Дисертації з теми "Phobies sociales au cinéma"
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Monfette, Marie-Eve. "La phobie sociale chez les adolescents : état des connaissances et efficacité d'un traitement comportemental." Doctoral thesis, Université Laval, 2005. http://hdl.handle.net/20.500.11794/44058.
Повний текст джерелаMoukheiber, Albert. "Caractérisation et corrélats de l'évitement du regard dans les phobies sociales." Paris 6, 2010. http://www.theses.fr/2010PA066491.
Повний текст джерелаRapoport-Hubschman, Nathalie. "Les phobies sociales et leurs traitements : de la pharmacologie a l'approche cognitivo-comportementale." Lille 2, 1991. http://www.theses.fr/1991LIL2M163.
Повний текст джерелаLavoie, Marie-Pier. "Efficacité de l'exposition in vivo et de l'entraînement aux habiletés sociales chez les adolescents atteints de phobie sociale." Master's thesis, Université Laval, 2003. http://hdl.handle.net/20.500.11794/43115.
Повний текст джерелаFicamos, Bertrand. "Cinéma novo et conscientisation." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30065.
Повний текст джерелаThe aims of this doctoral thesis were to reveal, to analyse and to criticize the approach to the revolutionary cinema shouldered by the Cinema Novo which was based on the concept of conscientisation as it was defined by Brazilian social scientists in the 1950s. The Cinema Novo, that we defined as a group of film-makers, was responsible for a sustained film production during the 1960s in Brazil. It stands as a humanist cinema that intends to provoke an awareness-raising in Brazilian population in which concerns the social, cultural, political and economical mechanisms to blame for underdevelopment so that this population would rebel against them and start a revolution. Glauber Rocha was the unquestionable leader of this cinema, which is nevertheless not summarized by him, and which knew a strong evolution during its ten years existence. Barren Lives (Vidas secas) by Nelson Pereira dos Santos, The Guns (Os Fuzis) by Ruy Guerra, Black God, White Devil (Deus e o diabo na terra do sol), Land In Anguish (Terra em transe) and Antonio das Mortes (O Dragão da maldade contra o santo guerreiro) by Glauber Rocha are some of the examples of this evolution. Our approach belongs to the field of the relations between cinema and history. It applies methods previously developed by Michel Marie, Jean-Pierre Esquenazi and Jean-Pierre Bertin-Maghit to a new object. We show how, by identifying the French concept of « cinéma d'auteur » to that of revolutionary cinema, Cinema Novo succeeded in avoiding classical manipulation techniques of propaganda without being able to build a strong relationship with the public, nor to become the popular cinema of conscientisation idealized in the 1960s
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 джерелаThis 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
Wu, Keng-Ju. "Les messages à thématiques sociales du cinéma de fiction : un exercice pédagogique." Paris 8, 2003. http://www.theses.fr/2003PA083650.
Повний текст джерелаBesides the activity of entertainment, does there exist an educational and interactive relationship between the role as diffusor of social message from cinema fiction and the role as receptor which is received by the audience ? Numerous theories or philosophies under the aspect of pedagogy such as: [Lacan's <>, Freud's <>, <>, <>, <>, <>, <> and <>], help to clear away the ambiguity from the above relationship mentioned. The fieldwork about analyzing the International Film Festival in Cannes brings out the witness both for the movement cinematographic and the dynamics from the practice of the Institutional Analysis
Plana, India. "Exploration des habiletés de cognition sociale chez des patients souffrant du trouble d'anxiété sociale." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30354/30354.pdf.
Повний текст джерелаSeveral theoretical avenues point out that some social cognitive abilities may be affected in patients presenting with social anxiety disorder (SAD). A meta-analysis and scoping review made at the beginning of this project allowed us to notice that because there are gaps in the existing literature, a complete picture of their social cognitive abilities cannot be obtained. This project aims to overcome some of these gaps by studying all the social cognition domains in a sample of same patients with SAD. Results show that patients presented an attributional style bias and a deficit in first-order mentalizing. In patients, self-esteem was positively linked with an externalizing bias and social anxiety symptoms were negatively correlated with emotion processing. This study provides a new insight on the type of social cognition deficits found in patients affected by social anxiety disorder.
Lapointe, Karine. "La relation entre la faible estime de soi sociale et la phobie sociale." Master's thesis, Université Laval, 2000. http://hdl.handle.net/20.500.11794/42629.
Повний текст джерелаBullot, Fabienne. "Chômeurs et sans-travail dans le cinéma français des années 1960 à nos jours." Perpignan, 2012. http://www.theses.fr/2012PERP1093.
Повний текст джерелаThis thesis proposes to trace a history of the unemployed through feature films, considered here as historical documents. The proximity of film to the underclasses and its ability to capture lived experience throws into relief the flaw of the capitalist system represented by unemployment. In a variety of genres – ranging from docufictions, social realist police dramas, and vignettes of contemporary life to satirical parables and black comedies – film empathetically reconstructs the psychological complexity and material vulnerability of “the useless of the world” and sketches portraits of undaunted heroes, which do not reduce the unemployed to a narrowly defined economic or statistical identity. “Unemployment on screen” chronicles the erosion of the labor movement and of workplace solidarity, depicting the resulting forms of depression that affect industrial civilization’s “dispossessed”. It proposes a counter-analysis of society in its representation, for example, of the A. N. P. E. (the French national employment agency) and in films that portray the persistent precarity of its characters: young workers trapped in a succession of minimum wage jobs, the long-term unemployed who have become unemployable, forlorn women, and discarded executives. It probes the crisis of male hegemony and the place of salaried work in our lives, in a century that made salaried work the primary mode of social integration. Lastly, through its depiction of the job interview, which has become an iconic scene-type in French cinema, it displays the power relations in neoliberal corporations and dissects the manipulation and dehumanization of individuals in the context of economic war
Cherabi-Labidi, Nadia. "Les representations sociales dans le cinema algerien de 1964 a 1980." Paris 3, 1987. http://www.theses.fr/1987PA030072.
Повний текст джерелаAnalysing algerian film making from a corpus of five motion pictures produced between 1964 and 1980. Biachronic analysis of these pictures to understand the dynamics of social paintings over two decades and synchronic study to grasp the connections between such paintings outlining the imagery. Four realms of reflection : - depiction of spce (city vs country) - depiction of time (past vs present) - depiction of social media (social classes and characters to refer to) - paintings of womankind five movies have been studied : "le vent des aures" (m. L hamina, 1965) - "le vent du sud" (m. S. Riadh, 1975) - "echebka" (g. Bendedouche, 1975) - "omar gatla- tou" (m. Allouache, 1976) - "leila et les autres" (s. A. Mazif, 1978). Those pictures have been studied through a socio-semiotic viewpoint, a textual and intertextual analysis, and ended up coalescing into a single body, a particular aspect of which each movie uncovered. Thus some excempts from these were brought to attention for : - encompassing the entity "algerian audience" or algerian spectator - analyzing a soundtrack and the beginning of a motion picture that shows a discussion about movie making (soundtrack from "omar gatlatou"; - studying the last pictures from two movies, particularly their retroaction on a rerun of the whole movies; - pondering over titles, the echoing effect and interdiscursivity; - pinpointing the referents and the self referring bearings inside motion pictu- res with regard to cinema, television and moviemakers; - searching for narrative and descriptive stereotypes and their effects over fiction; - bringing forth space oppositions (town vs country) and the cultural forms
Grimard, François. "Relation entre la phobie sociale et la victimisation par les pairs à l'adolescence." Master's thesis, Université Laval, 2003. http://hdl.handle.net/20.500.11794/44288.
Повний текст джерелаPlante-Jean, Marie-Andrée. "Facteurs prédictifs de la dépression chez les gens souffrant d'anxiété sociale." Doctoral thesis, Université Laval, 2012. http://hdl.handle.net/20.500.11794/23655.
Повний текст джерелаKlinger, Évelyne. "Apports de la réalité virtuelle à la prise en charge de troubles cognitifs et comportementaux /." Paris : École nationale supérieure des télécommunications, 2006. http://catalogue.bnf.fr/ark:/12148/cb40148398s.
Повний текст джерелаDamlaci, Ferry Pinar. "La narration classique dans le cinéma turc (1980-2000) : prémisses pour une étude structurale de la logique narrative et des principales figures héroïques." Paris 1, 2012. http://www.theses.fr/2012PA010521.
Повний текст джерелаMedeiros, Rogerio. "Allégorie et représentation de la société brésilienne dans le cinema novo." Paris 7, 1992. http://www.theses.fr/1992PA070031.
Повний текст джерелаThis work is confined to a period going from the early fifties to the early seventies. Its aim is to analyse the "cinema novo" from a sociologic point of view, giving greater place to the important relationship that exist between the imaginary aspect of this cultural mouvement and the fundamental problem of the brasilian society. The imagniary aspect of the "cinema novo" shaws us the brasilian in as anthropological way, thanks to a new visual language wich can be caracterised by the multiplicity of its signe, inherited from the modern cinema - this language had emerged every where through numerous esthetic transfigurations come from the european avant-garde - and also by the heterogeous origns of the brasilian folklore and popular culture
Roche, Thierry. "Du cinéma comme de l'anthropologie : le pouvoir de la mise en scène, mise en scène du pouvoir." Paris, EHESS, 2000. http://www.theses.fr/2000EHESA074.
Повний текст джерелаTurcotte, Julie. "L'estime de soi sociale, les croyances irrationnelles et la perception de l'efficacité personnelle sociale chez les phobiques sociaux." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ38208.pdf.
Повний текст джерелаScherer, Marie-Catherine. "L' individu et le Nous dans le cinéma cubain (ICAIC 1960-2002) : mise en dialogue des discours fictionnels, personnels et officiels." Paris, EHESS, 2013. http://www.theses.fr/2013EHES0547.
Повний текст джерелаThis research postulates that cinematographic expression, and especially fiction films, constitutes a highly interesting field of research, since it allows for discovery and analysis of aspects of the imagination regarding the society, its history and the daily life of its people. Regarding the cuban context, the question of the dynamic representation of the relationship between the individual and the "We" (the collectif entity of reference) appears to be crucial. According to revolutionary ideology, each individual was called upon to engage actively in the construction of a new society that would finally give everyone the opportunity to be fulfilled both individually and collectively. However, the profund national and international changes occuring at the beginning of the 1990s, generating a social and economic crisis that had never seen before, modified the individual's relationship with the surrounding society. Through the analysis of over forty fiction films and their connection with various personal, official and theoretical discourses, this survey examines how the relationship between the individual and the We has been represented since the 1960s and especially since the 1990s. What references - ideological, cultural, affective - can and must the sense of belonging to the We rely on in order to continue making sense? How is the We being imagined so as to answer today's demand to include, in an egalitarian way, the diversity of individuals?
Cervulle, Maxime. "L'écran blanc : diversité, rapports sociaux de "race" et sociologie des spectateurs de cinéma." Paris 1, 2011. http://www.theses.fr/2011PA010559.
Повний текст джерелаKern, Bonnie. "La réception historique du cinéma américain en France (1980-1985) : la critique française et la représentation de la femme." Lyon 3, 2008. https://scd-resnum.univ-lyon3.fr/out/theses/2008_out_kern_b.pdf.
Повний текст джерелаDuring the 1980s, two phenomena resonated in French society. The first phenomenon was a backlash against the social progress of women made over the previous two decades. The second was an intensification of the fascination - repulsion dynamic with American popular culture. The concurrence of these two factors is the origin of this doctoral dissertation whose aim is to understand the evolution of the female condition in France through the study of the French critical reception of American films. The historical materialist approach to reception studies, as developed by Janet Staiger (1992, 2000), guides this research. It consists in observing the historical anchoring of debates sparked by the film amongst spectators evolving in diverse social formations (nationality, age, gender, etc. ). Also fundamental to this research is the theory of utterance (« énonciation ») proposed by Käte Hamburger (1986). According to Hamburger, the film director does not determine an exclusive and obligatory point of view to which the spectator must adhere in order to "correctly” interpret the film. In fact, to build her interpretation, the spectator chooses one (or several) of the possible points of views offered by the film. This doctoral dissertation is divided into three parts. The first part presents the theoretical and methodological framework. The second part contains case studies of the French critical reception of four American films (Kramer versus Kramer, Victor, Victoria, Tootsie, Desperately Seeking Susan) at the time of their release. The final part offers a social and historical contextualisation of these analyses
Amalou, Quentin. "Vivre et laisser mourir : Le ciné-concert et ses publics sour le regard des sciences sociales." Thesis, Avignon, 2017. http://www.theses.fr/2017AVIG1171/document.
Повний текст джерелаThis thesis presents the results of a research about film-concerts (a movie screening wherethe music is played live by one or many musicians) and its audiences. Through an analysisof the relationship between music and cinema as well as a study of the conditions of theemergence of the film-concert around the year 1980, this work shows how the film-concertbecame a myth as per Roland Barthes’ definition. The myth is built around two promises:the film-concert allows the audience to dive into the history of cinema as well as being abrand new cultural experience. Starting from a reflection about the links between filmconcertand the digitalization of cinema, the work will show how, while this event takes itsroots from the origin of cinema, it is a new experience for the audience. Then, we willanalyze how film-concert modifies the relationship between an audience member andcinema as well as his relationship with concert and the orchestra to finally show going tofilm-concerts modifies the symbolic boundaries of cultural legitimacy
Bargach, Selma. "Le statut et le rôle de la femme dans le cinéma marocain." Paris 1, 1997. http://www.theses.fr/1997PA010611.
Повний текст джерела40 years after independence, Moroccan cinema continues to face numerous challenge due to the absence of an economic foundation and judicial status, the poor national production is inconsistent, creating a situation of extreme crisis. Directors are unceasingly drawing upon subject matters full of suffering ; these subjects address issues from ponderous daily life routine that develops into problematic cultural identity. The most prevalent subject is therefore an individual that is constrained in an ossified traditional society in which woman portray women's condition. After the colonisation period, cinema, throughout its evolution has introduced a trend in which women's role and status have been more considered. A status that depicts a more accurate picture which is supplied by director's experiences, often censured
Laborde, Barbara. "Du cinéma comme un art à l'école. Paradigmes et enjeux de l'enseignement obligatoire et de spécialité "Cinéma et audiovisuel" en série L." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030025.
Повний текст джерелаClasses in the artistic field of "film and media studies", which emerged in the 1980’s in French high schools for students specializing in humanities, is the result of a political decision. In the first part of my thesis, I elaborate on this question through the analysis of political discourse. Recurring paradigms and their historical and theoretical expression, used as a starting point for my research, comprise the main issue of this section, which aims at organizing the different ways in which "film" and "media studies" are defined and considered from on high. However, this research cannot be considered complete without a bottom up perspective. Therefore I adopt, in the second section, sociological strategies in order to study the ways in which teachers and students appropriate, impart and transform these paradigms in the classroom. The third part of my thesis deals precisely with the formal programs and film analysis. Using examples taken from analyses, student’s papers, and pedagogical documents published by the French national education institution, I endeavor to elucidate the theoretical paradigms at work for the exercise of analyzing films. Lastly, I examine the "practices" advocated by the teaching of these subjects, the students audiovisual productions, the ways in which they are carried out and the implicit pedagogical, political, or even economical issues they cover. In my conclusion I endeavor to make concrete suggestions for the problems raised throughout my research, since, above all other things, I would like my thesis to be used as a tool for epistemological, socio-political, theoretical, institutional and pedagogical reflection; in short, a tool essentially pluridisciplinary
Kassel, Elena von. "Poésie et sciences sociales, sources du documentaire anglais des années 1930-1950 : l'exemple de Humphrey Jennings." Paris 10, 2003. http://www.theses.fr/2003PA100074.
Повний текст джерелаThe introduction focuses on Humphrey Jennings' (1907-1950) accomplishments, and what studies have been done on him, and how he is relatively unknown in France. The first part evokes Jennings' life, his literary and artistic engagements, including the crucial roles he played in the British surrealist movement, the founding of Mass Observation and his compilation on the Industrial Revolution, Pandaemonium. The second part is about Jennings the filmmaker. It begins with a short history of the British documentary film movement and Jennings' first films. With the outbreak of the Second World War, Jennings devoted himself to making propaganda films. Drawing from British tradition, these poetic documentaries had a profound effect on civilians and raised their moral. Today, they remain the most moving and true accounts of that time. Detailed analysis of these films follow. Jennings died accidentally in 1950. But his work is underrated. Some critics even believing his reputation to depend solely on the exceptional circumstances of the war. This thesis assumes the total of Jennings' work as poet, painter and filmmaker in order to establish his place as major artist of the twentieth century
Vezyroglou, Dimitri. "Essence d'une nation : cinéma, société et idée nationale en France à la fin des années vingt." Paris 1, 2001. http://www.theses.fr/2001PA010651.
Повний текст джерелаHuillet, Marie-Pierre. "Masculinités et féminités dans le cinéma de Quentin Tarantino : analyses filmiques et études de réception." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20066/document.
Повний текст джерелаIf there is indeed an area “through which societies communicate” (N. Burgh, G.Sellier, 2009 : 22), this is definitely the one of cinema. This media is a social activity that is culturally specific and strongly “constructivist” (M. Coulomb-Gully, 2011 : 10) particularly when one talks about Gender Construction. Quentin Tarantino’s filmography which covers more than twenty years of international cinema seemed to be relevant to ask ourselves the question of gender with acuteness. So as a first step of our research work, we attempted to analyze the first seven full-length feature films of this American director in order to bring an answer to our first line of research of the general problematics: which representations of femininities and masculinities and which split between femininities and masculinities do Quentin Tarantino’s movies state for us?Still, if we consider that going to the movies is an act during which “a consciousness takes another consciousness over according to very personal means” (A.Brochu, 2004 : 16), we decided to confront our own interpretation of Tarantino’s movies with other male or female moviegoers for the purpose of answering the second part of our problematics : what do male and female moviegoers see of the femininities and masculinities present in these films? To that end, we carried out comprehensive one-to-one interviews of eight male and female moviegoers. Then, we collected and analyzed their speeches which helped us to produce their portraits. These latter enabled us to experience how much “the moviegoers are ultimately the ones who give sense to a movie” (G.Sellier; 2009 : 10).The cross-cutting analysis of these speeches allowed us to question bodies, sex and sexualities, dominations, gender through the reception process but also the gender-related context of this survey
Seguin, Gilles. "Le film d’ascension à l’épreuve du genre cinématographique." Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0022/document.
Повний текст джерелаThe subject of this thesis is to analyze formal and symbolic relationship being liable to form into gender the specific movies that we call " ascent movies." This will to highlight a narrative structure closer that led us to question us about the notion of genre, its characteristics, its relevance, its limits. The Situations of hybridization with genders such as melodrama, thriller, spy movie, for example, are also discussed. The peculiarity of "ascent movie" invited us to examine the socio-historical contexts that favored his birth and his sustainability despite the disappearance of its historical avatar that is the Bergfilm. On the other hand, the social function of ascent movie has required that we consider her symbolic dimension and his underlying mythical spring that as well as her possible appropriateness with values representing the social imaginary of eras that he has come down through. At last, are addressed the issues raised by the evolution, in the context of the new understanding of nature and natural areas, of a genre closely related to the perception of the high mountain
Joinau, Benjamin. "L’image de l'Autre dans le cinéma coréen (1945-2013) : centrée sur l’ère du Rayon de soleil (1998-2008) : hétérologie et imaginaire." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0077.
Повний текст джерелаHow can we speak about the Other if he/she is the Same? It is the question that Koreans both from North and South ask themselves since the partition of their country. In this non-communicative situation, cinema has been used as a symbolic interface to represent the division. Thus, on each side of the border; heterologic narratives have been elaborated. This thesis studies the nature and the regulatory function of these narratives. Gilbert Durand’s mythodology allows me to analyze this vast material running from 1945 to present and to locate the structures, schemes and symbols which define the Korean imaginary of the Other (alter) through films. I have centered my study on the pivotal Sunshine Policy era (1998-2008). The first part defines the methodology and concepts used. The second part studies the setting of the theme during the pre-1998 period, revealing an imaginary strongly structured by a diurnal and oppositional regime of images. The third part focuses on North Korean cinema during the period 1998-2008 and concludes on the progressive “disappearance” of South Korea as an explicit Other in the movies. The fourth part deals with the specific context of production of the South Korean cinema during the Korean Wave era. In the next part, the experimental dimension of the heterologic narrative reveals four main structures organizing the corpus of 25 movies. The last part deals with the transfer, in the post-1998 South Korean cinema, of the Otherness from the alter to the alius, to non-Korean other Others, opening a dialogic imaginary. We also note the resilience of the theme in movies released after 2008 and the end of the Sunshine Policy
Mesana, Virginie. "De l’espace-diaspora indien à la confluence des rapports sociaux : cinéastes et héroïnes d'une communauté imaginée." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31847.
Повний текст джерелаWeyl, Dimitri. "Rapports de pouvoir - narcissisme et images : une étude psychanalytique et psychopathologique dans la culture contemporaine." Paris 7, 2011. http://www.theses.fr/2011PA070111.
Повний текст джерелаWe will define the relation of power as a potentially pathogenic relation. The pretender to power tends to desubjectivize the other in order to have the benefit of him ; he tends to make his own desire and image prevail to the detriment of the desire and image of the one who suffers from the relation. It is therefore a relation which is opposed to Eros, to a work of connection which necessarily acknowledges and takes "otherness" into account We will consider that this kind of relation, to some degree, favours a decomposition of the link to the other, a decay of the social link. This thesis aims at demonstrating that there is a structural and unconscious link between an exacerbation of the primary narcissism - the one of " his majesty the child "- and the tendency to the relations of power. But its purpose is also to show that the dominant present-day culture requests and even promotes that structural link, especially through the massive use of images as many identifying and deceptive sources tending to captivate the subjectivities which have widely contributed to form a contemporary subjectivity. This study is part of an approach of clinic as being intrinsically related to the issue of uneasiness in culture. So, its purpose is to help shedding light on the relations of power in their narcissistic and unconscious modalities, as well as their pathogenic dimension, in order to enrich the clinical practice in a wide field of intervention. Correlatively it aims at improving our look at politics and the causes of uneasiness in the contemporary social link
Marin-Lamellet, Anne-Lise. "Le "Working Class Hero" ou la figure ouvrière à travers le cinéma britannique de 1956 à nos jours." Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL007.
Повний текст джерелаSince 1956, British cinema has regularly used the figure of the working class hero to represent working-class culture and the social and economic ups and downs it went through whether it was during the so-called Affluent Society (late 1950s-late 1970s) or the early signs of what was then to become an intensifying crisis (early 1980s-late 2000s). Based on a corpus of around three hundred films, this study relates British cinema to its contemporary social, economic and political context in order to attempt a definition of working-class idiosyncrasies and the recurring problems this class has had to face (threat of embourgeoisement or proletarianisation). It also attempts to replace the working class into the heart of all the debates that have stirred British society over the last fifty years and for which the working class hero has become a catalyst (meritocracy, classless society, inequalities, the place of women and minorities in society). Beyond his sociological representativeness, the continuing interest the working class hero has aroused and the fact that his identity rests on an exacerbated portrayal of suffering masculinity rather than a clearly defined class consciousness enable one to contemplate the emergence of a true mythical figure in the British national imagination
Lavialle, Victor. "Trajectoire industrielle et réglementation de l'audiovisuel en France." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEM049/document.
Повний текст джерелаThe French ecosystem of audiovisual production has been structured by the liberalization of state television (1984-1986). Radio frequencies were granted to broadcasters in exchange for a commitment to invest a percentage of their turnover into French production. The result is a heavily regulated system whose rules have changed very little in thirty years. This industrial organization is showing its limits: the market share of French films in theaters is stagnant, while the audience is aging. The profitability of TV-channels crumbles and series they finance don't sell. The entry of foreign platforms such as Netflix fragments the audience even more. The purpose of this thesis is to study the creation of the industrial ecosystem of the French Television, its evolution and the impact of the entry of international players on the incumbents' strategies and on regulation
Charlery, Hélène. "Les Africaines-américaines : entre deux identités : sexualisation et désexualisation des représentations journalistiques, puis cinématographiques des Africaines-américaines de 1869 à 1966." Paris 12, 2005. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990002521890204611&vid=upec.
Повний текст джерелаErbek, Özge. "Le cinéma turc contemporain à travers les représentations de l'autre et de la différence (1990-2010)." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010562.
Повний текст джерелаThe difference and the otherness constitute the operative concepts for understanding the creative development in national cinema. This study, intersecting cultural studies and cinematographies, concentrates on the contemporary Turkish cinema determined more and more by the liberation of the thresholds of visibility. The enlargement of the horizon defined by the conditions of erratic possibilities and materials in the film industry and the changes in the socio-cultural context explain partly the widening of the cinematographic space and the diversity of visions contained. The analysis of film texts are distributed according to the figures of the other and the problems they are raising, revealing the regressive movements as well as the capacity for innovation that emerge from the films, shows less a renaissance or revival of Turkish cinema than an intensification of the struggle within the dominant system. Developing new strategies in the field of representation goes hand in hand with the changes in the modes of control, and this synergy paves the way to the establishment of the new frontiers and new accessibility norms. The treatment of the question of the Other allows to distinguish three non-exclusive modes particularly, representing the main trends within the Turkish cinema : the nostalgic mode, the critical mode and the reflexive mode
Mazzei, Raphaël. "Expérience du temps et de l'espace : regards croisés sur la Basilicate, fragmentations et poétiques à l'épreuve du réel, temps, écritures et images." Amiens, 2011. http://www.theses.fr/2011AMIE0008.
Повний текст джерелаMonteilhet, Véronique. "Les représentations sociales du monde balzacien dans ses adaptations filmiques." Clermont-Ferrand 2, 2002. http://www.theses.fr/2002CLF20009.
Повний текст джерелаEspinosa, 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
Beauvillard, Ariane. "Les Croulants se portent bien ? : les représentations de la vieillesse au grand et au petit écran (1949-2005)." Paris 1, 2010. http://www.theses.fr/2010PA010685.
Повний текст джерелаLacoue-Labarthe, Mathieu. "La représentation des Indiens dans le western américain, des années 1930 à nos jours." Paris 8, 2009. http://www.theses.fr/2009PA083144.
Повний текст джерелаThe study of a sample of 600 American western movies realized between 1930 and 2005 shows the evolution of the Native Americans' portrayal. Till the mid-50s, he is mostly absent and almost always depicted in a negative way. These prejudices are due to the roots of the western movie, inspired by different literary and artistic forms used between the XVIIth and the beginning of the XXth century. From 1945 on, the way Native Americans are shown becomes more positive because of the consequences of World War II. Nevertheless, it's not before the mid-50s that we can see a deep change in the way they are treated on the screen. Sometimes the bloodthirsty savage becomes the noble red man, but all the stereotypes, positive or negative, about the Indians are questioned in some movies. This new image of the Native American is due to the success of the civil rights movement and to the protest against productivism, consumerism, and the Vietnam war ; it is also due to the growing care for environment, the change and the new blood injected into the American society
Demoulin, Claire. "Hollywood Transatlantique : traversées visuelles, culturelles et sociales dans les films biographiques de William Dieterle (1936-1942)." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080023.
Повний текст джерелаThis dissertation focuses on a corpus of biographical films, directed by German-born filmmaker William Dieterle in Hollywood between 1936 and 1942. It examines the multifaceted relationships between the Studio System in which the director worked, the growing feeling of danger in the period that led up to the United States’ entry into the war, and the genre of biographical pictures that developed at the time. Because this film cycle was produced in a historical context marked by exile and deep political crises, its analysis brings out the central role played by migration —and the intermediaries and networks it entailed— in the transatlantic cultural transfers that contributed to the development of Western narratives shared by both sides of the Atlantic. The iconographic, formal, and discursive analysis of these films highlights the processes of cultural hybridization that contributed to the syncretism of European and American referents, and through which Paul Ehrlich and Florence Nightingale are reborn as progressive heroes and defenders of America. It is through a formal face-to-face encounter with audiences of the 1930s and 1940s —by means of direct address to the camera— that these reenactments of the past plea for the universality and timelessness of the struggles they seek to convey ; the biographical mode is used in this encounter as a strategy to circumvent censorship and to ward off, via entertainment, the collapse of political expression. The primary goal of this dissertation is to question the interactions between cinema and society and to examine the relationships between social spheres and the making of these films, both for the films’ portrayals of societal transformations of the era and for the types of social and political intervention that they created
Boudou, Nadine. "Les imaginaires cinématographiques de la menace. Émergence du héros postomoderne." Phd thesis, Université Paul Valéry - Montpellier III, 2012. http://tel.archives-ouvertes.fr/tel-00818856.
Повний текст джерелаGrimard, François. "L'anxiété sociale et la victimisation par les pairs à l'adolescence." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/27178/27178.pdf.
Повний текст джерелаCanteux, Camille. "Villes rêvées, villes introuvables : histoire des représentations audiovisuelles des grands ensembles à la télévision, au cinéma et dans les films institutionnels du milieu des années 1930 au début des années 1980." Paris 1, 2008. http://www.theses.fr/2008PA010552.
Повний текст джерелаHerrou, Tual Claudie. "Le cinéma de Lorenzo Soler dans l'Espagne franquiste : (1963-1970) : (Les images de la réalité sociale en Espagne sous séquestre)." Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL040.
Повний текст джерелаIn 1962, in Barcelona, Lorenzo Soler’s path crossed again Juan Piquer’s, by chance. Both were from the Posguerra generation. In their hometown, Valencia, they had attended the same posh college… and suffered the same experiences, because of the injustices of the Franco’s society. Their reunion marked the beginning of a close friendship. Juan Piquer was a film maker. Under his influence, Lorenzo Soler founded a movie production company. On July 29th 1963, a bomb exploded in downtown Madrid. The two young men were deeply shocked by the bomb attack. Lorenzo Soler then decided to produce a documentary on the obscure period that preceded the Civil War. The two friends’ commitment was exemplary. The first part of the thesis unveils the story of the documentary, from the study of the censure, because there is no copy of the movie, shot as a 35 mm film. In 1965, Juan Piquer went back to Madrid for work. In 1964, the producer started directing movies, using a 16 mm camera. In October 1965, Barcelona town council decided to promote its housing policy toward the southern Spain immigrants, Lorenzo Soler was in charge of a commissioned documentary. While shooting, he discovered el barraquismo, a lump in his throat, he shot, but his work was confiscated. Then the film maker’s decision became irrevocable, his work had to testify. The second part of the thesis deals with the career, from 1965 to 1970, of the precursor of a new cinema in Spain : el cine [documental] independiente
Nadeau-Bernatchez, David. "Le documentaire : rétrospective critique d'un genre cinématographique et applications dans le cadre académique contemporain." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/24084/24084.pdf.
Повний текст джерелаGivois, Ève. "Les Représentations audiovisuelles françaises de migrants italiens, espagnols et portugais (1945-1974)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H038.
Повний текст джерелаThe Italian, Spanish and Portuguese migrants were the subject of many French audiovisual performances from 1945 to 1974, conditioned by the evolution of the diplomatic relations maintained by France with the countries of origin of these populations, by the media structures in place in France and by the adjustments of the French immigration policy. After a study of types, formats and authors of these television and cinematographic representations in the first part, the second and third parts of this thesis retrace their evolutions. From the aftermath of the Liberation until 1962, Italian, Spanish or Portuguese migrants from the screens are divided between working class’ figures and born artists. The images of Spaniards evolve then according to the changes of the attitude of France toward Franco's Spain, those of Italians develop in favor of the co-production film agreements between France and Italy, while those of Portuguese remain marginal. In 1962, when television became more important, these representations crystallized and became politicized. Stereotypical figures of Italian, Spanish and Portuguese migrants assert themselves. The French government seeks to use television to evoke these favored migrations, while political exiles, Spanish and Portuguese in particular, especially artists, are more and more filmed, as the struggles and supports to immigrants
Pointeau-Lagadec, Erwan. "Les Écrans de fumée : consommation de cannabis et fiction française : de la représentation filmique à l'imaginaire social (1969-2002)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H088.
Повний текст джерелаAt the start of the twenty-first century, it became apparent that cannabis had turned into a common consumer product in France, partly due to the massive spread of drug use since the late 1960’s. The French population seems to be getting used to cannabis consumption, developing a certain level of individual and collective tolerance despite its illicit nature. To assess the later hypothesis, this doctoral thesis studies the national imaginary of the practice through the lens of fiction feature films. We built up a database of cinematic and televisual sequences depicting cannabis use that we grouped under the concept of “cannabis moment”. We perform a visual, textual and cultural analysis to derive social representations and link them to the filmic ones. This approach led to two main outcomes : a diachronic description of the three steps of the cultural accommodation of the French society to cannabis from the early 1970’s to the beginning of the twenty-first century, and a synchronic examination of the main rhetorical processes having led to this inflexion point, distinctive of our modern world. Finally, this work adds to a deficient national historiography of drugs outlined in the first part of the thesis
Girgis, André. "Culture Hip-Hop et négociation identitaire à Taiwan : Entre les frontières de la mondialisation." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28782/28782.pdf.
Повний текст джерелаSabre, Clothilde. "La mise en tourisme de la pop culture japonaise : la légitimité culturelle par le croisement des regards exotiques." Thesis, Lille 1, 2012. http://www.theses.fr/2012LIL12008.
Повний текст джерелаJapanese pop culture (manga and animation) has been successful in France for more than thirty years now, and it attracts more and more audience, with very deep lovers as a part of it. Anyway, this diffusion is not only a French phenomenon, as it has been a recognized and acknowledged success since the beginning of the 21st century.This is the frame of this research, which aims to show how the taste for Japanese pop culture, the imaginary of the country and the desire to visit it are linked. We will look at fans of Japanese pop culture and how they become tourists, since they use for the travel the pictures they have built about Japan through their strong intimacy with its pop culture.Taking the anthropology of tourism as a model, this presentation is divided in three parts, which are the three moments of a travel. Firstly, we are going to look at the moment before the trip, when the imaginary of the place is built. Then, we will move during the stay, when travelers are trying to immerge themselves in the country, using their previous picture of place and superimposing it to their concrete experience. So, we will conclude with the third stage, after the stay, trying to understand how this phenomenon is echoing into Japanese territory. We will see that it creates a sort of legitimization of the pop culture and its objects, which becomes a testimony of the Japanese cultural identity.The conducting thread of this research is then that legitimization of the Japanese pop culture, which is allowed by that praise outside of Japan, in a movement of recognition, when foreign and local looks are intertwining