generation of film directors. In the second chapter of the thesis, I translated (from Italian to Chinese) the preface part, fourth chapter and sixth chapter of the book "IL cinema asiatico” (2011) by Dario Tomasi, an Italian film history researcher. This book introduces the Asian film in an objective way, from the perspective of foreign film researchers, it tells about general understanding and the detailed information regarding Asian movies (only the part of Chinese papers is selected in the thesis), what’s more it analyzed the social background reflected through the movies in different historical periods and the styles of the sixth generation of film directors professionally. The last part of the thesis is a translation commentary. In this part, I respectively analyze the original text and the translation, and explain the problems encountered in the process of translation. In the third chapter I illustrate the relevant translation strategies adopted with practical examples towards those problems.
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Benoski, Diogo Albino. "Cinema." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/102239.
Повний текст джерелаАнотація:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Gradução em História.Made available in DSpace on 2013-07-16T00:24:47Z (GMT). No. of bitstreams: 1 212596.pdf: 2022407 bytes, checksum: 64fed3ba42724bd32159aa5d7f07ad27 (MD5)
O objetivo deste trabalho é analisar a figura do doente mental construída pelo cinema. Nesta perspectiva, o estudo responde a uma série de indagações: o que é loucura, o que é cinema, e como se estabelecem as relações entre história e cinema. Pelo lado da loucura, podemos dizer que ela é definida de acordo com sua etiologia. A psiquiatria, medicina especializada no ramo, busca responder a esta questão ao englobar dois métodos principais: o orgânico, que considera as causas fisiológicas; e o psicológico, que considera os sentimentos reprimidos como causa da doença. Pelo lado do cinema, destacam-se os aspectos técnicos e o estilo de narrativa como suas principais características. Unindo estes dois elementos, o cinema e a loucura, o trabalho encontra subsídios para estudar os seguintes aspectos: as representações do louco de causa psicológica e do louco de causa orgânica. Ainda analisam-se os meios que a psiquiatria utilizou, nos filmes, para controlar essa loucura.
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Ozdil, Yilmaz. "La construction visuelle des identités kurdes : cinema turc, cinéma kurde." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030165.
Повний текст джерелаАнотація:
Dans les quatre pays dominant le Kurdistan, (Turquie, Iran, Irak et Syrie), la question kurde se traduit avant tout sous forme de visibilité/ invisibilité, autour de la question de la reconnaissance des Kurdes en tant que Nation déniée. Notamment en Turquie, le premier des pays à avoir imposé aux Kurdes son modèle d'Etat-Nation, cette question renvoie aux politiques négationnistes étatiques menées contre la culture et l'identité kurdes, considérées dès 1924, comme des obstacles au processus de création d'une identité nationale turque. Dans ce rapport conflictuel entre le nationalisme turc et le nationalisme kurde, également fruit d'une mémorisation traumatique et d'une longue histoire de résistance kurde dans chaque partie du Kurdistan, l'imaginaire des Kurdes renvoie а une dimension historique devenue spontanément une référence essentielle du traitement cinématographique de la « kurdicité », sous forme d’interaction construite par les Kurdes eux-mêmes ou créée par leurs adversaires politiques.Notre thèse s'efforce de montrer cette influence durable du nationalisme sur le traitement cinématographique de la « kurdicité », principalement dans le cinéma turc traitant les Kurdes sans les designer en tant que Kurdes, puis dans le cinéma kurde au service de la « cause kurde » après les années 1990In the four countries dominating Kurdistan (Turkey, Iran, Iraq and Syria) the Kurdish question translates first and foremost under the concept of visibility/invisibility, around the problem of the recognition of the Kurds as a denied nation. This is especially apparent in the case of Turkey, the first of the countries which imposed its own nation-state on the Kurds : this question is associated with the negationist state policies on Kurdish culture and identity,which, since 1924, have been considered as obstacles on the path to the creation of a nationalTurkish identity. In this conflictual relation between Kurdish and Turkish nationalisms – the fruit, among others, of a traumatic memory and a long history of Kurdish resistance inrespective sections of Kurdistan – the imagery of the Kurds refers to a historical dimensionwhich has spontaneously become an essential reference of cinematographic treatment of« Kurdishness » under the form of interactions constructed by themselves or by their own political opponents. The present thesis aims at describing that permanent influence of nationalism on the cinematographic treatment of « Kurdishness » in the Turkish cinema which principally treats the Kurds without designating them as Kurds, then in the Kurdish cinema in the service of « Kurdish cause » following the 1990s
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Gontijo, Rodrigo Corrêa 1974. "Live Cinema : práticas expandidas do cinema experimental." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284494.
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Orientador: Francisco Elinaldo TeixeiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Com mais de dez anos de existência, as performances de Live Cinema apontam para diversos caminhos com o surgimento de novas ideias e experimentações que foram impulsionadas pelo resgate de propostas desenvolvidas ao longo da história do audiovisual. A primeira parte desta pesquisa propõe um retorno às origens do cinema para mapear as produções que se aproximaram do campo de outras artes e desenvolveram narrativas desviantes, herdadas pelo Live Cinema. A segunda parte realiza um levantamento das características das manipulações de imagem em tempo real. Partindo de um foco nos processos fílmicos, aponta os traços recorrentes e padrões repetitivos que procedem de genealogias distintas, oriundas de pensamentos anteriormente experimentados nos campos das artes visuais, artes performáticas, cinema experimental, música e redes telemáticas que, ao se juntar com o Live Cinema, geraram três tendências: Cinema do Banco de Dados, Cinema em Circuito Fechado e Cinema Generativo
Abstract: With over ten years of existence, the performances of Live Cinema indicate different ways with the emergence of new ideas and experiments that were driven by the recurrence of proposals developed over the history of audiovisual. The first part of this research returns to the origins of cinema to bring up the productions that approached to the field of arts, and developed different kinds of narratives, inherited by Live Cinema. The second part conducts a research about the characteristics of image manipulations in real time, and starting from a filmic focus on processes, points out the recurrent and repetitive patterns, that come from different genealogies, thoughts coming from previously experienced in the fields of visual arts, performing arts, experimental film, music and telematic networks. All of them, together with Live Cinema, developed three trends: Database Cinema, Close Circuit Cinema and Generative Cinema
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Francisco, Maria Patrícia. "Um outro cinema - cinema documentário e memória." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29052009-152808/.
Повний текст джерелаАнотація:
A dissertação tem como proposta uma reflexão sobre o processo de realização de um documentário, a partir de minhas reflexões como realizadora. O trabalho tem como marco teórico e prático a memória na proposição de uma forma documental. Parto de conceitos literários sobre a memória subsidiada com referências fotográficas na invenção do conteúdo do documentário. Assim, entre filme e texto, tenho como propósito a apresentação de um pequeno panorama da história do cinema, focando alguns pontos referenciais que resultaram em mudanças para a linguagem do documentário contemporâneo. Na finalização do processo de um filme, estabeleço relações entre o ato de montar e uma possibilidade de montagem apontada por Jean-Luc Godard.The dissertation has as proposal a reflection on the process of to do a film documentary, starting from my reflections as director. The text has as theoretical and practical mark the memory in the proposition in a form documental. I leave of literary concepts about the memory subsidized with photographic references in the creation of the content of the documentary. Like this, between film and text, I have as purpose the presentation of a small panorama of the history of the movies, showing some primordial points that resulted in changes for the language of the contemporary documentary. In the finalization of the process of a film, I establish relationships among the action of editing and an edition possibility seen by Jean-Luc Godard.
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Stutz, Fernando Henrique Lacerda. "Cinema estrutura: estudo genealógico do cinema estrutural." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4727.
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Previous issue date: 2015-07-21In 1969 the film critic P.A.Sitney said that, suddenly, a cinema structure "had emerged." Although imprecise, his observations were responsible for triggering a long process of discussions about a kind of cinema that, in general, was characterized by self-reflectiveness and antiillusionist processes. The exploration of the filmstrip's materiality, of the alternative projection and camera-capture methods, of the different editing processes and articulation between sound and image, as well as a number of other procedures that called attention to the cinematic structure, were taken as central features of those "structural films." In the search of a genealogical approach of the facts and building on key authors of the genealogical method, especially Nietzsche and Benjamin, alongside with the help of historicaldocumentary data, this research has made clear that the emergence of a dedicated cinematography to its own structure, had derived from a historical development marked by the emancipation of cinema as art, as well as from the development for developing alternatives to the set of cinematic codes agreed by the film industry. From the avant-garde of the 1920s to the artistic movements of the postwar 1950s, the will to acquire an "essential cinematic language have mobilized artists and filmmakers to produce experimental works that questioned such codes, giving rise to the structural films. New York, London and Vienna, altogether saw the development of a filmic production that prioritized to discuss the structural basis of cinematic experience and cinematic discourse from the visual perception phenomena, to cognitive processes during the view. Heterogeneously, the so-called structural works not only cast new light on the film practice itself, expanding its limits; but also demonstrated the possibility of using cinema as an useful instrument for philosophical speculation. Making "films about films", the structural filmmakers completed the avant-garde project of employing film as an autonomous art-form, turning its attention to its own structure, and thereby making the structure of things, the man and his thought more and more visible
Em 1969 o critico de cinema P.A.Sitney alertou para o fato de que, de súbito, um cinema da estrutura havia emergido . Apesar de imprecisas, suas observacões foram responsáveis por desencadear um longo processo de discussões acerca de um tipo de cinema que, em sintese, caracterizava-se por ser auto-reflexivo e anti-ilusionista. A exploracao da materialidade da pelicula fotoquimica, dos métodos alternativos de projecao e captacao, dos sistemas matemáticos de montagem e articulacao entre som e imagem, bem como de uma série de outros procedimentos que chamavam a atencao para a estrutura do cinematografo, foram tomados como caracteristicas centrais daqueles filmes estruturais . Buscando uma visao genealogica dos fatos e tomando como base autores fundamentais do método genealogico, especialmente Nietzsche e Benjamin, aliados a investigacao de dados historico-documentais, esta pesquisa tornou explicito que a emergencia de uma cinematografia voltada para sua propria estrutura derivou do desdobramento historico de um processo marcado pela emancipacao do cinema como arte e, consequentemente, pela elaboracao de alternativas ao conjunto de codigos convencionados pela indústria cinematográfica. Das vanguardas da década de 1920 aos movimentos artisticos do pos-guerra dos anos 1950, a vontade pela aquisicao de uma linguagem essencialmente cinematográfica mobilizou artistas e cineastas a produzirem obras experimentais que problematizaram tais codigos, fazendo emergir o cinema estrutural. A partir de Nova Iorque, Londres e Viena, desenvolveu-se um tipo de producao que priorizou discutir as bases constituintes da experiencia e do discurso cinematográfico - da percepcao visual aos processos cognitivos. De modo heterogeneo, as chamadas obras estruturais nao apenas lancaram novas luzes sobre o proprio fazer-cinema, expandindo seus limites; mas também demonstraram a possibilidade de utilizá-lo como um meio útil para a especulacao filosofica. Fazendo filmes sobre filmes , os realizadores estruturais completaram o projeto vanguardista de encarar o cinema como arte autônoma que, voltando-se para sua propria estrutura, também tornou visiveis a estrutura das coisas, do homem, e de seu pensamento
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Delgado, Benjamin Fernando. "The Cinema is Dead. Long Live the Cinema: A Multiple Case Study of the Connection Between Community and Transitional Cinemas." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1372777410.
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com, patsorn_sungsri@hotmail, and Patsorn Sungsri. "Thai Cinema as National Cinema: An Evaluative History." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.145601.
Повний текст джерелаАнотація:
This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004).
At its core, this thesis adopts the ideas of Higson, ORegan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employedeconomic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertations text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema.
Of particular relevance is this dissertations emphasis on three resilient and potent signifiers of Thai identitynation, religion, and monarchyand their interrelationship and influence in the development of Thai National Cinema. These three pillars of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Nazareth, Adriano Joaquim Carvalho Barbosa. "O cinema está morto. Que viva o Cinema!" Doctoral thesis, Faculdade de Belas Artes da Universidade do Porto, 2006. http://hdl.handle.net/10216/10922.
Повний текст джерелаАнотація:
DoutoramentoParte I A primeira parte deste trabalho consubstancia-se em três verbos : apresentar, reflectir, interrogar. Fiel ao objectivo implícito no subtítulo - Subsídios para o ensino da cinematografia numa escola de arte elaborou-se uma relação largada e abrangente das varias técnicas de registo de imagem em movimento acompanhada de notas históricas sobre a cinematografia guardando um especial enfoque sobre cinema e televisão. Em um segundo momento reflecte-se sobre a evolução técnica e estética da dita cinematografia com a consequentes interrogações sobre o futuro da mesma. A segunda parte da dissertação é constituída prevalentemente por objectos filmicos paradigmáticos de observações e reflexões maturados na experiência e contacto com as realidades estudadas e apresentadas na 1ª parte. Segue-se um elenco detalhado da I e II partes do trabalho. Introdução ao fenómeno do registo da imagem em movimento desde a visualização de um objecto às possibilidades de interpretação e registo. Breve história sobre a escrita pela luz e seu desenvolvimento técnico até à sua utilização informativa, formativa e artística. O desenvolvimento da «Escrita pela Luz« (Photo-Grafia), e a possibilidade de se aprisionar o tempo e o espaço numa determinada fracção do próprio tempo. A iconografia usada pela escrita pela luz, como expressão simples e apelativa quando utilizada como signo significante/ identificativo. A imagem seu registo e conservação. Se a fotografia mostra o real, o imutável, na fracção de segundo fixada no tempo, a cinematografia recria o tempo dando-lhe uma nova ordem sequencial. Os primórdios da cinematografia: formas de registo e formas de utilização. A ficção e o documentário tipologia formação/informação/investigação. A fala e a língua da cinematografia. Breve história da cinematografia, sua evolução técnica estética e poética. Linguagem utilizada pela cinematografia. A narrativa fílmica no espaço e tempo, sintetizando a arte do tempo. Técnicas de registo - sistemas analógicos e digitais . A animação dos primórdios aos dias de hoje . Regras da linguagem figuras de palavras e figuras de pensamento . Regras da animação repouso, movimento e acção. Tipos de movimento e enquadramentos. Linha guia da animação. Características principais das figuras a animar imagem/som. Os temas o estilo conteúdo/forma. A trilogia forma/figura/fundo. O desenvolvimento técnico da animação e as alterações levadas a efeito nas narrativas. Breve reflexão sobre alguns produtos animados. Relação entre emissor/receptor novos códigos empregues. A animação contemporânea e o publico alvo. Os efeitos especiais e os seus manipuladores. A cinematografia ligado a manifestações artísticas. O cinema como arte autónoma ou como reprodução em síntese de elementos. A cinematografia e as três artes verbal, figurativa e sonora correspondências. O cinema e a diversidade da sua informação. A significação cinematográfica. Características de um texto cinematográfico. Divisão das formas superiores de comunicação. A ficção e as necessidades afectivas racionais e irracionais. Formas diferenciadas de comportamento. Objectos cinematográficos; resumida apreciação sobre alguns autores. O cinema espectáculo, o cinema industria e o cinema de autor, - compromissos. Documentário: conteúdo/forma. Trajectórias do cinema não ficcional. Breve nota histórica sobre o documentário. Correntes cinematográficas no cinema não ficcional - Neo-realismo - Free Cinema - Cinema manifesto - O cinema/político - O documentário exploração - A natureza e o documentário - Arte tema de documentário - Documentário especulativo. A cinematografia e a televisão. Diferenças e semelhanças. Estações de televisão generalistas e temáticas características conteúdo/forma. Mapa tipo/programação. Imagem/enquadramento excesso de informação nas televisões generali stas. Audiovisual - cinema versus televisão. Considerações sobre produção de um programa televisivo.
Part I The first part of this work is sustained by three verbs: to present, to reflect and to question. Faithful to the implicit objective in the subtitle financial support for cinema education in an Art School has been developed a broad and large relationship between the various techniques of moving image registration and historical notes about cinematography with special emphasis on cinema and television. On a second moment is made a reflection on the technical and aesthetical evolution of the so-called cinematography with resulting questions raised about its future. The second part of the dissertation consists of four film objects which stand as paradigms of observation and reflection matured in the experience and contact with the realities studied and presented at the first part. Outline of the 1st and 2nd part of this work: Introduction to the phenomena moving images registration from the visualization of an object to the possibility of interpreting its registry. Brief History about the practice of writing with light, and it s technical development, until it s informative, formative and artistic usage. The development of writing with light (Photo-Graphics) and the possibility of imprisoning space and time in a given fraction of time itself. The iconography used by writing with light, as a simple and appealing expression when used as significant/identifying sign. The image , its registry and conservation. If Photography shows the real, the unchangeable, in fixed a fraction of a second in time, then cinematography recreates time providing a new sequential order. The origins of cinematography: forms of registry, forms of usage. Fiction and Documentary typology formation/information/research. The speech and language of cinematography. Brief history of cinematography, its technical, aesthetical and poetical evolution. Language used in cinematography. The film narrative in space and time, synthesizing Art in space. Techniques of registration Analogue and Digital systems. From the early days of Animation to the present. Roles of the language figures of speech and figures of thought . Rules of Animation rest, movement and action. Types of movement and framing. Guidelines of Animation. Main characteristics of Animation Characters Sound/image. Style topics content/form. The trilogy Form/Figure/End. Technical development of Animation and necessary changes for narrative. Brief reflection on some Animation products. Relation between emitter/receptor, new applied codes. Contemporary Animation and its target audience. Special Effects and its manipulators. Cinematography as a form of Art Expression. Cinema as an autonomous Art or as reproduction a synthesis of elements. Cinematography and three Arts verbal, figurative and sonic correspondences. Cinema and the diversity of information. The cinematographic signification. Characteristics of a cinematographic text. Division of superior form of communication. Fiction and its rational and irrational needs. Differentiated forms of behaviour. Cinematographic objects; summary of some authors. Show Cinema, Industry Cinema and Author Cinema compromises . Documentary: Content/form. Trajectories of non-fictional cinema. Brief historical notes on documentary. Cinematographic trends on non-fictional cinema Neo Realism Free Cinema Manifest Cinema Political Cinema Exploiting Documentary the nature of Documentary Art as Documentary Theme Exploratory Documentary. Cinema and Television. Differences and resemblances. Television Stations General and Thematic characteristics content/form. Map type/programming. Image/framing excess of information on generalist television. Audiovisuals cinema versus television. Considerations on the production of a Television program.
15
Sungsri, Patsorn. "Thai cinema as national cinema: an evaluative history." Thesis, Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/354/.
Повний текст джерелаАнотація:
This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004).
At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema.
Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
16
Sungsri, Patsorn. "Thai cinema as national cinema : an evaluative history /." Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/354/.
Повний текст джерелаАнотація:
This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004).
At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema.
Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
17
Nazareth, Adriano Joaquim Carvalho Barbosa. "O cinema está morto. Que viva o Cinema!" Tese, Faculdade de Belas Artes da Universidade do Porto, 2006. http://hdl.handle.net/10216/10922.
Повний текст джерелаАнотація:
DoutoramentoParte I A primeira parte deste trabalho consubstancia-se em três verbos : apresentar, reflectir, interrogar. Fiel ao objectivo implícito no subtítulo - Subsídios para o ensino da cinematografia numa escola de arte elaborou-se uma relação largada e abrangente das varias técnicas de registo de imagem em movimento acompanhada de notas históricas sobre a cinematografia guardando um especial enfoque sobre cinema e televisão. Em um segundo momento reflecte-se sobre a evolução técnica e estética da dita cinematografia com a consequentes interrogações sobre o futuro da mesma. A segunda parte da dissertação é constituída prevalentemente por objectos filmicos paradigmáticos de observações e reflexões maturados na experiência e contacto com as realidades estudadas e apresentadas na 1ª parte. Segue-se um elenco detalhado da I e II partes do trabalho. Introdução ao fenómeno do registo da imagem em movimento desde a visualização de um objecto às possibilidades de interpretação e registo. Breve história sobre a escrita pela luz e seu desenvolvimento técnico até à sua utilização informativa, formativa e artística. O desenvolvimento da «Escrita pela Luz« (Photo-Grafia), e a possibilidade de se aprisionar o tempo e o espaço numa determinada fracção do próprio tempo. A iconografia usada pela escrita pela luz, como expressão simples e apelativa quando utilizada como signo significante/ identificativo. A imagem seu registo e conservação. Se a fotografia mostra o real, o imutável, na fracção de segundo fixada no tempo, a cinematografia recria o tempo dando-lhe uma nova ordem sequencial. Os primórdios da cinematografia: formas de registo e formas de utilização. A ficção e o documentário tipologia formação/informação/investigação. A fala e a língua da cinematografia. Breve história da cinematografia, sua evolução técnica estética e poética. Linguagem utilizada pela cinematografia. A narrativa fílmica no espaço e tempo, sintetizando a arte do tempo. Técnicas de registo - sistemas analógicos e digitais . A animação dos primórdios aos dias de hoje . Regras da linguagem figuras de palavras e figuras de pensamento . Regras da animação repouso, movimento e acção. Tipos de movimento e enquadramentos. Linha guia da animação. Características principais das figuras a animar imagem/som. Os temas o estilo conteúdo/forma. A trilogia forma/figura/fundo. O desenvolvimento técnico da animação e as alterações levadas a efeito nas narrativas. Breve reflexão sobre alguns produtos animados. Relação entre emissor/receptor novos códigos empregues. A animação contemporânea e o publico alvo. Os efeitos especiais e os seus manipuladores. A cinematografia ligado a manifestações artísticas. O cinema como arte autónoma ou como reprodução em síntese de elementos. A cinematografia e as três artes verbal, figurativa e sonora correspondências. O cinema e a diversidade da sua informação. A significação cinematográfica. Características de um texto cinematográfico. Divisão das formas superiores de comunicação. A ficção e as necessidades afectivas racionais e irracionais. Formas diferenciadas de comportamento. Objectos cinematográficos; resumida apreciação sobre alguns autores. O cinema espectáculo, o cinema industria e o cinema de autor, - compromissos. Documentário: conteúdo/forma. Trajectórias do cinema não ficcional. Breve nota histórica sobre o documentário. Correntes cinematográficas no cinema não ficcional - Neo-realismo - Free Cinema - Cinema manifesto - O cinema/político - O documentário exploração - A natureza e o documentário - Arte tema de documentário - Documentário especulativo. A cinematografia e a televisão. Diferenças e semelhanças. Estações de televisão generalistas e temáticas características conteúdo/forma. Mapa tipo/programação. Imagem/enquadramento excesso de informação nas televisões generali stas. Audiovisual - cinema versus televisão. Considerações sobre produção de um programa televisivo.
Part I The first part of this work is sustained by three verbs: to present, to reflect and to question. Faithful to the implicit objective in the subtitle financial support for cinema education in an Art School has been developed a broad and large relationship between the various techniques of moving image registration and historical notes about cinematography with special emphasis on cinema and television. On a second moment is made a reflection on the technical and aesthetical evolution of the so-called cinematography with resulting questions raised about its future. The second part of the dissertation consists of four film objects which stand as paradigms of observation and reflection matured in the experience and contact with the realities studied and presented at the first part. Outline of the 1st and 2nd part of this work: Introduction to the phenomena moving images registration from the visualization of an object to the possibility of interpreting its registry. Brief History about the practice of writing with light, and it s technical development, until it s informative, formative and artistic usage. The development of writing with light (Photo-Graphics) and the possibility of imprisoning space and time in a given fraction of time itself. The iconography used by writing with light, as a simple and appealing expression when used as significant/identifying sign. The image , its registry and conservation. If Photography shows the real, the unchangeable, in fixed a fraction of a second in time, then cinematography recreates time providing a new sequential order. The origins of cinematography: forms of registry, forms of usage. Fiction and Documentary typology formation/information/research. The speech and language of cinematography. Brief history of cinematography, its technical, aesthetical and poetical evolution. Language used in cinematography. The film narrative in space and time, synthesizing Art in space. Techniques of registration Analogue and Digital systems. From the early days of Animation to the present. Roles of the language figures of speech and figures of thought . Rules of Animation rest, movement and action. Types of movement and framing. Guidelines of Animation. Main characteristics of Animation Characters Sound/image. Style topics content/form. The trilogy Form/Figure/End. Technical development of Animation and necessary changes for narrative. Brief reflection on some Animation products. Relation between emitter/receptor, new applied codes. Contemporary Animation and its target audience. Special Effects and its manipulators. Cinematography as a form of Art Expression. Cinema as an autonomous Art or as reproduction a synthesis of elements. Cinematography and three Arts verbal, figurative and sonic correspondences. Cinema and the diversity of information. The cinematographic signification. Characteristics of a cinematographic text. Division of superior form of communication. Fiction and its rational and irrational needs. Differentiated forms of behaviour. Cinematographic objects; summary of some authors. Show Cinema, Industry Cinema and Author Cinema compromises . Documentary: Content/form. Trajectories of non-fictional cinema. Brief historical notes on documentary. Cinematographic trends on non-fictional cinema Neo Realism Free Cinema Manifest Cinema Political Cinema Exploiting Documentary the nature of Documentary Art as Documentary Theme Exploratory Documentary. Cinema and Television. Differences and resemblances. Television Stations General and Thematic characteristics content/form. Map type/programming. Image/framing excess of information on generalist television. Audiovisuals cinema versus television. Considerations on the production of a Television program.
18
Kung, Sze-chung Charles, and 龔詩宗. "Cinema park." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983388.
Повний текст джерела
19
Pan, Pengkai 1972. "Mobile cinema." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28777.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.Includes bibliographical references (p. [157]-161).
This thesis develops techniques and methods that extend the art and craft of storytelling, and in particular enable the creation of mobile cinema. Stories are always constrained by the medium in which they are told and the mode by which they are delivered to an audience. This dissertation addresses the design of content, systems, and tools that facilitate the emerging type of computational audio-visual narrative that we call mobile cinema. Storytelling in this medium requires temporally and spatially encoded narrative segments that are delivered over a wireless channel to mobile devices such as PDAs and mobile phones. These devices belong to "the audience," individuals who are navigating physical space and interact with local circumstances in the environment. This thesis examines the underlying requirements for coherent mobile narrative and explores two particular challenges which must be solved in order to make a reliable and scalable stream of content for mobile cinema: technology uncertainty (the fact that what the mobile cinema system presents may not be what the creator intends) and participation uncertainty (the fact that what the audience does may not be what the creator expects). The exploration and analysis of these problems involved prototyping two versions of the M-Views system for mobile cinema and three prototype cinematic narratives. Small user studies accompanied each production. The iterative process enabled the author to explore both aspects of uncertainty and to introduce innovations in four key areas to help address these uncertainties: practical location detection, authoring tools designed for mobile channels, responsive story presentation mechanisms, and creative story production strategies.
y Pengkai Pan.
Ph.D.
20
Arteaga, Esenarro Jennifer Tracy, Pita Maria José Barba, Arellano Beatriz Georgina Coral, Gallo Jazmin Jocelin Oyanguren, and Asencios Diana Carolina Zapata. "Cinema Home." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/656875.
Повний текст джерелаАнотація:
Dada la coyuntura actual, es decir, la crisis por la pandemia por covid - 19, y a consecuencia de ello, el aislamiento social. Muchos de los negocios se han visto afectados, siendo uno de ellos, el sector de entretenimiento, específicamente el que involucra la proyección de contenido audiovisual. Muchas de las películas, eventos, obras, conciertos, entre otros a suscitar entre los años 2020 y 2021 se han visto afectadas y por lo tanto, postergadas. Por esta razón, nace el proyecto “Cinema Home”, esta idea de negocio se basa en implementar un servicio de alquiler de equipos de proyección y accesorios complementarios, los cuales serán de fácil uso y acceso para el hogar. Este proyecto tiene como objetivo fundamental, ofrecer al usuario una alternativa distinta en la experiencia en tamaño de imagen, sonido y que el público disfrute de un momento agradable y de distracción junto a sus amigos o familiares.
Por lo tanto, el presente informe tiene como objetivo demostrar la viabilidad de este proyecto a partir de una serie de experimentos que nos permitirán medir el interés de nuestros clientes potenciales. Todo ello, a partir de identificar los aspectos fundamentales de nuestro servicio a partir del desarrollo de la herramienta de Business Model Canvas y un estudio de mercado.Given the current situation, that is, the crisis due to the covid-19 pandemic, and as a consequence, social isolation. Many of the businesses have been affected, one of them being the entertainment sector, specifically the one that involves the projection of audiovisual content. Many of the films, events, plays, concerts, among others to arouse between 2020 and 2021 have been affected and therefore postponed. For this reason, the "Cinema Home" project was born, this business idea is based on implementing a rental service for projection equipment and complementary accessories, which will be easy to use and access for the home. The main objective of this project is to offer the user a different alternative in terms of image size, sound and that the public enjoy a pleasant and distracting moment with their friends or family. Therefore, this report aims to demonstrate the feasibility of this project based on a series of experiments that will allow us to measure the interest of our potential clients. All this, from identifying the fundamental aspects of our service from the development of the Business Model Canvas tool and a market study.
Trabajo de investigación
21
Kung, Sze-chung Charles. "Cinema park." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956206.
Повний текст джерела
22
Trainer, Adam. "Rock'n'roll cinema." Thesis, Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/364/.
Повний текст джерелаАнотація:
Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities.
This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched.
Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted.
This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.
23
Trainer, Adam. "Rock'n'roll cinema." Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.
Повний текст джерелаАнотація:
Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities.
This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched.
Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted.
This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.
24
Blažíček, Martin. "Live Cinema." Doctoral thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-252308.
Повний текст джерелаАнотація:
This work provides contextual analysis of contemporary live cinema practise.Based on reflection of selected works by czech artists it points to various aspects of contemporary live cinema practice in context of media and fine arts.
25
Abes, Christian. "Cinema-literatura." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/92413.
Повний текст джерелаАнотація:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2009Made available in DSpace on 2012-10-24T08:39:17Z (GMT). No. of bitstreams: 1 266553.pdf: 477684 bytes, checksum: 4d58b6537080c310384088bb78de1ebf (MD5)
O processo de adaptação cinematográfica permanece um grande tema de discussão entre os meios do cinema e da literatura. Palavras tais como "fidelidade" e "respeito" ainda parecem ser medidas para avaliar um filme adaptado de uma obra literária. No entanto, é preciso enxergar estas relações entre cinema e literatura com mais amplitude e menos essencialismo. As limitações implícitas da palavra "adaptação", do ponto de vista de quem pretende escrever um roteiro a partir de um texto literário, podem apontar para outros termos, tais como recriação, ou melhor ainda, transcriação, já que trata-se de um processo de criação de um universo a partir de outro, provocando um deslocamento de sentidos. É neste exato espaço de trânsito de significados e estruturas que pretendo inserir minha reflexão. Em um movimento teórico-prático, trabalharei com o conto As ruínas circulares de Jorge Luis Borges e o processo que envolve a produção de um curta-metragem que terá o texto do escritor argentino como ponto de partida. A meu ver, este trabalho propiciará uma maneira muito concreta de articular o "problema" da adaptação cinematográfica a partir da literatura. A produção prática junto à reflexão teórica tentará libertar-se do conceito de adaptação a partir da perspectiva da criatividade e do potencial do ato cinematográfico. Em suma, é necessário encontrar um gesto que permita transitar entre literatura e cinema sem mais sentimento de perda, mas sim de enriquecimento.
Le processus d'adaptation cinématographique demeure un thème sujet à controverses parmi les domaines du cinéma et de la littérature. Des termes tels que "fidélité" et "respect" restent encore un des mesures qui indiquent la qualité d'un film adapté d'une oeuvre littéraire. Néanmoins, il faut percevoir ces relations entre cinéma et littérature avec plus d'ampleur et moins d'essentialisme. Les limitations implicites du mot "adaptation", du point de vue de celui ou celle qui désire écrire un scénario à partir d'un livre, peuvent indiquer d'autres termes, comme recréation, ou bien encore, transcréation, puisqu'il s'agit d'un processus de création qui part d'un univers pour en créer un autre, engendrant un flux de significations. C'est dans cet espace exact de transit de sens et de structures que j'ai l'intention de situer ma réflexion. Dans un mouvement théorique-pratique, je prendrai comme objet de travail le conte Les ruines circulaires de Jorge Luis Borges et le processus comprend la réalisation d'un court-métrage qui aura le texte de l'écrivain argentin comme point de départ. Cette recherche mettra en évidence un exercice très concret d'articulation du "problème" de l'adaptation cinématographique. La réalisation pratique conjointe à la réflexion théorique tenteront de se libérer du concept d'adaptation à partir de la perspective de la créativité et du potenciel de l'acte cinématographique. Em somme, il faut trouver un geste qui permette un transit entre la littérature et le cinéma sans qu'il contienne un sentiment de perte, mais oui d'enrichissement.
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Hrůza, Jiří. "Cinema point." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2017. http://www.nusl.cz/ntk/nusl-265503.
Повний текст джерелаАнотація:
The diploma thesis solves a theater with a cafe in the town of Humpolec in the Vysočina Region. It contains complete documentation for execution, assessment in terms of fire safety and in terms of building physics. Furthermore, the proposal ventilation for cinema, foyer and cafe. There is a cinema and a cafe, which is located on the second floor. Cinema is designed with a capacity of 196 seats, of which 5 seats are reserved for people with limited mobility. Screening is provided as 2D mode and 3D projection. The café is designed for moviegoers and the general public. The café seats 36 seats. The building is designed as a two storey with dissected floor plan with rounded shapes with no sharp edges with a protruding portion of the roof of cinema, which is located on the north side of the building and has the function division of the building into individual units. The building has dimensions of 39.15 meters x 29.45 meters. The supporting structure of the building consists of reinforced concrete reinforced walls and ceilings. In the southern part of the building with rooms Foyer café is designed glass facade of the LOP. Supporting roof structure over the cinema hall is made up of wooden trusses joined punched punched plates.
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Kahtalian, Marcos. "Cinema fundamentalista : o cinema iraniano apos a Revolução Islamica." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284116.
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Orientador: Marcius Cesar Soares FreireDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação procura elaborar um breve panorama do cinema iraniano após a Revolução Islâmica, ocorrida em 1979. O texto analisa os fatores socioculturais e históricos da Revolução que condicionaram o nascimento de um novo modo de fazer cinema no Irã, bem como detalha as condições específicas de produção e organização dessa cinematografia, dentro de um contexto mais amplo de Terceiro Cinema. Especial ênfase do trabalho é dedicada aos traços estilísticos do cinema iraniano, entendidos pelo autor como o traço documental, o traço poético, o traço reflexivo, aspectos recorrentes dos filmes de crianças e o humanismo temático. A análise desses elementos estilísticos é baseada tanto na leitura crítica da bibliografia existente, quanto na apreciação, em termos de análise fílmica das obras mais representativas do cinema iraniano, notadamente a partir de cineastas como Abbas Kiarostami, Mohsen Makhmalbaf, Jafar Panahi, Majid Majidi e outros
Abstract: Not informed.
Mestrado
Mestre em Multimeios
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Fall, Bilal. "L'action dans le cinéma africain : le Sénégal." Paris 4, 1987. http://www.theses.fr/1987PA040076.
Повний текст джерелаАнотація:
Nous avons privilégié une approche esthétique. L’étude de la narration filmique permet, au-delà des sujets traités dans les films, de dégager le style particulier de l'art cinématographique africain. Notre thèse se limite au cinéma sénégalais et s'articule sur trois points : 1) la spécificité de l'action s'appuie : a) sur les fonctions dramatiques utilisant des procédés antithétiques, du symbolisme tragique, des emprunts à la tradition et un traitement particulier du temps et de l'espace. B) sur un univers cinématographique domine par des mutations, ressenties comme autant de mutilations et n'apportant pas le progrès attendu d'un modèle fascinant. Le cinéaste se sent ainsi investi d'une mission d'éducation, basée sur la satire sociale et sur la revalorisation de l'identité culturelle. C) l'analyse des structures narratives révèle une faiblesse dans la maîtrise de l'art de la narration filmique. 2) l'expression cinématographique illustre une certaine originalité dans le traitement du héros de film et dans le jeu des acteurs. Dans l'ensemble cependant, l'image est peu expressive. La prééminence de la parole fait plus de place au discours qu'à l'émotion. 3) le cinéma sénégalais rencontre deux sortes de problèmes pour la maîtrise de l'action du film. Au niveau technique et financier, il souffre d'un manque de personnel qualifié, de structures viables de production et de distribution et d'une absence de laboratoires, de montage et de mixage. Au niveau artistique, seule la recherche d'une nouvelle esthétique permettra de conquérir un public habitué à des films étrangers (qui par leur qualité technique et artistique éclipse la production sénégalaise en divertissant). Une belle perspective s'offre à l'action, le film sénégalais et africain étant à leurs débuts et se fabriquant encore entièrement a l'étranger. Il s'agit de persévérer pour les cinéastes, tout en se servant pleinement de leur imagination et de leur sensibilité : l'action peut être captivante, saisissante et divertissante, tout en restant éducativeAn esthetic approach was preferred. Analysis of the narrative in film depicts the style particular to African cinema without treating subject matter. The thesis focuses on senagalese cinema and examines three main points : 1) the specificity of ction relies on : A) dramatic functions reflecting opposing themes, tragic symbolism and traditional models. B) a film universe dominated by changes which in their turn are experienced as mutilations. The filmmaker is therefore compelled te "educate" the spectators by using social satire and the valorisation of cultural identity. C) the study of narrative structures revealing a weakness in the mastery of the art of narration. 2) Film expression illustrates a certain originality in the treatment of the film's hero (es) and the actors performance. In general, the pictoral image carries less weight than the verbal image, leaving the impression of a lack of emotion. 3) Senegalese film is faced with two problems : A) technical and financial problems such as the lack of qualified technicians, viable structures of production and distribution,laboratories, auditoriums and editing rooms. B) artistic problems such as the serach for a new type of artistic expression can only win over a public used to viewing foreign films in their cinemas. The action in Senegalese and African film has it's whole future ahead of it since it is still processed abroad. It is up to the filmmakers to use their imagination and sensitivity
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Campillo, Jean-Paul. "Les représentations des problématiques sociales dans le cinéma espagnol contemporain (1997-2011)." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2002/document.
Повний текст джерелаАнотація:
Cette thèse porte sur les documentaires qui, en Espagne, se situent à mi-chemin entre l’engagement militant et le désengagement politique. Notre recherche s’est orientée vers des films minoritaires susceptibles de prendre le contrepied des représentations timides des problématiques sociales, autrement dit d’en proposer une lecture politique. Ces productions, en s’approchant au plus près du militantisme, interrogent le discours et l’action des pouvoirs en place (politiques et économiques) et en même temps donnent à voir des alternatives, qu’elles appartiennent à un passé lointain ou très récent. Portmán, a la sombra de Roberto (Miguel Martí, 2001), El efecto Iguazú (Pere Joan Ventura, 2002), 200 km. (Discusión14, 2003), La mano invisible (Isadora Guardia, 2004), Veinte años no es nada (Joaquín Jordà, 2004), El astillero (Disculpen las molestias) (Alejandro Zapico, 2007), Flores de luna (Juan Vicente Córdoba, 2009), 15M Libre te quiero (Basilio Martín Patino, 2011), ces films, bien qu’ils partagent de nombreux points communs avec la critique sociale ne se concentrent pas sur des destins individuels, mais sur des projets collectifs. Par ailleurs, ils ne se contentent pas d’un constat, ils exercent une fonction de dénonciation. Leur but étant de transformer la conscience du spectateur, ils agissentThis thesis is about documentaries which, in Spain, are in a half-way between militant commitment and political disengagement. Our research focused on minority movies likely to take the opposite view of the feeble representations of social problematics, and thus, to propose a political interpretation. These productions, by coming closer to militancy, question the speech and the action of in place authorities (political and economical) and, at the mean time, show alternatives that belong to a distant or very recent past. Portmán, a la sombra de Roberto (Miguel Martí, 2001), El efecto Iguazú (Pere Joan Ventura, 2002), 200 km. (Discusión14, 2003), La mano invisible (Isadora Guardia, 2004), Veinte años no es nada (Joaquín Jordà, 2004), El astillero (Disculpen las molestias) (Alejandro Zapico, 2007), Flores de luna (Juan Vicente Córdoba, 2009), 15M Libre te quiero (Basilio Martín Patino, 2011), although these movies share a lot of things in common with social criticism, they do not focus on individual fates, but rather on collective projects. Moreover, beyond describing facts, they act as whistleblowers in order to modify the viewer’s consciousness
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Lucia, La Placa Simona <1987>. "Al di là dell'amore. Breve viaggio sentimentale nel cinema cinese." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1634.
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Il cinema cinese vanta di una lunga e vasta produzione a partire dal 1896, data della prima proiezione cinematografica, fino ai giorni nostri. Analizzando la maggior parte dei capolavori del cinema cinese si notano contaminazioni occidentali che hanno inciso ma allo stesso tempo caratterizzato il linguaggio di molti registi. Questo percorso vuole essere un’analisi che, partendo da questo assunto, ha come filo conduttore il rapporto tra uomo e donna all’interno del cinema cinese a partire dagli anni ’30 della Shanghai d’oro fino ai giorni nostri. Matrimoni, gelosie e tradimenti raccontati dai più importanti registi cinesi. Un breve viaggio sentimentale che rivela come la figura maschile ha sempre avuto un ruolo dominante mentre la donna finisce sempre per essere vittima della propria realtà quotidiana. Ma quali sono i percorsi e l’evoluzione durante la storia della Cina?Quali i cambiamenti nella produzione cinematografica?fino a che punto i registi cinesi distano dagli stereotipi occidentali? Questo viaggio all’interno del cinema cinese partirà da Modern Woman degli anni ’30 interpretato dalla grande diva Ruan Lingyu. Si passerà poi al 1964 periodo della Rivoluzione Culturale per poi vedere gli effetti nella Quinta Generazione di cui fanno parte registi come Zhang Yimou e Chen Kaige. Infine il confronto tra la generazione degli anni ’90, di cui fa parte Jia Zhangke, e quella contemporanea che si discosta per la notevole ricchezza economica riflessa anche nell’industria cinematografica, molti film blockbuster infatti sono stati prodotti e distribuiti a livello internazionale come quelli di Ang Lee.
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Épinoux, Estelle. "Le cinema en irlande, la genese difficile d'un cinema national." Caen, 1999. http://www.theses.fr/1999CAEN1272.
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Le cinema irlandais est un sujet controverse ; il est au centre de vifs et longs debats, avant et apres 1921 qui impliquent differents acteurs : l'etat britannique, l'eglise catholique et les nationalistes avant 1921 ; l'etat libre irlandais, l'eglise, les nationalistes, les cinephiles et les realisateurs apres cette date. Les debats portent sur la reconnaissance du statut artistique et culturel du cinema. Jusque dans les annees 1960, le cinema reste l'objet d'une forte censure ; il n'est pas considere comme un art "national". Les debats concernent egalement les modalites de construction d'un cinema irlandais. L'etat britannique ne souhaite pas developper de structures de realisation en irlande ; l'etat libre irlandais ne subventionnera pas son cinema national. Enfin, les debats portent sur la nature des films a realiser. L'eglise catholique souhaite voir realiser des films "sains" et educatifs ; l'etat irlandais entend promouvoir une image positive et traditionnelle du pays ; quant aux realisateurs irlandais, ils choisiront de donner une image critique de l'irlande. A partir des annees 1960-1970, le cinema irlandais commence a naitre. La societe irlandaise change, elle est exposee a des influences exterieures dans les domaines social, economique et culturel. Le statut artistique et culturel du cinema est reconnu en 1973 et l'etat irlandais commence a financer regulierement son cinema national par l'intermediaire d'un centre du film irlandais (irish film board), ouvert en 1981.
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Chu, Yingchi. "Hong Kong cinema and national cinema: Coloniser, motherland and self." Thesis, Chu, Yingchi (2000) Hong Kong cinema and national cinema: Coloniser, motherland and self. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/42167/.
Повний текст джерелаАнотація:
Defining the 'national' status of a country's cinema has been central to historical film texts and debates since the 1980s. This dissertation contemplates the 'national' features of Hong Kong cinema under the British colonial government using Andrew Higson's four approaches to national cinema: the production-centred industry, the exhibition-led market, the creation of film texts and the emergence of critical traditions.
This study has drawn materials from a variety of sources, including historical data on Hong Kong, interviews, newspapers and magazines as well as the films themselves. Using these sources I offer a detailed description and analysis of Hong Kong cinema since the inception of the local film industry in 1913 to the return of the colony to its motherland China in 1997. The study examines these materials with reference to recent studies of national cinemas, and social and cultural theories of the construction of national identity.
Although the Hong Kong film industry was situated in a British colony before 1997, the thesis contends that Hong Kong cinema exhibited many characteristics of a national cinema. This thesis also, however, demonstrates that Hong Kong cinema was a 'national' cinema only in a very incomplete and ambiguous way. I argue that the cinematic construction of Hong Kong's geo-political cultural identity articulates a dual cultural identity for Hong Kong as both Hong Kong and China, which also reflects the status of Hong Kong as a 'quasi-nation', existing in a triangular relationship between the British coloniser, the Chinese motherland and Hong Kong self.
The starting point of the thesis is to develop the argument made in national cinema studies that national identity should not be taken for granted in the cinematic context. It goes on to demonstrate that through different historical periods a country's cinema may change, modify and subvert its geo-politically defined identity. Furthermore, it also demonstrates that, at any given moment, a country's cinema may not necessarily reflect and articulate 'national' characteristics at all levels.
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Çeliktemel-Thomen, Özde. "Cinema contested : regulation of cinema in the late Ottoman Empire." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10051014/.
Повний текст джерелаАнотація:
Cinema Contested explores cinema regulations of the late Ottoman Empire (1890s- 1920s). The dissertation uses Ottoman Turkish, French, Turkish, and U.S. archival sources to delineate the intentions of regulators, the practises and the impact of regulation on cinema’s development across the sprawling Ottoman Empire. From the late nineteenth century, nationalist uprisings weakened the political authority of Sultan Abdülhamid II (r. 1876-1909). In the early twentieth century, oppositional political groups pressed for constitutional government, which led to a political reformation. During the final years of the Empire, the turbulent conditions of World War I (1914-1918) created territorial and demographic transformations. Films were initially exhibited in this complex context, principally by foreign itinerant exhibitors, and quickly thereafter by Ottoman merchants. Regulation followed quickly, shaped by the concerns of the political and elite classes in relation to education, Islamic morality, and politics. These regulations also addressed the material operations of cinema, including safety, zoning, and licensing procedures. Cinema came under regulatory scrutiny as did printed media and public entertainments vis-à-vis its political function. Yet, the authorities’ lax enforcement practises created a complex and ambiguous system. Ottoman legislators drafted a number of regulations over film exhibition, production and circulation. Multiple government agencies, at the central and local levels, endeavoured to control exhibition practises and venues. Regulations targeted specific audiences, notably children and women, who were seen as the ‘future of the state’ and ‘bearers of the nation’. Discourses and practises of the Ottoman dominant class became particularly visible in the attempts to limit cinemagoing, ban certain films, or promote educational and ‘harmless’ productions for ‘vulnerable’ audiences. This process was not simply repressive, but also helped shape how cinema would develop in the region. The dissertation provides a detailed historical analysis of the primary sources in order to reconstruct the multifaceted landscape of cinema regulations in this tumultuous region and period.
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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.
Повний текст джерелаАнотація:
À partir de l’après-guerre, de nouvelles méthodes « collectives » de production cinématographique voient le jour en Italie : d’abord, dans les années 1940 et 1950, sous la forme de coopératives, et à partir de la décennie suivante, sous celle de collectifs cinématographiques ou d’unités de production indépendantes. Ces initiatives collectives ont produit une grande variété de films, tant sur le plan thématique que formel : des films partisans aux contre-actualités cinématographiques, des fictions aux documentaires, pour en arriver aux bandes vidéo militantes des années 1970. Ces films s’appuient sur un même choix politique : le travail collectif en alternative à l’industrie. Un choix car, pour chacun d’entre eux, il ne s’agit ni d’un repli, ni d’une solution dictée par l’impossibilité ou l’incapacité d’accéder au circuit commercial, mais d’une décision consciente et assumée, en opposition à ce même circuit. Le titre « Contre-produire » souligne cette corrélation entre le refus des méthodes de production du cinéma « dominant » et l’adoption d’une approche collective pour en inventer de nouvelles. Les procédés hégémoniques dont il est question ne se limitent pas seulement aux normes imposées par les circuits du cinéma commercial, mais également aux formes du cinéma « dissident » qui réduisent les films à leur fonction de communication politique. L’objectif est de mettre en lumière une sélection de films, de projets, de théories et d’utopies collectives qui ont émergé à « la marge » du cinéma italien dans l’une de ses périodes les plus fécondes. Loin d’être « marginales » au sens de secondaires, elles ont constitué un laboratoire majeur de nouvelles formes cinématographiques dans l’Italie des années 1950-1970From 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
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Nakagawa, Iki. "Cinem-a-crobatic : trans-active cinema production in search of urban schizophrenia." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/69371.
Повний текст джерелаАнотація:
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.Includes bibliographical references (p. 42-45).
On December 15, 1996, from 1:30 to 4:30, cinem-a-crobatic was formally presented at Columbus Park, New York City. The park is located at the intersection of China town and the Federal Court district. cinem-a-crobatic attempts to amplify the complex and shifting relationship between the urban landscape and the experience of its inhabitants, through the introduction of a new form of urban cinema production. Unlike most conventional cinematic productions, cinem-a-crobatic is a cinema-production-like "play." Its participants are the production crew and the public who interact with the crew at the site of production. The production crew consists of a director, a camera person and actors. I have also included a person who interviews the director and actors to question their motives behind each scene. The roles of the production crew are interchanged among the participants. cinem-a-crobatic not only stimulates new possibilities of cinematic story tel ling by integrating the realities of urban life as a structural basis for its narrative construction, it also attempts to serve as a new method for generating social interaction. Central to the production of cinem-a-crobatic was the use of a new video device that was specifically developed for the project . It was mounted on a standard film dolly and functioned as a nomadic instrument which was pushed around the park by the participants. It functioned both as a sculptural matrix for the production and as a visual lure for drawing the public into its performative arena. This device recorded, edited, and projected the captured video image on the surface of a transparent glass screen that simultaneously framed the real landscape. This thesis text is in two parts. The first part describes the project in detail, including a brief history of how the project evolved, who the participants were, and the nature and use of the video device. The second part discusses the autobiographical and philosophical framework for the project.
by Iki Nakagawa.
M.S.V.S.
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BLAU, CATHERINE. "Les frontieres fuyantes dans le cinema de john cassavetes." Paris 3, 1997. http://www.theses.fr/1997PA030058.
Повний текст джерелаАнотація:
La reflexion menee dans ce travail de recherche sur le realisateur nord-americain, john cassavetes, se propose d'apporter des elements de reponse a la problematique suivante : entre cinema, theatre et realite, entre norme, deviance et marginalite, peut-on parler de frontieres fuyantes dans le cinema de john cassavetes ? le reel et le theatre marquent de leur empreinte le cadre spatio-temporel de ses films ainsi que la fiction, a travers le jeu de l'acteur, qui se pervertit par un jeu subtil des identites en presence. La conception cassavetienne de l'acteur est marquee par de multiples influences qui mettent en peril la stabilite d'une identite, et permettent aux personnages de faire l'experience des limites. Ainsi, les influences des cellules familiales, professionnelles ou sociales, semblent tracer les frontieres qui delimitent la norme de la marginalite, et motivent, chez les personnages, un desir d'affranchissement. Chez cassavetes, nous sommes, en fait, en presence d'identites mouvantes. La question de la verite se resout en termes de morcellement et de contradiction. La vision cinematographique du realisateur s'inscrit dans une perception kaleidoscopique de l'espace et du temps. Elle pose les conditions d'acces a la liberte d'un art qui met a l'epreuve tant les acteurs, le realisateur que les spectateursThe aim of this research on us film director john cassavetes is to explore the question of "vanishing frontiers" in his films. The uncertain territories of his "vanishing frontiers" lie in a place between cinema, drama and reality. They also lie in individuals whose identities question the very norms of 'normality', 'deviance' and 'marginality'. The real world and that of the theatre leave their imprints on the spatial and temporal frameworks of cassavetes's films and on fiction which, as the actors play their roles, induces a subtle and perverse game of blurred identities, which in their turn induce a change in the perception of the nature of fiction. Cassavetes's way of viewing and using actors brings to light numerous influences and challenges the very idea of a permanent sense of self. This leads his characters to "experience limits", their own limits as well as those of the world. Thus, family influences as well as professional or social ones seem to draw frontiers which delineate marginality and lead these characters to look for liberation. In cassavetes's films, identities are forever fluctuating. The question of truth can only be considered in terms of dislocation and contradiction. The director's cinematographic perspective is rooted in a kaleidoscopic way of viewing time and space. This vision defines the conditions of freedom in an art that is a challenge to the actors, the spectators as well as to the director himself
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Pereira, Irislane Mendes. "O realizador e a personagem: relações intersubjetivas no processo criativo do documentário." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4296.
Повний текст джерелаАнотація:
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Previous issue date: 2011-05-13Conselho Nacional de Desenvolvimento Científico e Tecnológico
This thesis aims at the study of the relations between the documentarian and his character. More specifically, it analyses the dialogue that is established between both parts. Underpinned by theories and concepts by Brazilian and foreign documentary genre scholars Fernão Pessoa Ramos, Jean-Claude Bernardet and Bill Nichols , this work also examines the matter of the production of the documentary s truth, as such a meeting intermediated by the camera and proposed to a spectatorial reading could guarantee it. Inseparable from this first interrogation, there is a second one that refers to the witnessing subject s freedom and to the ethics of these exchanges. The selection of the corpus privileged those films which characters seem to have their singularities preserved in the situation of interaction in which they are engaged. Parallel to that and opportunely, a brief history of the documentary in Brazil, under the influx of Italian neorealism, direct cinema and cinema vérité, which molded in it its most remarkable features, is presented. Methodologically, it is a documental and bibliographical research. As a result, it is possible to assure that the corpus analysis especially of these two important examples of this genre, Viramundo (1965), by Geraldo Sarno, and Jogo de Cena (2007), by Eduardo Coutinho has evinced different models that present actors have to convey with words
A presente dissertação tem por objetivo o estudo das relações entre o documentarista e sua personagem. Trata-se, mais especificamente, de analisar o diálogo estabelecido entre ambas as partes. Apoiando-se nas teorias e conceitos de estudiosos brasileiros e estrangeiros do gênero documentário Fernão Pessoa Ramos, Jean-Claude Bernardet e Bill Nichols , examina também a questão da produção da verdade do documentário, tal como este encontro intermediado pela câmera e proposto a uma leitura espectatorial a poderia garantir. Inseparável desta primeira interrogação, uma segunda refere-se à liberdade do sujeito depoente e à ética destas trocas. A seleção do corpus privilegiou aqueles filmes cujas personagens parecem ter suas singularidades preservadas na situação de interação em que estão engajadas. Em paralelo e por oportuno, apresenta-se também uma pequena historia do documentário no Brasil, sob os influxos do neo-realismo italiano, do cinema direto e do cinema verdade ou cinéma verité, que lhe imprimiram seus traços mais marcantes. Metodologicamente, trata-se de uma pesquisa documental e bibliográfica. Como resultado, pode-se afiançar que a análise do corpus notadamente destes importantes exemplares do gênero que são Viramundo (1965) de Geraldo Sarno e de Jogo de Cena (2007) de Eduardo Coutinho evidenciou diferentes modelos de condução da palavra pelos atores em presença
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Avery, Dwayne. "(Un)homely cinema." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103637.
Повний текст джерелаАнотація:
This dissertation offers an analysis of the cinematic (un)homely. Loosely based on Freud's concept of the uncanny – that frightful and inexplicable experience of the home as a foreign and strange space – the (un)homely is a poignant sign of the times, a contemporary trope of the various kinds of spatial dislocation, transience, homelessness and disempowerment symptomatic of contemporary global societies. In short the (un)homely conjures up the decline of family, its faltering role as the moral center of the world and all the unpleasant ramifications that come from the destabilization of the home. The (un)homely speaks to the breakdown of what is deemed proper – the distinction between public and private space, the unraveling of gender norms, the troubling de-localization of mobile technologies. While the uncanny nature of the home is a mainstay in many science fiction and horror films, my analysis uses the concept of the (un)homely to explore a wide range of contemporary films that explore every day domestic environments and the way the home is the site for a wide range of devastating intrusions – from the precarious nature of the nation in an age of globalization to the way mobile work seeps into the protective spaces of the home. These intrusions I contend provide themes and images related to the ways in which contemporary social relations, work and new technologies prevent characters from ever finding their way home. However, while an encounter with the (un)homely represents a painful experience with the loss of home, the (un)homely can offer an ethics of dwelling, as the impossibility of narrative closure or the shift in power relations offer new and more hopeful ways of dwelling in the world.Cette thèse présente une analyse du « (un)homely » filmique. Vaguement basée sur le concept de Freud sur l'étrange – cette expérience inexplicable et effroyable du foyer familial vu en tant qu'espace étranger et bizarre – le « (un)homely » est un signe poignant des temps, un trope contemporain des divers types de dislocations spatiales, de déplacements, d'itinérance et de la privation de pouvoir, symptomatiques des sociétés globales contemporaines. En bref, « (un)homely » évoque le déclin de la famille, son rôle incertain en tant que centre moral du monde, ainsi que toutes les ramifications désagréables qui découlent de la déstabilisation du foyer familial. « (un)homely » fait référence à la dégradation de ce qui est jugé convenable – la distinction entre l'espace public et privé, le démantèlement des normes du genre, la délocalisation inquiétante des technologies mobiles. Bien que l'étrange nature du foyer familial soit représentée comme un des piliers de base dans un grand nombre de films de science-fiction et d'horreur, mon analyse utilise le concept de « (un)homely » pour examiner un vaste ensemble de films contemporains qui explorent les environnements quotidiens et la façon dont le foyer est le lieu d'un ensemble étendu d'intrusions dévastatrices – allant de la nature précaire de la nation dans un âge de globalisation, jusqu'à la façon dont le travail mobile s'insère dans les espaces protégés du foyer. J'avance que ces intrusions procurent des thèmes et des images liés aux façons dont les relations sociales contemporaines, le travail et les nouvelles technologies empêchent les personnages de trouver à jamais leur chemin vers leur foyer. Néanmoins, bien qu'une rencontre avec le « (un)homely » constitue l'expérience douloureuse de la perte de son foyer, « (un)homely » peut offrir une éthique du logement, étant donné que l'impossibilité de conclusion narrative ou le changement dans les relations de pouvoir offrent des façons nouvelles et plus optimistes d'établir une résidence dans le monde.
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Rockett, Kevin. "Cinema in Ireland." Thesis, University of Ulster, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419153.
Повний текст джерела
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Jack, Edward James Russell. "Reading Shakespearean cinema." Thesis, University of Bristol, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443256.
Повний текст джерела
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Ashtari, Nilufar. "Unveiling Iranian cinema." Thesis, Swansea University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497200.
Повний текст джерелаАнотація:
This thesis examines the history of Iranian cinema in its wider social and political context and establishes the link between gender, nationalist political and cultural processes in contemporary Iran. It argues that women's representation was central to the politics of state-formation and that the unveiled and veiled woman came to signify two conflicting political ideologies: modernisation and Islamisation. This volume maintains that in both the monarchy and the Islamic Republic, women and cinema were transformed into cultural symbols, representing the nation and national identity. The cooption of the women's question by nationalist politics and the regulation of cinema through censorship and propaganda was intended to consolidate the power of the successive regimes and construct a particular national identity, based on the constituent elements of a pre-Islamic past, and of Shi'i Islam, respectively. Because of the official cooption of the women's question and cinema, in monarchical times, as in the Islamic Republic, a counter discourse and culture developed, which became manifest in the work of an increasing number of filmmakers. If in the pre-revo lutionary period, the opposition coopted the symbol of the veiled woman, in the post-revolutionary period, the symbol of the unveiled woman is increasingly making inroads. More and more filmmakers reveal and unveil the "veiling" methods and practices of power upon which the Islamic Republic depends. However, despite the defiance, in both the Islamic Republic and the monarchy, the cinematic discourse remains dependent on the political and ideological constructions of power, which it can never fully defy.
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Roberts, Phillip. "Cinema and control." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/47272/.
Повний текст джерелаАнотація:
This thesis explores the political implications of Gilles Deleuze's two-volume work on the cinema (Cinema 1: The Movement-Image [2005a] and Cinema 2: The Time-Image [2005b]). I argue that counter to the common reading of these works as being primarily concerned with aesthetics and philosophy, Deleuze's cinema books should be understood as a political critique of the operations of cinema. I outline the main arguments set out by these works as a political formulation and argue that they should be directly related to Deleuze's more explicitly political writings. In particular, I argue that these books should be read alongside Deleuze's later 'Postscript on the Societies of Control' (1992), which re-addresses some of the most significant aspects of his earlier work on cinema following a transforation in media technologies and social organisation. I argue that Deleuze's time-image and his later conceptualisation of control should be understood as forming the two poles of his theorisation of cinema and visual culture. When addressed as connected concepts, a significant political dimension emerges in this area of Deleuze's thought, focusing on a time-image that opens a range of possibilities for the future ordering of the world and a system of control that will recurrently close and eliminate these possibilities. Through a series of studies of film texts I will develop the political implications of Deleuze's thinking on cinema and visual culture in order ot show how the forces of control and the time-image operate and how these concepts can be systematised and further integrated into Deleuze's wider political thought.
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Serrano, Inês Domingues. "Arquitectura e cinema." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2002. http://hdl.handle.net/10400.5/21076.
Повний текст джерелаАнотація:
Dissertação de Mestrado para obtenção do grau de Mestre em Cultura Arquitectónica Contemporânea e Construção da Sociedade Moderna, apresentada na Faculdade de Arquitectura da Universidade Técnica de LisboaNeste trabalho procurou—se construir um espaço entre duas disciplinas: a arquitectura e o cinema. Revelando uma cumplicidade inesperada, o cinema submerge nos ritmos da cidade, tornando—os visíveis. Ä cidade como cenário mutável, de estratos cumulativos de memórias e vestígios materiais dos gestos, dos tempos que a vão construindo. O cinema descobre esse território de utopias e apropria—se dos seus desejos materializando—os no suporte fugaz das imagens, do falso movimento que projecta a realidade num devir. Através da análise de filmografia, estabeleceram—se paralelismos com a cidade Moderna; assumindo uma relação simbiótica com as dinâmicas da cidade, o olho da câmara é comovido pelo impacto dessa realidade, restituindo, num espaço ilusório, a sua ordem invisível. Um espaço urbano que flutua por um mundo de imagens imateriais, espaço fictício e tecnificado. Habitamos num cenário fixo embora procuremos um espaço fugaz, em trânsito. A arquitectura vive aprisionada entre a imagem e a sua materialidade, entre a ilusão e a realidade. Entre a ideia e o "desejo de ser da forma". É nesse espaço heterotópico entre o sonho e a realidade que o cinema opera construindo num espaço verossímil a cidade impossível.
ABSTRACT: With this work we intend to make a link between two disciplines: architecture and cinema. Revealing an unexpected complicity, cinema sinks into the city rhythms, making them visible. The city as a mutable organism of superimposed memory s tracts, material traces of gestures, comprising the time which gave form to it. Cinema finds that land of utopias, sharing and appropriating its desires, material rising them on his own fugacious image support, of the false raccord that projects actual reality into a possible future. Trough analysis of filmography, establishing a parallel between cinema and Modern city, this work assumes the existence of a symbiotic relationship linking the city dynamics and the camera eye impressed by reality, bringing back, on an illusory space, its hidden order. An urban space that float over a world of immaterial images, technified and fictitious. We live on a settle scenery although we search a fugacious one, in transit. Architecture lives imprisoned between image and its own materiality. Between reality and illusion. Between the idea and the "desire to be" of form. In a heterotopic space, between dream and reality, the cinema builds in a likely space the impossible city.
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Eriksson, André. "Views : Cinema, redefined." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229697.
Повний текст джерелаАнотація:
Transforming the first floor of a 1950s building at Sveavägen, Stockholm, this project aims to redefine the traditional cinema. This is not a perfect quiet black box, but a place for sharing, experiencing and discussing film. A cinema for independent films, short films, documentaries and film festivals, but perhaps also presentations and lectures. A flexible building that can open up, or close down, depending on the event. A cinema where one can sit down for a brief movement with a coffee, or spend an evening at the big screen.
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Rochford, Julia Jane. "Geographies of Cinema." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9503.
Повний текст джерелаАнотація:
This research paper explores the notion of Cinema in relation to the concept of outside space as discussed throughout the writings of Gilles Deleuze. Through contemporary thinkers of Deleuzian thought such as David Rodowick and Simon O’Sullivan, I study the capabilities of the camera to produce spaces for new thoughts and ideas to develop. This study of cinema begins with Modern cinematic approaches to the moving image, in particular directors such as Michelangelo Antonioni who enter into a dialogue with the flawed, unidealised reality pervading the Post-war period and the effects of the Industrial Revolution. A discussion of Modern Cinema’s legacy of the time-image and the any-space-whatever seeks to reengage the importance of these concepts in negotiating emerging functions of the moving image. The four video works I discuss throughout this paper acknowledge the act of filmmaking as a constant questioning of the limits of perception. These works belong to the emergence of a new cinematic language whose parameters and capabilities are endlessly being reinvented through the processes of their very invention.
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Newton, James. "The anarchist cinema." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/54753/.
Повний текст джерелаАнотація:
There has been only a minimal amount written in academic circles on the connections between political anarchism and cinema. Alan Lovell focuses on allegorical readings of films by Jean Vigo, Luis Bunuel, and Georges Franju. Richard Porton examines the historical representation of anarchists and their ideas. More recently, Nathan Jun lays out ideas for a proposed ‘cinema of liberation’. Yet these three writers, who provide the most notable attempts at wrestling with the subject, barely refer to one another. This means that there are disconnections in the areas of existing scholarly research, and it fails to fully analyse the complex series of relationships that exist between anarchism and film. My thesis attempts to address these gaps, and suggests ways in which anarchist theory can be used as a framework to inform our understanding of cinema as a cultural and industrial institution, and also provide an alternative process of reading and interpreting films. In analysing the dynamics between anarchist theory and film, it focuses on three key areas. Firstly, it considers the notion that cinema is an inherently anarchic space, based around fears of unruly (predominantly working class) audiences. Secondly, it attempts to delineate what the criteria for an anarchist film could be, by looking at a range of formal characteristics and content featured in a number of popular movies. And thirdly, it examines the place of grassroots and DIY filmmaking in the wider context of an anarchist cinema. My thesis finds the continuities that exist between radical film culture of the present and the past, and I propose that there is an innately anarchic undercurrent to several key aspects of cinematic culture. The thesis concludes by stressing the distinction that exists between film as a text, and cinema as a range of cultural activities. I propose that the ultimate embodiment of a study of an anarchist cinema should combine film analysis with that of an examination of cinema as a social and physical space. In turn, this can help us to consider the ways in which film and cinema may form part of a culture of resistance – one which fully articulates the concerns and questions surrounding anarchist political theory.
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Ferrari, Rodrigo Duarte. "Ensinar-aprender cinema." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/162757.
Повний текст джерелаАнотація:
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação, Florianópolis, 2015.Made available in DSpace on 2016-05-24T17:46:01Z (GMT). No. of bitstreams: 1 339068.pdf: 64394428 bytes, checksum: 317f59e7744f76738f4b2efe9f2b77ae (MD5) Previous issue date: 2015
O ensino-aprendizagem do cinema através da percepção e da cognição incorporadas é o foco desta pesquisa teórica e aplicada. A partir de uma revisão teórica multidisciplinar da dimensão reflexiva dos mecanismos e fenômenos perceptivos e cognitivos observamos que as incorporações constituem uma dimensão pré-reflexiva que amplia as possibilidades e limites do ensino-aprendizagem do cinema. Como desdobramento da revisão teórica, construÃmos um mapa conceitual que apresenta a percepção e a cognição incorporadas como mecanismos e fenômenos de perceber e conhecer através do corpo e da corporeidade. Tanto as teorias do cinema quanto as da educação com e sobre o cinema foram construÃdas hegemonicamente a partir da dimensão reflexiva da percepção e da cognição, sobretudo, sob influências da semiótica, psicologia e psicanálise, com a centralidade dos processos de ensino-aprendizagem na dimensão simbólica de leitura e escrita do cinema. Com a intenção de complementar tal dimensão realizamos um experimento e colocamos as incorporações no centro do ensino-aprendizagem do cinema, resultando na criação da Oficina KINO - http://kino.sites.ufsc.br/, uma proposta experimental como possibilidade para analisar e refletir sobre a dimensão pragmática do ensino-aprendizagem do cinema através das incorporações. Convidamos cinco professores/pesquisadores que atuam com cinema na educação para participar da oficina e observamos que, apesar da razoabilidade do mapa conceitual da percepção e cognição incorporadas, é necessário maiores esforços explicativos e interpretativos sobre as incorporações, haja vista que estas reflexões permanecem em aberto tanto nas ciências cognitivas quanto na filosofia. Com a sistematização teórica realizada foi possÃvel identificar que há uma reversibilidade de incorporações entre os espectadores e a equipe de produção cinematográfica. Do ponto de vista didático, a proposta da Oficina KINO permitiu que as reversibilidades de incorporações fossem vivenciadas como entrelaçamentos entre os videntes e os visÃveis, na recepção e recriação do visÃvel de filmes. Observamos que as incorporações devem ser seguidas por reflexões sobre as incorporações e dessa forma foi possÃvel articular as dimensões pré-reflexivas e reflexivas do ensino-aprendizagem do cinema. Esta pesquisa apresenta um ponto de partida sistematizado para que a dimensão pré-reflexiva do ensino-aprendizagem do cinema possa ser articulada na educação com e sobre o cinema.
Abstract : The teaching-learning aspects of the cinema using the theories of embodied perception and cognition are the focus of this research. A theoretic and multidisciplinary revision of the reflective dimension of the cognitive and perceptive mechanisms and phenomena that shed light on the fact that the embodiment are composed of a pre-reflective dimension, that amplifies the possibilities and the limitations of the teaching-learning aspects of the cinema. As a result of the theoretic revision, we built a conceptual map that shows the embodiment perception and cognition as mechanisms and phenomena of perceiving and knowing through the body and the corporeity. Following the development of the conceptual map, we found that not only the cinema theories but also the education relevant to the cinema were formed in a hegemonic manner. Both were built upon the reflective dimension of the perception and cognition, in fact, built upon the semiotic, psychological, and the psychoanalysis influences. As to implement the symbolic dimension, we performed an experiment and placed the embodiment at the centre of the cinema s teaching-learning process. The outcome was the creation of  Oficina KINO  http://kino.sites.ufsc.br/, which is an experimental proposition. The aim is to provide opportunities for analysis and reflection in regards to the pragmatic dimension of the cinema s teaching-learning through the embodiment. We invited five educators to participate of the  Oficina KINO and we observed that, although the conceptual map of the embodied perception and cognition is considered reasonable, it is necessary a high degree of explanation and interpretation pertaining to the embodiment. The presented systematic theory was sufficient to identify the fact that there is a reversibility of embodiment between the spectators and the cinematography s production team. Considering a didactic point of view, we propose in the  Oficina KINO that the reversibility of the embodiment to be experienced as the intertwining of the viewer and the visible, at the reception and remix of the visible of the films. We observed that the embodiment should be followed by reflections regarding embodiments and therefore enabling us to articulate the pre-reflective and reflective dimensions of the cinema s teaching-learning. In conclusion, this study presents a systematic starting point to enable the articulation of pre-reflective dimensions of the cinema s teaching-learning, directed to the education with and about the cinema.
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Holtmeier, Matthew. "Contemporary Political Cinema." Digital Commons @ East Tennessee State University, 2019. https://www.amzn.com/1474423418.
Повний текст джерелаАнотація:
The political films that have emerged on the global film festival circuit since the 1990s mark a shift in cinematic strategies for critically addressing dominant, militant, or otherwise repressive ideologies. From a focus on the representation of oppression in films like The Battle of Algiers, films such as Timbuktu, Nobody Knows About Persian Cats and Chop Shop now contribute to the active formation of political characters and viewers, a form not fully realized until the 21st century due to shifts in information technologies and resulting political organization. This book demonstrates that a contemporary form of political cinema has emerged, centered on the production of subjectivity and networks of protest, which depicts the active formation of political identities that resonates with off-screen protest movements.https://dc.etsu.edu/etsu_books/1211/thumbnail.jpg
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Giacometti, Andrea <1988>. "Cinema e Storia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3611.
Повний текст джерелаАнотація:
La tesi si propone di affrontare il rapporto che intercorre tra lo studio storico tradizionale e la cinematografia: i metodi di ricerca storica attraverso il mezzo cinematografico, la possibilità di divulgazione storica tramite il cinema, la ricerca della verità storica nel documentario e nel cinema di fiction. La tesi si propone altresì di ricercare e proporre delle linee guida per una critica cinematografica improntata su un metodo quanto più possibile di ordine storico, in aggiunta a quel metodo basato sull'estetica e sul procedimento scomposizione/ricomposizione che ad oggi è la base della critica cinematografica.
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Pistone, Marianne. "L’autrement qu’être dans le cinéma d’Apichatpοng Weerasethakul : une étude de l’apparaissant". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMC009.
Повний текст джерелаАнотація:
Ce travail de thèse se propose de considérer le cinéma d’Apichatpong Weerasethakul sous l’angle du visible et de l’invisible et du mouvement qui va de l’un à l’autre. Cet angle est celui de l’apparaissant, c’est-à-dire de ce qui, entre la divulgation, l’émergence et l’occultation, a lieu ou se retire. Il n’est pas seulement – posément – apparent mais bien apparaissant, c’est-à-dire entrevu dans l’inquiétude de l’acte d’apparition. En se concentrant notamment sur les espaces cruciaux des films que sont les jungles, une prospection mésographique est engagée dans les champs de la spatialité et de la corporéité. La phénoménologie (et ses concepts, ses interrogations, son vocabulaire, ses outils) est mobilisée comme moyen de recherche, comme biais, guide ou méthode, pour analyser ces films qui semblent bien observer les propositions principielles phénoménologiques : libération des concepts de substance, du temps comme constance, et du primat théorique de l’intériorité de la conscience, pour un autrement qu’être, une instabilité ontologique qui ouvre à des mondes autres et aux autres du mondeThe aim of this thesis is to consider Apichatpong Weerasethakul's cinema from the angle of the visible and the invisible, and the movement from one to the other. This angle is that of the appearing, i.e. of that which, between disclosure, emergence and concealment, takes place or withdraws. It is not only apparent but in appearing, i.e. glimpsed in the anxiety of the act of appearing. Focusing in particular on jungles, which are crucial spaces in the films, a mesographic exploration is undertaken in the fields of spatiality and corporeality. Phenomenology (and its concepts, interrogations, vocabulary and tools) is mobilized as a means of research, as a bias, guide or method, to analyze these films, which seem to observe phenomenological principal propositions: liberation from the concepts of substances, of time as constancy, and from the theoretical primacy of the interiority of consciousness, for an other-than-being, an ontological instability that opens to other worlds and to others of the world