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Статті в журналах з теми "Cinémas indiens"
Farges, Joël. "Le cinéma populaire indien : un parfum d’opium..." Critique internationale 7, no. 1 (2000): 157–68. http://dx.doi.org/10.3406/criti.2000.1570.
Повний текст джерелаDeprez, Camille. "Pour un panorama du cinéma documentaire indien." Le Temps des médias 17, no. 2 (2011): 223. http://dx.doi.org/10.3917/tdm.017.0223.
Повний текст джерелаGras, Pierre. "Oublions Bollywood et découvrons le cinéma indien." Commentaire Numéro119, no. 3 (2007): 811. http://dx.doi.org/10.3917/comm.119.0811.
Повний текст джерелаFarges, Joël. "Le cinéma populaire indien : un parfum d'opium..." Critique internationale 7, no. 2 (July 1, 2000): 157–68. http://dx.doi.org/10.3917/crii.p2000.7n1.0157.
Повний текст джерелаÉmond, Bernard-Richard. "Une morale de la transparence." Médias communautaires ou médias libres, no. 6 (February 1, 2016): 62–64. http://dx.doi.org/10.7202/1034962ar.
Повний текст джерелаRoche, Thierry. "Le cinéma des Indiens d'Amérique. Réflexions : I Thèmes et problématiques." Journal des anthropologues 56, no. 1 (1994): 97–100. http://dx.doi.org/10.3406/jda.1994.1838.
Повний текст джерелаRussell, Catherine, and Josée Blanchet. "Jouer aux Indiens : In the Land of the Headhunters ou War Canoes." Cinémas 6, no. 1 (February 25, 2011): 33–46. http://dx.doi.org/10.7202/1000958ar.
Повний текст джерелаDeprez, Camille. "Réflexion comparative sur les cinémas hongkongais et indien. Identité, diaspora et cosmopolitisme." Perspectives chinoises 108, no. 3 (2009): 95–105. http://dx.doi.org/10.3406/perch.2009.3771.
Повний текст джерелаGrimaud, Emmanuel. "L’« ébullition » de la représentation. L'ordre visuel du cinéma indien populaire." Gradhiva 22, no. 1 (1997): 66–85. http://dx.doi.org/10.3406/gradh.1997.939.
Повний текст джерелаWeinmann, Heinz. "Les Fantômes de l’Amérique." Cinémas 1, no. 1-2 (February 23, 2011): 32–42. http://dx.doi.org/10.7202/1000989ar.
Повний текст джерелаДисертації з теми "Cinémas indiens"
Bah, Alpha Amadou. "Guru Dutt : Contributions à l'art cinématographique d'un artiste légendaire." Electronic Thesis or Diss., Montpellier 3, 2022. http://www.theses.fr/2022MON30025.
Повний текст джерелаThirsty (Pyaasa, 1957), Paper Flowers (Kaagaz Ke Phool, 1959) and The Master, the Mistress and the Slave (Sahib Bibi Aur Ghulam, 1962) are the three most famous, well-known and analyzed films by Guru Dutt. This thesis aims to broaden the field of possibilities by summoning its filmic totality. Legendary, mythical, personal, sincere, self-destructive, desire for life and or death... these are the qualifiers found in cinematographic literature to designate Guru Dutt and his work. The interest in India and its cinema stems from an observation : there are few Indian films distributed in France, whereas India is the leading film-producing country in the world. Who is Guru Dutt ? What is his contribution to cinema ? How did he take melodrama to an epic dimension ? Why today do the young filmmakers who, following Satyajit Ray, are now beginning to shake up the system, refer to him as a precursor, a master ? This thesis intends to highlight the cinephilico-filmic contributions of this author to understand Indian cinema through the prism of his work through a socio-historical and phenomenological approach allowing us to retrace the itinerary of the greatest popular, musical filmmaker that the India has ever brought up. So that the work of Guru Dutt, which has successfully passed the test of time, now only has to pass the test of space
Girier, Jean-Philippe. "De la déconstruction du mythe de la femme soumise à la construction de la femme agent dans la littérature et le cinéma indiens contemporains." Thesis, Antilles, 2019. http://www.theses.fr/2019ANTI0382.
Повний текст джерелаContemporary Indian literature and cinema are part of a dynamic that goes hand in hand with the profound socio-economic changes that have affected India since the end of the nineteen eighties. Indeed, many novels and films are characterized by a freedom of expression that touches on many subjects that were once considered taboo. The wind of renewal sweeping India is also marked by the increase in the number of writers and directors who place women at the heart of their stories and intrigues. Thus, the objective of this study is to show, on the one hand, how the image of the passive and submissive Indian woman was constructed during the long process of colonization, on the other hand, how contemporary literature and cinema attempt to rehabilitate the place of women in history in order to build a new and dynamic representation which symbolizes the Indian woman of the 2000s. The respective novels of Anita Nair and Githa Hariharan, Ladies' Compartment and The Thousand Faces of the Night, as well as the films Fire, Water by Deepa Mehta as well as The Marriage of the monsoons by Mira Nair are part of a resistance movement. where the agency of the heroines testifies to the will and the difficulty of freeing oneself from three centuries of marginalization.In the first part, we propose to walk through the history, that which attributed to the man capacities superior to those of the woman, conferring upon him by extension an authority, a power of domination. This historical and sociological approach allows us to understand how the links which unite the human and the divine in India were built. Our gaze will also focus on the consequent upheavals engendered by British colonization. This period of Indian history will be analyzed in order to highlight the modus operandi by which the British Empire succeeded in imposing a lifestyle faithful to its vision of the world while excluding women from decision-making spheres in order to "consign" them in the domestic space.The second part of the thesis analyzes the family space, which has become the place par excellence for the reproduction of androcentric postulates. This private space will be closely observed and we will engage in an approach that combines psychoanalysis and sociology in order to demonstrate the importance of the construction of the feminine in the process of identity deconstruction. We will pay particular attention to the role played by the mother in the reproductive process. The ambivalent position it occupies often leads to a fragmentation between the physical being, the social being and the psychic being. The psyche then becomes a space inhabited by doubt and fear while being the ultimate refuge of comfort. This shift between body and mind will take us to the field of psychosomatics, where dreams are the privileged place for psychic reconstruction. We will also observe the strategies used by novelists and filmmakers to begin the process of rebuilding the identity of their heroines.The third part focuses on cinema and literature through their complementarity. First, we will retrace the history of cinema from the sidelines and highlight its committed character that sets it apart from some popular cinemas such as Bollywood. Subsequently, we make a connection between the novel and its adaptation to the cinema in order to highlight the complementarity of the works as well as the notion of solidarity which represents an essential point in this collaborative work. Indeed, diaspora filmmakers Deepa Mehta and Mira Nair have developed an activist and united approach that can be found both in the writing of the script and in the choice of actors and actresses. This activism will be illustrated by examples that highlight the many instances of agency staged in order to build a dynamic image of women in India
Espinosa, Joanna. "La représentation de l'Indien dans la cinématographie brésilienne : de la vision colonialiste au perspectivisme amérindien." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010608.
Повний текст джерелаIn order to comprehend the diachronic construction of the image of Indians in Brazilian cinematography throughout the years and trends, it is necessary, firstly, to return to the period of conquests, in order to survey the early foundations of national ideology. The first images construct a historical-mythical amalgam of the “noble savage” and provoke fear and fascination before celebrated practices – such as man’s harmony with nature – or, to the contrary, obscure pratices as well as those opposed to our customs – such as ritual anthropophagy and cannibalism. These first images founded by the Old Continent fix imaginaries and generate the bases of an exotic image that will become difficult to resist. Over the centuries, Brazil, a mixed country where European traditions subsist on and are grafted by indigenous practices and African customs, has been beset by strong disagreements between regionalism and nationalism. This research attempts to reconstruct the gaze cast upon this community and to understand the mechanisms of rejection and identification that still exist today using images produced during the sixteenth century and subsequent centuries with the advent of photography, and then of cinematographic and audiovisual production, which revived a sudden and keen interest for (and of) indigenous communities. To go further in the comprehension of Amerindian metaphysics, Eduardo Viveiros de Castro advocates a conceptual transposition where Amerindian thought replaces dominant thought. This anthropological off-centering places both paradigms on an equal footing and permits another view of this historical construction. Taking this new corollary as a point of departure, we attempt to restore a balance between the different points of view and to point out the progresses or failures of the representation of the image of Indians today
Mateus, Mora Angélica María. "Le monde indien dans le cinéma et l'audiovisuel colombiens [de 1929 a nos jours]." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030110.
Повний текст джерелаThis dissertation proposes to study cinematographic representations of the Indian and the Indian world in Colombia since the origins in 1929-1930 until the contemporary era. It identifies, classifies, describes and analyses a series of constituent elements of the relations that cinematographic production holds with social, cultural or ethno-cultural realities of the Colombian history and, in particular, with the phenomenon of the invisibilization of the Indian. It establishes three stages of the history of that cinematographic production in Colombia: 1] Initial period or “discovery” period of the Indian and the Indian world by the Colombian cinema [1929-1964] 2] Period of cinematographic rediscovery of the Indian [1968-1980] 3] Appropriation period of the cinema and the audiovisual by Indian cultures [1980-today]. The first period is defined essentially by films of evangelization and that of the “civilization”, which participates in the reproduction of a national imagery while excluding all positive reference to Indian cultures; the second is characterized by the diversification of the perspectives on the Indian world and notably, by the utilization of cinema as a critical language of political, economical, social and cultural forms of domination on the Indian world; the third is marked by the coming of a new technical support [the video], the auto-appropriation of their image by Indians and the apparition of new cinematographic practices in relation with the appropriation of cinema and video by the Indian cultures
Le, Forestier Mélanie. "Imaginaires nationaux et dynamiques transnationales : étude du cinéma hatke en Inde." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20073/document.
Повний текст джерелаThe Indian film industry is divided in different regional film industries, based on different linguistics and sociocultural features. This specific context leads to conflicting identity issues, especially in relation to the national imaginary. Hindi cinema (Bollywood) is often seen as the national cinema of India. But can we actually talk about a “national” Indian cinema? We wanted to examine this issue through the emergence of a new independent cinema that we came to define as “hatke”. This new concept highlights the originality of this cinema that can be described as a counter-hegemonic cultural movement contributing to the configuration of an alternative point of view on Indian modernity. A constructivist and mediacultural approach is developed to study the hatke cinema in its complexity and multidimensionality. This research comprises a film analysis of nine films and a discursive analysis of the mediated discourses of the actors of the film industry involved in the production of this cinema. A first part presents a theoretical and critical approach from the Gramscian theory to the Indian cultural studies. We have explored different concepts in regard to the object of enquiry: hegemony/counter-hegemony, popular culture, national cinema. In a second part, we have analysed the hegemonic construction of Hindi cinema, as a cultural form as well as a cultural industry, investigating its relation to the national imaginary. We also analyzed the multiple mediations (technical, discursive, social and communicational) contributing to the definition of an independent cinema as a hatke cinema that can be seen as a space of resistance in both a national and a transnational cultural space. A final part has more precisely analyzed the counter-hegemonic dimension of this cinema in relation to Bollywood and to the national imaginary
Varet, Eric. "La figure de l'indien à travers la représentation et en particulier la photographie et le cinéma." Grenoble 3, 2008. http://www.theses.fr/2008GRE39037.
Повний текст джерелаThis thesis deals with the concept of the American Indian. To begin with, we deconstruct the idea of the American Indian and consider our understanding of the various elements and how they contribute to the overall meaning. It is the result of collating several figurative representations and it allows us to consider the contribution of different sources, for example mythology and ideology. The first chapter introduces the conceptual notion of the figure whilst also demonstrating other examples than the Indian. The second section considers how individual authors have influenced their portrayals of the American Indian and how these are interlinked. The pictorial representations by illustrators are an invaluable contributory source. The differences that exist between French and American interpretations are also considered in this chapter. The third part is devoted, in particular, to the construction of the Indian figure. The relationship between the figure itself and the assembled evidence allows us to explore the mechanism behind the construction "the Indian". A focus of the study is the “Western” film and how social and historical considerations have impacted on the American Indian as a figure. The mechanism of this is studied chronologically from the early twentieth century to the modern day. The last section demonstrates how a negative image of the American Indian has resulted in a distorted and inaccurate perception of this minority group. Moreover, it considers how this has had a detrimental impact on the integration of the Native American today into society as a whole
Berardo, Rosa. "Analyse de l'image de l'indien dans les films de fiction brésiliens des années 70." Paris 3, 2000. http://www.theses.fr/2000PA030091.
Повний текст джерелаDeprez, Camille. "Le cinéma populaire indien : bilan d'une décennie (1992-2002) : principes et limites de l'interculturalité ou les enjeux d'une confrontation au cinéma-monde." Paris 3, 2006. http://www.theses.fr/2006PA030082.
Повний текст джерелаSince the beginning of the nineties, and in the context of globalization, India faces economical, technological and social changes, which have a great impact on its film industry. Part of its production acquires a better credibility on the international market, thanks to an overhaul of the sector and inventive cultural mixes. The objective is to show, through a ground approach, the kinds of exchanges, interactions and influences between Indian and Hollywood cinemas, and more widely to decode certain ways of internationalization of cinema, from a specific and thrown off example. Although India is not able to offset Hollywood and the main multimedia groups, it is able to innovate to maintain its cinematographic distinctiveness, in terms of industrial organization, forms and contents, as well as reception
Flayeux, Jean-Pierre. "L'amérindien et ses représentations cinématographiques : du mythe à l'anthropologie ?" Paris 3, 1996. http://www.theses.fr/1996PA030041.
Повний текст джерелаAs soon as christopher columbus discovered america, he described the native american but he miscontructed him, modified him according to his view, to his way of thinking. Those modifications have been established in writings, drawings, photographs and movies. Through an anthropological study, the indian and his different images will be analysed in order to understand how such a character could have been transformed to this level, how he gets reduced to some signs, to a couple of hints which erase all the other features. Only few tribes can be noticed in films in order to preserve this already mutilated image. Anyway, the audience would rather recognize than knowing it which makes the spectator dreaming even if the image is not genuine
Azevedo, Amandine d'. "Cinéma indien, mythes anciens, mythes modernes : résurgences, motifs esthétiques et mutations des mythes dans le film populaire hindi contemporain." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030126.
Повний текст джерелаIndian popular cinema is both a place of filmic mythical creation and a universe interacting with previous bodies of work; the classical myths and epics, and especially the Ramayana and the Mahabharata. Although the latter have often been adapted, especially in the early decades of Indian cinema, contemporary cinema builds complex and attitudes towards heroes and their achievements. Traditional myths appear in a shot, in the manner of a moral, narrative and/or formal resurgence. In an opposite movement, this cinema seeks those same myths to strengthen its imagination. Working on the relations between myth and cinema, one has to cross the political and historical field, for Independence movements, Partition and inter-community tensions pervade popular cinema. Myths in movies can become an aesthetic fixation of historical-political traumas. The challenge of some representation of violent acts explain that they sometimes hide themselves in images, irreversibly altering the presence and meaning of mythological references. Therefore, myths don't always tell the same story. Those mythological resurgences, producing mutations and hybrid forms between the political, historical, mythical and film-making fields, also invite a de-compartmentalisation when we analyse the nature of the images and the mediums that welcome them. Our study naturally convenes notes on painting, as well as contemporary art, photography or bazaar popular art. A broad and mixed Indian visual field constantly recombines background and foreground, flatness and depth of field and ornemented and neglected sets. Popular cinema, moved by the memory of myths and forms, becomes the breeding ground of an aesthetic revival
Книги з теми "Cinémas indiens"
Wiel, Ophélie. Bollywood et les autres: Voyage au coeur du cinéma indien. Paris: Buchet Chastel, 2011.
Знайти повний текст джерелаLa NOUVELLE REVUE DE L'INDE N°6 - Spécial 100 ans de cinéma indien. Paris: Editions L'Harmattan, 2012.
Знайти повний текст джерелаMaking the white man's Indian: Native Americans and Hollywood movies. Westport, Conn: Praeger, 2005.
Знайти повний текст джерелаAmerican indians and the American imaginary: An ethnography of representational practices. Boulder: Paradigm Publishers, 2012.
Знайти повний текст джерелаMixedblood messages: Literature, film, family, place. Norman: University of Oklahoma Press, 2001.
Знайти повний текст джерелаMixedblood messages: Literature, film, family, place. Norman: University of Oklahoma Press, 1998.
Знайти повний текст джерела1968-, Velayutham Selvaraj, ed. Tamil cinema: The cultural politics of India's other film industry. New York: Routledge, 2008.
Знайти повний текст джерелаSingh, Sonia. Bollywood confidential. New York: Avon trade, HarperCollins Publishers, 2005.
Знайти повний текст джерелаScoping the Amazon: Image, icon, ethnography. Walnut Creek, CA: Left Coast Press, 2007.
Знайти повний текст джерелаDevasundaram, Ashvin Immanuel. Indian Indies. Taylor & Francis Group, 2022.
Знайти повний текст джерелаЧастини книг з теми "Cinémas indiens"
Ficamos, Bertrand. "Les Indiens du Brésil, une irréductible altérité ?" In Voyages et exils au cinéma, 71–86. Presses universitaires du Septentrion, 2017. http://dx.doi.org/10.4000/books.septentrion.11264.
Повний текст джерелаDeprez, Camille. "Chapitre 1. L’émergence du cinéma populaire indien." In Bollywood, 23–44. Presses universitaires du Septentrion, 2010. http://dx.doi.org/10.4000/books.septentrion.44291.
Повний текст джерелаDeprez, Camille. "Chapitre 4. Les défis du cinéma indien." In Bollywood, 97–132. Presses universitaires du Septentrion, 2010. http://dx.doi.org/10.4000/books.septentrion.44309.
Повний текст джерелаFourcade, Marie. "Aspects du néoréalisme dans le cinéma italien et indien (1940-1970)." In L’Inde et l’Italie, 287–318. Éditions de l’École des hautes études en sciences sociales, 2018. http://dx.doi.org/10.4000/books.editionsehess.23321.
Повний текст джерела