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1
Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
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2
Lehin, Barbara. "Cinema and society : Thatcher's Britain and Mitterand's France." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/1249/.
Повний текст джерелаАнотація:
This thesis examines the representation of society in British and French cinemas of the 1980s. In this comparative study, the choice of this particular decade was motivated by the coming to power of the Conservative Party in Britain and the Socialist Party in France. Since the two governments adopted 'extreme' policies increasing the strengths and weaknesses traditionally found in their film industries, British cinema struggled even harder while French cinema enjoyed a strong financial support from the state. A significant feature of these two national cinemas in relation to films about society was the predominance of the realist vein in Britain and the comedy genre in France. This generic discrepancy was highly influential in the way the two national cinemas referred to social issues in the 1980s and most scholars have argued that British cinema widely discussed the state of its society whereas, on the whole, French cinema avoided to do so. What this research hopefully demonstrates is that, despite different generic approaches, British and French cinemas equally contributed to depict their contemporary societies. To analyse how these two societies were represented on screen, three main areas are studied thematically: first people in power (public institutions and individuals), second the world of work, and third the family. After a brief summary of social issues in Britain and France in relation with the aforementioned themes, discussions of their filmic representations are based on the films themselves, the textual analysis of films taken as case studies and their critical reception. I will argue that in the 1980s, British cinema offered the overall image of a class-bound society where individuals - living side by side - were unable to escape their social fate. The paradox of this cinema made by a majority of left-wing filmmakers was that ultimately it favoured a rather traditional view of society. By contrast, my research shows that the idea of friendship and solidarity prevailed over economic and social hardship in French cinema. Although this depiction of society was largely consensual, it nevertheless opened the debate for social alternatives.
3
Oscherwitz, Dayna Lynne. "Representing the nation cinema, literature and the struggle for national identity in contemporary France /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.
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4
Phillips, Alastair. "City of darkness, city of light : the representation of Paris in the 1930s French films of the German émigrés." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/110873/.
Повний текст джерелаАнотація:
Paris is one of the key sites of meaning regarding France's cinematic output. This thesis surveys the contribution German émigré filmmakers made to the French cinema of the 1930s through a series of case studies of their depiction of the nation's capital city. It argues that this contribution was both typical and singular. The émigrés engaged directly with traditions of Parisian representation, but they also played a distinctive role in the important debate over the direction early French sound filmmaking should take. The body of the thesis contains detailed textual analysis of many émigré productions which have hitherto been ignored within film history. It contextualises this analysis with comparative discussion of films made by indigenous professionals and an examination of past and present intertextual aspects of Parisian culture. The thesis moves beyond aesthetic concerns to also consider the political, industrial and social significance of the work of the émigré Filmmakers. The reception of their films is located within a history of the Franco-German relationship as a whole. By drawing widely upon supporting documentation in critical and trade journals of the time, the thesis provides a new history of a crucial transitional point in the development of European film culture.
5
Trippe, William Micah. "Where are the urban mechanics? : the case of the French city film 1926-1930." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610501.
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6
Langlois, Suzanne 1954. "La résistance dans le cinéma français de fiction (1944-1994) /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.
Повний текст джерелаАнотація:
The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared with the written history of the Resistance. The sources for this work include both visual and written materials: films, preliminary documents, censorship files, and film criticism. Nine interviews provide an additional aspect to this corpus. The parallel drawn between the historiography of the Resistance and the films allowed for a better understanding of the fluctuating relationship between film and historical studies. Also, the examination of this filmography from the perspective of women resisters permitted filmic analysis to move beyond the traditional and politically oriented evaluations of films based on Gaullist or communist memory.
7
Walkley, Sarah Elizabeth. "To what extent can France continue to defend the cultural exception in the digital age? : an analysis of cultural diversity in the French film industry." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80230/.
Повний текст джерелаАнотація:
Since the first General Agreement on Tariffs and Trade in 1947, France has insisted that cultural products are different from other traded goods and should be exempted from ongoing liberalisation of international trade – a principle known as the ‘cultural exception’. This exclusion allows France to implement policies in favour of its cultural industries, particularly a highly complex system of quotas and subsidies for the film industry which it maintains is essential to counter US market dominance and maintain cultural diversity. Over the past decade, the launch of video-on-demand services has revolutionised how films are delivered and consumed. Policy-makers have attempted to keep pace with these developments, expanding the scope of French support schemes accordingly. Adopting a mixed methods approach, this thesis analyses cultural diversity in the French film industry in detail, incorporating for the first time both the cinema and video-on-demand sectors and combining qualitative and quantitative data to understand the impact of French policies on diversity. Quantitative analysis reveals strong evidence of diversity in both sectors but that, while digital channels offer greater variety of choice, cinema is more balanced between films of different geographic origins. Employing a consistent approach to policy development in both channels, policy-makers have failed to take into account these and other differences, or to target measures at the emerging threats to diversity in the digital environment – potentially undermining the French defence of the cultural exception on diversity grounds. There is a surprisingly superficial use of the term cultural diversity in trade circles, leading to the conclusion that a more sophisticated approach is needed. Refining French policy in line with empirical data and actively using that evidence to demonstrate policy success will be a necessary part of this more sophisticated approach if France is to successfully defend the cultural exception in future trade negotiations.
8
Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.
Повний текст джерелаАнотація:
This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.
9
Vaughan, Michael Hunter. "From camera to code : Godard, Resnais and the problem of representation in film theory." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:d8752498-1a8c-48ec-b774-b3e9f1e410ea.
Повний текст джерелаАнотація:
This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a type of representation. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources as Merleau- Ponty and Deleuze, I hope here to use a phenomenological base to build a theory of film semiotics that focuses on the immanent field of film representation, which I will postulate as a structuring of the inter-dependent relationship between the content of representation and the signified source of representation. This relationship is infused through a film text according to various modes of differentiation: between the viewer and viewed, speaker and spoken or what, using principles of phenomenology, I call the problem of subject-object relations. In this study I use this framework of subject-object relations in order to re-conceptualize the problem of film representation and to systematize the fundamental debates in film theory. I will argue that even oppositional theories of film representation can be reconciled through their attempt to understand this immanent field as being organized so as to structure a relationship between the representation and an origin of meaning, or subject-function. This relationship is what I call a system of reference. The filmic subject-function is traditionally located within the camera itself or hi the diegetic subjectivity of a character; I will call these two systems of reference, respectively, objective and subjective representation. And, through a reconstruction of Deleuze's Cinéma project, I will argue that the immanent field of film representation is a constant fluctuation between these two poles, a dialogic circulation of interacting agencies and discourses. This thesis illustrates this fluctuation through a comparative analysis of two French filmmakers, Alain Resnais and Jean-Luc Godard. I will argue that, illustrating similar goals as one finds in the works of Merleau-Ponty and Deleuze, these two filmmakers radically deconstruct film codes in order to destroy the conventional division between interior and exterior that is imposed by classical notions of subjectivity.
10
Peters, Claire Isla MacLeod. "Le Paris de la mémoire : traces of the Holocaust and the Algerian War in the 'city of light'." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4714/.
Повний текст джерелаАнотація:
This thesis examines contemporary literary and cinematic representations of Paris in relation to the dynamics of collective memory, arguing that the city emerges as a privileged site in which to explore critical questions of identity, memory and citizenship in France. In this comparative approach to representations of memories of the Holocaust and the Algerian War in France, I identify a shared lexicon of urban space simultaneously hiding and revealing traces of the past in the contemporary city. This study of memories and their urban and palimpsestic representations challenges the tendency to separate the disciplines of postcolonial and post-Holocaust studies, and in so doing contests the conceptual separation of metropolitan, European and colonial histories. As such, it contributes to a growing interdisciplinary field of French and Francophone studies that extends the object of study beyond the purely metropolitan. I draw on and engage with theoretical work in the fields of memory studies, postcolonial studies and post-Holocaust studies to consider how urban space opens up a legitimate new way of engaging with the overlaps and intersections between different memories without undermining the crucial element of difference. Underpinned by poststructuralist concerns, memory emerges here as an inherently constructed concept.
11
Koch, Anna. "Characters as social beings : social performance in the French and Czechoslovak New Waves." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:21a0725e-0028-4ddb-9c9d-4eee40148cc3.
Повний текст джерелаАнотація:
This thesis investigates the aesthetic presence of social performance in six French and Czechoslovak New Wave films of the 1960s. The New Wave was particularly interested in portraying everyday life, and the film corpus studied in this thesis focuses specifically on the representation of the characters' social lives. In addition, the films share the commonality of being made with an aesthetic of authenticity inspired more or less by the 1960s observational documentary genre of cinéma vérité. In the film corpus, ordinary social situations occupy a more prominent place on screen than usual, and instigate a social kind of engagement with the films. Where narrative context conventionally provides the framework for a character's actions, in these unconventional films, it is the characters' social environments that more precisely contextualize their way of being. The aim of the thesis is to engage with these social contexts to understand the characters' social behaviours, and to examine how the 'vérité aesthetic' evokes a social kind of reading of the films. To this end, I develop in the first chapter a Goffmanian approach to the films, inspired by sociologist Erving Goffman's writings on social reality as a performative realm. I use his notions of social performance, social framework, and social perception to engage with each film through what I call a 'social gaze' that inspects the social dynamics of the characters' behaviours. Over the course of three case study chapters, I apply this approach to the films to unearth and discuss their social range of meaning. This thesis thus aims to contribute both to film historical scholarship on the 1960s European New Wave, and to a study of the aestheticization of social reality in film in general.
12
Strauss, Angela L. "The economic impact of film tourism on small communities." Th author, 2003. http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail=.
Повний текст джерелаАнотація:
Thesis (M.A.)--University of Wisconsin-Stout., 2003."December, 2003". "A research paper submitted in partial fulfillment of the requirements for the Master of Science Degree with major in Global Hospitality; Approved: 3 semester credits (signature) professor Lynnette Brouwer; The Graduate School, University of Wisconsin-Stout." Description based on 2005 edition printed on Aug. 2, 2007 from http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail= Bibliography p. 36-40. Also available online (viewed 2 Aug. 2007) at address: http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail=
13
Van, Liew Maria. "Democratic women : gender, national discourse and the cinema of post-Franco Spain /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.
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14
Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.
Повний текст джерелаАнотація:
En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritiers, critiques, journalistes, aussi bien qu’historiens professionnels, conservateurs et universitaires. Elle peut ainsi être envisagée autant comme le fruit d’une quête de la vérité factuelle que comme l’appropriation d’un objet d’étude populaire, à travers ses empreintes écrites et visuelles. L’appareillage des lectures de l’impressionnisme réunit de la sorte : les autographes ; les memorabilia, meubles ou immeubles chargés du souvenir des peintres ; les technologies photographique et cinématographique. Ces documents participaient en outre d’une culture visuelle plus vaste, incluant les monuments et les plaques commémoratives dans l’espace public, ou encore les motifs transformés par l’acte pictural en points de vue remarquables. L’étude historique et critique de l’écriture de l’histoire impressionniste comme (dé)monstration documentaire permet de revenir sur les circonstances sociales et visuelles de sa mise en œuvre, sur les enjeux de carrière auxquels elle participa, et sur les missions qui lui furent assignées au sein de différents discours sur l’art, savants et profanesIn 1946 the publication of John Rewald’s History of Impressionism in New York consecrated the aura of the movement’s scientific historiography, supported by documentary investment. This quality confronted laymen’s narratives, which oral tradition and some witness’s accounts’ reputations dominated. Yet, a close consideration could not agree with the assumption of an exclusive scholarly nature of the document. Since the beginning of the 20th century, varied producers, such as artists, witnesses, heirs, critics, journalists, as well as professional historians, museum curators and academics formed an impressionist documentation. It thus can be interpreted as a quest for factual truth, as much as an appropriation of a research object through its written and visual marks. The equipment of impressionist readings hence gathered are: autographs; memorabilia, movable and physical assets as souvenirs of artists; photographic and cinematographic technologies. Moreover, these documents fit into a broader visual culture which included monuments and commemorative plaques of the public sphere, or motives transformed by pictorial acts into remarkable viewpoints. A historical and critical study of such a writing of history as documentary (de)monstration allows here to look back to its execution’s social and visual contexts, the career issues in which it participated, the goals that had been assigned to it within both scholars’ and laymen’s art discourses
15
Noble, Fiona. "Post-transition transitions : childhood, performance and immigration in post-Franco Spanish cinema." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=227226.
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16
Bias, Rebecca H. "From golden age to silver screen French music-hall cinema from 1930-1950 /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117225437.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center
17
Ward, Glenn. "Journeys into perversion : vision, desire and economies of transgression in the films of Jess Franco." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6928/.
Повний текст джерелаАнотація:
Due to their characteristic themes (such as 'perverse' desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish 'sex and horror' specialist Jess Franco. My textual and contextual analysis shows that Franco's films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco's treatment of 'aberrant' and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco's portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. But these possibilities do not amount to the 'radicality' sometimes attributed to the exploitation field. Focusing on international co-productions from early 1960s to mid 1970s, I discuss the ideological ambivalence of their fascination with 'perversity' and 'otherness'. Chapter 1 argues that The Awful Dr Orlof challenges dominant standards of quality in contemporary Spanish cinema, that its figuring of monstrosity contains a potential critique of Francisco Franco's dictatorship, and that it only partially destabilises the genre's traditional gender codes. Chapter 2 discusses femme fatale stereotypes and fantasy tropes in Venus in Furs. Mixing visual discourses of 'high' and 'low' culture in an evocation of male 'mad love', this film dramatises vision in a way which problematises the notion of the mastering, coherent gaze. Chapter 3 argues that Franco's female vampire films embody, while reflexively estranging, heteronormative male fascination with the 'otherness' of female/'lesbian' desire. Franco's supposed transgressivity is often referred to as Sadeian; through a reading of Demoniac and Franco's 'captive women' imagery, the final chapter therefore discusses the political possibilities, contradictions and limitations of Franco's Sadeian representations.
18
Bellego, Christophe. "Three empirical essays on movie admissions in the french motion picture industry." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01E060.
Повний текст джерелаАнотація:
A la frontière entre les industries du divertissement et la production culturelle, grand fournisseur de contenu à l'économie numérique, l'industrie du cinéma soulève des questions intéressantes dans le champ de l'économie et du marketing. Cette thèse répond à trois questions empiriques importantes sur ce sujet à l'aide de différentes méthodes adaptées (économétrie des données de panel, différence-de-différences, économétrie structurelle) et propose un nouveau développement théorique du modèle nested logit. Le premier chapitre étudie l'effet des notes des consommateurs sur Internet, et analyse la complémentarité et la substituabilité de ces notes avec l'information disponible avant la sortie des films en salle. Le deuxième chapitre étudie l'effet redistributif de la loi anti-piratage Hadopi sur les entrées des films en salle, en écartant minutieusement les phénomènes alternatifs pouvant affecter les résultats. Le troisième chapitre considère la saisonnalité dans l'industrie française du cinéma et décompose séparément les entrées des films en salle en le niveau de l'offre (le nombre et la qualité des films), la demande saisonnière sous-jacente, les variations météorologiques, et les promotions nationales en estimant un modèle nested logit à trois étages tenant compte de la congestion des films dans les salles de cinéma. Le modèle est utilisé pour identifier les dates de sortie optimales en fonction des types de filmAt the frontier between entertainment industries and cultural production, vital content provider of digital economy, the motion picture industry raises several interesting questions in the field of economics and marketing. This dissertation tackles three important empirical questions in the motion picture industry using different methods (panel data models, difference-in-differences, and structural econometrics) and brings a new theoretical development about the nested logit model. The first chapter deals with online consumer reviews, also known as electronic word of mouth (eWOM), and focuses on the extent to which prerelease information alters the effect of eWOM on movie sales. The second chapter studies the collateral damages of the French anti-piracy law known as Hadopi on box office performances of movies, by carefully ruling out alternative explanations of the result. The third chapter investigates on seasonality in the French movie industry. The analysis separately identifies and decomposes movie sales into the number and quality of available movies, underlying seasonal demand, weather shocks, and national sales promotion by estimating a three-level nested logit model of weekly demand accounting for congestion on movie theaters' screens. The model is used to identify optimal release periods depending on the types of movie
19
McMahon, Orlene Denice. "Listening to the French new wave : the film music and composers of postwar French art cinema." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.
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20
Mochiri, Pouneh. "Ut pictura prosa ornata : fonctions et implications de la description d'art dans la littérature en prose au XVIè (Domaine Franco-Italien)." Paris 7, 2002. http://www.theses.fr/2002PA070081.
Повний текст джерелаАнотація:
Notre réflexion s'exerce sur l'écriture de l'œuvre d'art dans la littérature en prose du XVIe siècle. Tout en prenant en compte les considérations théoriques relatives à la catégorie de l'image ainsi que les débats humanistes menés dans le cadre des traités d'art italiens, l'analyse s'occupe essentiellement des textes d'allure narrative, français et italiens. Le "descriptif", entendu comme une forme d'interférence du visuel dans l'espace textuel, comprend aussi bien l'ekphrasis des artefacta au sens large que l'évocation des ensembles paysagers, les portraits féminins et les scènes archétypales constituant des tableaux virtuels. Ainsi définie, notre étude suit un déroulement en quatre volets : la mise en place d'un univers d'art, le fonctionnement narratif des descriptions, leur dimension herméneutique et enfin leurs enjeux linguistiques. Il s'agit tout d'abord de recenser les principales caractéristiques des objets descriptifs et les considérations esthétiques qui les accompagnent. Il importe ensuite de déterminer les modalités strictement narratives de la description d'art : ses divers modes d'insertion dans le récit, ses fonctions structurelles et les effets d'expansion narrative qu'elle implique. La signification exégétique rattachée à la combinaison de deux codes, iconique et verbal, mérite également d'être élucidée dans la perspective d'une esthétique de la réception. Sont ainsi envisagées les portées didactique, théologique et épistémologique de l'image. Une ultime partie permet enfin d'interroger le lien entre l'écriture de l'œuvre d'art et la défense des vernaculaires. La "prose picturale" participerait, en ce sens, d'un patriotisme littéraire visant à promouvoir le français et à l'enrichir selon les critères rhétoriques de la "variété" et de l'"abondance"Our reflection bases on the different ways of writing works of art in the prose literature of the sixteenth century. In the same time we consider the theories of image and the humanistic debates in Italian art treatises, we analyse French and Italian narrative texts. The category of "descriptive" includes the ekphrasis of artefacta, as well as descriptions of landscapes, female portraits and pictorial scenes. Our plan is made up of four parts: the components of the artistic atmosphere, the narrative meanings of descriptions, their hermeneutical dimension and their linguistic implication. In the first place, we examine the main characteristics of described artistic articles. Then, we study the narrative functions of art descriptions: the way they are attached to the narration, their structural role and the digressions they induce. Besides, the combination of iconical and verbal codes implies exegesis from readers: that' s the reason why our third part approaches didactic, theological and epistemological meanings of the image. Finally, we'll try to question the link between art descriptions and the defence of vernacular languages. In a certain way, pictorial prose aims at promoting French language, according to the rhetorical criterions of copia and varietas
21
Gibbs, Cheryl Jeanne. "The Quaker Farm Boy and the Wizard of Menlo Park: How C. Francis Jenkins Fought to Keep Thomas Edison from Claiming Credit for One of Jenkins' Most Significant Inventions." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1543522521915393.
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Marí, Company Francesc. "Napoleón Bonaparte y el cine: una interpretación histórica." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397671.
Повний текст джерелаАнотація:
Cada vez más todas las ciencias se están viendo sujetas a una evolución técnica, inevitable en los tiempos que corren, entre estos avances se incluyen las fuentes audiovisuales. Desde hace ya algún tiempo las ciencias humanas que habían permanecido bajo la protección de las fuentes escritas, sean registros y documentación históricos, o bien trabajos de investigación y divulgación de autores contemporáneos, parecía que estas ciencias seguirían un camino tradicional, pero se han visto complementadas e, incluso, fundamentadas en las fuentes audiovisuales, entre ellas el cine.
El conocido como séptimo arte, que en un principio no era más que eso, un arte, ha llegado a ser una pieza clave como fuente de estudios sociales, antropológicos e históricos, llegando a convertirse en una fuente básica para ellos. Pero el cine que es utilizado como recurso para mirar al pasado, no se reduce tan solo a los documentales y grabaciones históricas, sino también a la utilización de los filmes de reconstitución y reconstrucción histórica, ya que estos además de ofrecernos una visión de la época que retratan, también nos muestran la época en que han sido realizados y quien los ha realizado.
Todas las fuentes cinematográficas en torno a esta época son todas ficción siendo esta la imagen romántica del personaje representada desde mediados del siglo XIX. Entonces, ¿por qué estudiar a Napoleón en el cine, cuando las representaciones que vemos de él en la pantalla no son más que una imagen romántica del personaje real? Por eso mismo debemos estudiarlo. Si tan solo nos quedásemos con esa visión romántica de Napoleón y lo dejásemos como un personaje ficticio inspirado en uno de real, la historia se quedaría oculta tras la ficción. En lugar de ello, se pueden ver las películas ambientadas en esta época paralelamente al estudio de las fuentes documentales y de una bibliografía especializada, así viendo cuales son las diferencias y, las más que sorprendentes, similitudes entre la visión de los artistas del cine y de los historiadores especializados.
Además, Napoleón Bonaparte es un personaje excepcional, a principios del siglo XIX sus seguidores lo comparan con Alejandro Magno, Aníbal, Carlomagno o George Washington, es un héroe, un genio, un “gran hombre”. Mientras que sus enemigos lo llaman usurpador, loco y tirano.
Hay otros personajes, de mayor o menor importancia histórica, que también han sido motivo de una película, de dos, o incluso de una decena, pero ninguno de ellos ha llegado a la desproporcionada cifra de casi trescientas representaciones cinematográficas, lo que ha llegado a crear un género propio, el “napoleónico”.
En definitiva, Napoleón es el personaje perfecto para ser objeto de un estudio de estas características, sobre todo por su relación con el cine, ya que es el que nos ofrece el abanico más amplio de películas, actores y directores, y por ello también
representaciones, para poder ver como este personaje es utilizado e interpretado siguiendo los deseos de unas u otras personas.
Grandes cineastas como Abel Gance, Sacha Guitry, Sergei Bondarchuck, Woody Allen, Ridley Scott, Peter Weir, o Stanley Kubrick, entre muchos otros, han sido los que se han interesado por la vida de Napoleón Bonaparte para llevarla a la gran pantalla, convirtiendo este personaje histórico en uno de los personajes cinematográficos que más veces ha sido objeto de representación.
Como podemos ver, Napoleón se ha ido haciendo un sitio entre los personajes más importantes de la historia del cine, y cuyo currículo de más de trescientas películas es más que suficiente para emprender el estudio y posterior análisis de esta trayectoria cinematográfica, además de ver que función pueden tener todas estas horas de cine en la ciencia histórica.The seventh art, which at first was just that, an art, has become a key source of social, anthropological and historical studies, becoming a staple source for them. But the films that are used as a resource to look back, are not only used for documentary and historical records, but also as films of historical reconstitution and reconstruction, as these besides offering a vision of the time they portray, also show the time in which they were made and who made them. So, why study Napoleon in cinema, whose representations that we see on the screen are just a romantic image of the real person? That is the reason why we study it. If we only kept this romantic vision of Napoleon and believed him to be a fictional character inspired by a real one, the history would remain hidden behind the fiction. Instead, we can watch movies set in this time, parallel to the study of documentary sources and a selected bibliography, becoming aware of which are the differences, and the most surprising, which are the similarities between the vision of the cinema artists and the specialized historians. There are other characters, more or less important in history, who have also been the main character of a film, two or even a dozen films, but none has reached the disproportionate number of nearly three hundred cinematic representations, which have created a genre, the “napoleonic”. Briefly, Napoleon is the perfect character to be the subject of a study of this nature, especially for his relationship with cinema, and because he offers the widest range of films, actors and directors, and also representations, in order to see how this character is used and interpreted following the wishes of one or other person.
23
Ionita, Casiana Elena. "The Educated Spectator: Cinema and Pedagogy in France, 1909-1930." Thesis, 2013. https://doi.org/10.7916/D8HQ3ZXR.
Повний текст джерелаАнотація:
This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic -- republicans, Catholics, Communists, and the first film avant-garde known as the Impressionists -- set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures. My main focus is on how each group defined its ideal spectator, on the tensions manifested within their pedagogical projects, and on the ways in which these projects intersected. Ultimately, the history uncovered here sheds new light on key questions about cinema's impact that marked the twentieth century.
24
Emerson, John James. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 / by John James Emerson." 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
Повний текст джерелаАнотація:
Includes filmography: leaves 252-256. Bibliography: leaves 241-251. This thesis compares the representation of colonial history in the cinema of France and Australia since 1970. Films examined all had historical colonial settings, a narrative focus principally on aspects of the colonisation process and a director who was descended from former colonisers. It concludes that there are few sustained attempts to confront and resolve the problematic aspects of colonialism's legacy. The tendency to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and avoiding the necessity for dealing with it.
25
Bercov, Kimberly Dawn. "Investing in the domestic : the crisis of the modern city in late new wave cinema." Thesis, 2001. http://hdl.handle.net/2429/11630.
Повний текст джерелаАнотація:
Jean-Luc Godard's Two or Three Things I Know about Her/Deux ou trois
chases que je sais d'elle (1966) clearly equates the Her/elle in the title with both the
city of Paris and a young housewife living in a modern apartment on the
outskirts of the city. Godard has insisted that this 'elle' is only Paris and not
Juliette—the housewife whose daily activities the film documents. Yet the
movements of Juliette within the film are inseparable from the knowledge
imparted by the filming of the city's public and domestic spaces. Further, her
quotidian route through these sites must constantly negotiate an almost
excessive overabundance of consumer images. This film, and much of the work
of the so-called French New Wave, attempts to articulate the problems posed by
the 'Modern City' and the conditions of post-war capitalism. Weekend (1967) and
Fahrenheit 451 (1966) envision a city in which the status quo delineated by
consumer culture sets the pattern for all forms of urban life. Fahrenheit 451, a
dystopic science fiction film directed by Francois Truffaut, describes a world in
which the very structure of the home is conflated with technologies of mass
culture and consumerism. Technology enters the domestic sphere in this film as a
'screen interface' that 'spectacularly' produces gendered and sexualized modes
of identification almost exclusively for the suburban housewife.
This thesis explores the gendered spaces of the cinematic city, particularly
how architecture, technology, and consumerism are spatialized. In chapter one I
address how the spaces of consumerism and the domestic are conflated, leaving
it up to the suburban housewife to bear the burden. In chapter two I turn to the
formation of female desire as it is reconfigured in the exchanges between the
spaces of technology and the domestic. How are these intersecting spheres
represented as potential sites of communal transformation? How do they serve
to reveal the limits of transformation? The possibility for social change within
this cinematic space is ultimately relocated outside of the urban. All three films
offer a significant re-appraisal of the 'Modern City,' and in the process reveal its
profound links to women's bodies and female desire. I conclude with a
discussion of the failures of the post-war 'Modern City' which, in these films, is
rejected in favour of a move 'into nature,' a going 'back to zero,' as a possible site
for reimagining new patterns of social and sexual relations.
26
"Hong Kong film policy: a critical study." 2007. http://library.cuhk.edu.hk/record=b5893457.
Повний текст джерелаАнотація:
Chung, Simon.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 123-130).
Abstracts in English and Chinese; appendix 2 in Chinese.
Abstract
Chapter Chapter 1 --- Introduction --- p.4
Chapter Chapter 2 --- "Film Policies in France, Canada and Korea" --- p.19
Chapter Chapter 3 --- Hong Kong Film Policy --- p.65
Chapter Chapter 4 --- Conclusion --- p.106
Appendix --- p.114
Bibliography --- p.120
27
Winkel, Adam Lee. "Zones of Influence: The Production of Madrid in Early Franco Spain." Thesis, 2014. https://doi.org/10.7916/D86T0JN9.
Повний текст джерелаАнотація:
Within Spanish cultural studies, urban studies have become increasingly popular in the last twenty years. While this literature covers a wide range of Spanish locales and historical periods, there are still few comprehensive analyses of the production of Madrid's urban space between the Civil War and the economic boom of the 1960s. This dissertation contributes to the field through the examination of the symbolic production and use of Madrid during the first decades of the Franco dictatorship. I argue that the disciplining of Madrid's urban space was a means of organizing the capital's citizens into ordered subjects during a time of transition. This process was carried out primarily through the creation of expectations of how the spaces around the urban subject were best lived. My analytical approach is based on case studies and close readings of films, novels, and official documents such as speeches, maps, laws, and urban policies that were produced during the 1940s and 50s. It is an interdisciplinary study of the disciplining of Madrid and its inhabitants. The dissertation is organized spatially; each chapter focuses on a different aspect of Madrid's urban fabric, which extends outward in a series of concentric circles. My first chapter, "Home Life: Domestic Struggles in Comedic Film," deals with the most intimate human space, the home. Four films, Esa pareja feliz (dir. Juan Antonio Bardem and Luis García Berlanga, 1951), El inquilino (dir. José Antonio Nieves Conde, 1957), La vida por delante (dir. Fernando Fernán Gómez, 1958), and El pisito (dir. Marco Ferreri, 1959) illustrate how pressures of ownership transformed the home into a powerful tool of control and homogenization by blurring the lines between public and private space. In Chapter 2, "A Wandering Man: Fragmentation and Discipline in La colmena," I show that this tension spread to the city streets portrayed in Camilo José Cela's novel (1951), where fragmentation and separation worked to break down the threat of collective action and caused individuals to search for a productive role in society. In the 1950s, the push of hunger and the pull of industrialization drew migrants to Madrid in search of jobs and material comforts, only to find themselves displaced to the periphery of the capital, reinforcing their marginal status. This demographic transformation forms the basis for my third chapter, "No Limits! The City in Surcos and Los golfos," in which I analyze two key films from the decade, José Antonio Nieves Conde's Surcos (1951) and Carlos Saura's Los golfos (1959). Finally, Chapter Four, "'Ya se aburren de tanta capital': Leisure, Language, and Law in El Jarama" examines Rafael Sánchez Ferlosio's novel (1956) to explore how citizens looking for relief from the pressures of city life in the surrounding countryside only found that this leisure space was under the control of its own disciplinary forces. The novels and films that I include in this study demonstrate how the discipline of the Spanish capital extended to all of the city's zones to create a model of urban citizenship that blurred the lines between pubic and private space and between individual and collective subjects.
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Grenier, Stephanie C. "Freedom of speech, cinema and censorship : a comparative analysis of issues of freedom of speech violations as a result of the rating regulation authorities in the motion picture industry in France and the United States." 2002. http://purl.galileo.usg.edu/uga%5Fetd/grenier%5Fstephanie%5Fc%5F200208%5Fllm.
Повний текст джерела