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Дисертації з теми "Godard, Jean-Luc (1930-2022 ; cinéaste) – Critique et interprétation"
Serrut, Louis-Albert. "Jean-Luc Godard, cinéaste acousticien : des emplois et usages de la matière sonore dans ses oeuvres cinématographiques." Paris 1, 2010. http://www.theses.fr/2010PA010574.
Повний текст джерелаStadelmaier, Philipp. "kommentare zum (post-)kino : Serge Daneys kritiken (1962 – 1992) und Jean-Luc Godard „histoire(s) du cinéma“ (1988 – 1998)." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080012.
Повний текст джерелаThis thesis deals with the works of film critic Serge Daney and Jean-Luc Godard’s Histoire(s) du cinema, which I will interpret on the basis of Maurice Blanchot’s notion of “critique”, Jacques Derrida’s notion of “supplément” and Michel Foucault’s concept of “commentaire”. I will argue that Daney’s texts and Godard’s montages function as criticism and commentaries that perpetuate a “supplement of cinema”. While Blanchot's criticism “completes” the work of art (in this case the film) by interpreting it, Derrida's supplement signifies a lack of meaning in the act of writing, Foucault's notion of commentary allows to go beyond the dimension of the singular work and to refer to cinema as a concrete epistemological object, a primary text ("the cinema"). According to Foucault the commentary repeats a primary text while preserving its inexhaustible potential of meaning. Based on this thought, I will approach Daney’s and Godard's works from a post-cinema perspective. In the digital age in which cinema has undergone various transformations, the meaning of the concept of “cinema” is constantly being re-evaluated. Unlike a general understanding of cinema as apparatus, place or specific medium, I conceive cinema as a text that constantly needs to be interpreted and supplemented
Perrais, Agnès. "Lyrisme et politique en cinéma : Duras, Garrel, Godard, années 1970-1980." Electronic Thesis or Diss., Université de Lorraine, 2017. http://www.theses.fr/2017LORR0338.
Повний текст джерелаThis dissertation articulates the concept of lyricism and a political approach of the real in cinema. In order to study more specifically the issues of « poetry cinema », it proposes a reading of the literary theory of lyricism through a critique of the conceptual polarization of subjectivity. Starting with a study of the interdependence of poetics and politics in Hölderlin, Rimbaud and the Surrealists’ works, I put forward the notion of « objective lyricism » to understand how film can move away from the discursive paradigm of activism and forge a critical evaluation of political issues by way of their esthetics. By analyzing a number of films by Marguerite Duras, Philippe Garrel et Jean-Luc Godard, all made in the years just after 1968, when activism receded, I show how their formal legacies influenced the depiction of politics by withdrawing the narrative structure to the profit of a logic of sensation. Furthermore, I intend to demonstrate how in Marguerite Duras’ films political subjectivation is achieved by a lyrical voice rooted in a radical thinking of negativity. If the resurgence of a romantic legacy and of the cryptic side of surrealism in Philippe Garrel’s films lead to an experiential approach of politics, the re-actualization of the surrealist theory of the image-as-interaction and Rimbaud’s principles of the subject’s decentering push Jean-Luc Godard to a dialectization of lyricism, articulating a sensitive positivity to an objectifying critique
Книги з теми "Godard, Jean-Luc (1930-2022 ; cinéaste) – Critique et interprétation"
The radical faces of Godard and Bertolucci. Detroit: Wayne State University Press, 1995.
Знайти повний текст джерелаMaryel, Locke, Warren Charles 1948-, Godard Jean Luc 1930-, and Miéville Anne-Marie, eds. Jean-Luc Godard's Hail Mary: Women and the sacred in film. Carbondale: Southern Illinois University Press, 1993.
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