[pt] Dialéticas da desconstrução: Maio de 68 e o cinema tem como objetivo o estudo da desconstrução do cinema francês que emerge motivado pelo Maio de 68 tendo como referência principal a filmografia de três grupos que surgem no período: Dziga Vertov, Zanzibar e Medvedkine. A desconstrução é analisada tendo como base processos dialéticos que visam demonstrar uma qualidade movente, que permita dissociá-la do debate entre críticos para a qual é geralmente associada. O período sobre o qual a filmografia analisada aqui está confinada (1968-1974) compreende não apenas o surgimento e término dos grupos citados, mas mudanças internas nas artes marxistas utópicas que se veem impulsionadas por 68. Estas transformações no cinema são estudadas nesta tese tomando como referência a obra de Herbert Marcuse, no período que contempla a aparição das obras O homem unidimensional (1964) e A dimensão estética (1977). Desta forma, a tese investiga uma desconstrução histórica, na transmissão de técnicas e estéticas entre neovanguardas francesas do pós-guerra; uma desconstrução teórica, entre os críticos da Cahiers du cinéma e Cinéthique a partir de 1969; e uma autodesconstrução, referente a um reposicionamento que inverte política e estética na obra dos três grupos citados. / [en] This doctoral thesis analyzes the deconstruction of French cinema that emerges with May 68, having as main reference the filmography of three groups that appear in the period: Dziga Vertov, Zanzibar and Medvedkine. The deconstruction will be analyzed from dialectical processes that demonstrate a moving feature that allows its separation from the episode that is managed by the critics and which it has been occasionally associated. The period which the analyzed filmography is confined (1968-1974) reaches not only the beginning and end of the mentioned groups, but the internal changes in the Marxists arts that are influenced by 68. This thesis studies those transformations in cinema, having as reference the work of Herbert Marcuse, during the period that contemplates the appearance of the books The unidimensional man (1964) and The aesthetic dimension (1977). This thesis intends to investigate one historical deconstruction, which appears in the transmission of technics and aesthetics between French neo-avant-gardes of the post-war; one theoretical deconstruction, between the critics of Cahiers du cinéma and Cinéthique after 1969; and one auto-deconstruction, which answers to a repositioning that reverse politic and aesthetic in the work of the groups that are mentioned above.

This thesis studies the impact of the work of Elena Jordi during the first Spanish avant-garde period (1890-1920) and the relationship between the myth of Thaïs and her homonymous film released in 1918. Here I track the trajectory of her career from its beginnings to culmination, when she directed Thaïs while leading an innovative vaudeville theatre company. The first chapter discusses the activity of Jordi as a Catalan actress, and woman entrepreneur in vaudeville. It analyzes the effect of the introduction of foreign vaudevilles on the reception of her work by critics through the theorization of Herni Gidel´s on vaudeville as genre. The second chapter reviews the cinematographic work of Jordi and situates it within the context of Catalan cinema´s early development as Spain´s first woman film director. After reflecting about the possible cultural influences that informed Jordi’s Thaïs, I explore the literary origins of the Legend of the Saint, an hagiography of Greek origins, and review relevant literary, operatic, and cinematic productions that incorporated this myth during the early Spanish avant-garde period. My conclusion highlights the original and similar features of Elena Jordi and Thaïs in their respective fields and different manifestations, simultaneously placing Jordi’s Thaïs in dialogue with the myth´s resurrection and its impact on the avant-garde feminist milieu. This demonstrates the formative influence of both Jordi as a pioneering artist and the enduring cultural influence of the myth of Thais on twentieth-century cultural production.

Cette recherche s’est initialement constituée autour de la réalisation de films documentaires et d’une collecte d’images vernaculaires produites dans le « quartier tsigane » (une « ţigănie ») du village de Dițești, au sud de la Roumanie. Dès le début de l’enquête, mes interlocuteurs m’indiquent que leur tsiganie est peuplée d’images ; des telenovelas, des images domestiques, des « films de commande familiaux », etc. Chaque situation filmée fait ainsi l’objet d’intenses négociations entre des pratiques et des expériences filmiques contrastées. Ce travail de description et de reconstitution de l’expérience vécue et sédimentée des images de mes interlocuteurs, par l’observation de ses ramifications à la fois dans le monde social et dans une histoire et une écologie des images, a successivement pris la forme d’une enquête par les arts filmiques, d’une histoire visuelle et numérique des figures tsiganes des industries culturelles roumaines, et enfin d’une archéologie des pratiques filmiques vernaculaires en ţigănie.Bien que l’échelle de l’analyse soit celle de la monographie, l’enjeu de ce travail est de montrer combien cette forme d’expérience reconfigure la pratique des arts filmiques et élargit le champ phénoménal des différentes traditions de recherche qui composent le domaine de l’anthropologie visuelle (« ethnographie expérimentale », Indigenous media et film ethnographique). En somme, cet ensemble de propositions visuelles et manuscrites considère les arts filmiques comme des outils analytiques permettant de comprendre et faire comprendre l’expérience vécue des personnes filmées et l’agentivité des images dans le monde social que nous habitons. Ce qui implique, c’est à la fois la conclusion de cette recherche et le postulat du manuscrit, de considérer les cinéastes et les interlocuteurs de l’anthropologue comme de véritables observateurs et théoriciens des images et des réalités vécues. Ainsi, en appréhendant les images au prisme de l’expérience des images des enquêtés, cette recherche expose la manière dont les arts filmiques – en tant que pratique et discipline – produisent de nouveaux questionnements anthropologiques. Complémentairement, et de manière plus critique, ce savoir des images invite à reconsidérer avec attention la manière dont les anthropologues (et les cinéastes) délèguent parfois aux technologies de l’image des fonctions descriptives, mémorielles, ou transactionnelles. / This research initially consisted of the production of documentary films and a collection of vernacular images produced in the "Gypsy Quarter" ( "ţigănie") of Diţeşti, a village in the south of Romania. From the start of this investigation, my interlocutors informed me that their ţigănie is populated by images; telenovelas, domestic pictures, “commissioned home movies”, etc. Each filmed situation is therefore the subject of intense negotiations between practices and contrasting filmic experiences. This work is based on a description and the reconstruction of the lived experiences, sedimented with images of my interlocutors. By observing the ramifications of this work, both in the social world and in a history and ecology of images, it has progressively taken the form of an investigation by the filmic arts, a visual and digital history of Gypsy figures of the Romanian cultural industries and an archeology of vernacular film practices in ţigănie. Although the scale of the analysis is that of a monograph, the challenge of this work is to show how this form of experience reconfigures the practice of filmic arts and broadens the phenomenal field of different research traditions that constitute the field of Visual Anthropology ("experimental ethnography", Indigenous media and ethnographic film). In short, this set of visual and textual proposals considers the filmic arts as analytical tools for understanding and making understood the lived experience of filmed people and the agentivity of images in the social world we inhabit. What this thesis proposes, both in its hypothesis and conclusion, is to consider both filmmakers and the anthropologist’s interlocutors as true observers and theoreticians of images and experienced realities. Thus, by understanding images through the experience of the respondents’ images, this research demonstrates the way in which the filmic arts - as a practice and a discipline - generate new anthropological questions. In addition, and more critically, this knowledge of images invites us to reconsider attentively the way in which anthropologists (and filmmakers) sometimes delegate the descriptive, memorial or transactional functions of images to visual technologies.

[pt] Na nova cena da poética da obsolescência, dentro do campo específico do cinema do found footage de vanguarda contemporânea, um cineasta célebre e laureado nos festivais de cinema tem se colocado frontalmente na trincheira em prol do analógico: Peter Tscherkassky (1958-). Esta tese é escrita no entroncamento fulcral entrea sua biografia, a historiografia e teoria do cinema e as análises fílmicas críticas ad hoc de sua filmografia. A metodologia da tese reflete o pensamento excessivo anti-axiomático de Georges Bataille assim como a ideia da constelação intempestiva de Walter Benjamin. Desse modo criamos uma série de afinidades eletivas que compõe uma rede de autores basilares para a tese, sendo eles: Georges Didi-Huberman, Mark Fisher, Rosalind Krauss, Jacques Derrida, Thomas Elsaesser, Roland Barthes, entre outros. Tscherkassky opera uma transgressão da semelhança conforme das imagens, fazendo vir à tona a parte maldita da historiografia cinematográfica. No lugar de uma ontologia indexical clássica, ele nos faz adentrar no campo da hantologia, na condição estrutural do cinema enquanto espectros. Seu trabalho é uma tentativa genealógica de reencantamento com as imagens do cinema hoje apaziguado pelo controle da teleologia narrativa do cinema comercial e da dominância do regime representativo. / [en] At the intersection between the museum and the movie theater, a number of contemporary artists have been investigating the corporeality of analog images. In this new scene of the poetics of obsolescence, within the specific field of contemporary found footage avant-garde cinema, our object of study, the Austrian Peter Tscherkassky (1958-) occupies a prominent place. The thesis is written at the central injunction of three lines: i - The biography and critical fortune of the director; ii- the dialogue with a classical historiography and film theory; and iiithe ad hoc critical film analysis of his filmography. In an inflection with Georges Bataille s excessive anti-axiomatic and formless thought and, as well, into Walter Benjamin s idea of constellation, we seek to create a series of elective affinities that compose a network of authors that are fundamental to the thesis, namely: George Didi -Huberman, Mark Fisher, Rosalind Krauss, Jacques Derrida, Thomas Elseasser, Roland Barthes, among others. From a genealogical and extemporaneous re-elaboration of the filmic ruin, he operates a transgression of the mimesis and the conform similarity of the images, bringing to light the cursed part of cinematographic historiography. Instead of a classic indexical ontology, Tscherakassky takes us into the field of hauntology, in other words, the structural condition of cinema as specters.His work would be a genealogical attempt of re-enchantment with images of cinema that are today appeased by the control of narrative teleology and the representative regime. We conclude that the filmmaker s extemporaneous and anachronistic cinema are strong responses and symptoms of problematics of the contemporary cinema scene.