O estudo da cor no cinema tem alcançado relevantes dimensões de pesquisa ao longo da primeira década dos anos 2000. Diversas publicações mapearam os mais amplos temas em que a cor é posta na análise fílmica. Desta maneira, é possível revisitar algumas obras do passado e partir para novas interpretações e olhares. Sob o domínio da cor é que proponho a análise dos filmes Pierrot le fou (Jean-Luc Godard) e Le bonheur (Agnès Varda). Na investigação do sistema cromático desses cineastas, é possível avaliar questões interdisciplinares como a representação da França dos anos 60 e as relações de gênero. / The study of color in the cinema has reached relevant research dimensions throughout the first decade of the 00\'s. Several publications have mapped the broadest theme in which color is put in film analysis. Therefore, it is possible to revisit some past works and move on to new looks and interpretations. Under the domain of the color, I propose the film analysis of Pierrot le fou (Jean-Luc Godard) and Le bonheur (Agnès Varda). In the investigation of the chromatic system of these moviemakers, it is possible to evaluate interdisciplinary questions like the representation of France in the 60\'s and gender relations.

O estudo da cor no cinema tem alcançado relevantes dimensões de pesquisa ao longo da primeira década dos anos 2000. Diversas publicações mapearam os mais amplos temas em que a cor é posta na análise fílmica. Desta maneira, é possível revisitar algumas obras do passado e partir para novas interpretações e olhares. Sob o domínio da cor é que proponho a análise dos filmes Pierrot le fou (Jean-Luc Godard) e Le bonheur (Agnès Varda). Na investigação do sistema cromático desses cineastas, é possível avaliar questões interdisciplinares como a representação da França dos anos 60 e as relações de gênero. / The study of color in the cinema has reached relevant research dimensions throughout the first decade of the 00\'s. Several publications have mapped the broadest theme in which color is put in film analysis. Therefore, it is possible to revisit some past works and move on to new looks and interpretations. Under the domain of the color, I propose the film analysis of Pierrot le fou (Jean-Luc Godard) and Le bonheur (Agnès Varda). In the investigation of the chromatic system of these moviemakers, it is possible to evaluate interdisciplinary questions like the representation of France in the 60\'s and gender relations.

[pt] Esta tese reflete sobre o estatuto contemporâneo da voz no cinema a partir do tratamento a ela dispensado em um recorte de trabalhos audiovisuais cujos procedimentos artísticos singulares convidam à investigação — em especial no que tange ao que se tem reconhecido como manifestações espectrais da voz acusmática. O trabalho se compõe de três ensaios complementares, que investigam de que maneiras e com que efeitos estético-políticos as produções em exame subvertem formas historicamente calcificadas de destituir a palavra de qualquer corporeidade, o que inclui a materialidade da voz. Com esse horizonte, o estudo se debruça sobre as seguintes criações: A paixão de JL (2016), de Carlos Nader; Hilda Hilst pede contato (2018), de Gabriela Greeb; Imagem e palavra (2018), de Jean-Luc Godard; e Vaga carne (2019), de Grace Passô e Ricardo Alves Jr. Por atenção aos modos como esses filmes trabalham e pensam a matéria vocal, distinguem-se e exploram-se três manifestações interligadas da voz acusmática: (1) propomos pensar como vocobiografias espectrais os tratamentos dados por Nader e Greeb aos arquivos de voz de Leonilson e Hilst, com destaque para os movimentos que se ali desdobram entre presença e ausência, indivíduo e coletivo, ficção e realidade; (2) derivamos a noção de um vozerio tátil dos procedimentos com que Godard atende ao imperativo pensar com as mãos, que abre Imagem e palavra, no plano da miríade de vozes ali convocadas; e por fim, (3) refletimos sobre a invenção de uma voz polimorfa no média-metragem de Grace Passô e Ricardo Alves Jr., que, disparado por encenação (2016) e livro (2018) homônimos de autoria da atriz e dramaturga, tem como surpreendente protagonista uma voz com o poder de transitar por diferentes matérias. Mostra-se como, ao mobilizarem a materialidade da voz por diferentes caminhos e com diferentes ênfases, os filmes estudados agem no sentido de deslocar modos arraigados – e passivos – de escuta. / [en] This thesis reflects on the status of the voice in contemporary cinema by examining a selection of audiovisual works whose unique artistic procedures invite investigation — especially with regard to what has been recognized as spectral manifestations of the acousmatic voice. The work is composed of three complementary essays, which investigate how and with what aesthetic-political effects these productions subvert historically calcified forms of depriving the word of any corporeality, notably of the materiality of the voice. With this horizon, the study delves into the following creations: JL s passion (2016), by Carlos Nader; Dead ones, do you live? (2018), by Gabriela Greeb; The image book (2018), by Jean-Luc Godard; and Dazed flesh (2019), by Grace Passô and Ricardo Alves Jr. By attending to the ways in which these films work with and think about the vocal matter, we distinguish and explore three interconnected manifestations of the acousmatic voice: (1) we propose to think about the treatments given by Nader and Greeb to the voice archives of Leonilson and Hilst as spectral vocobiographies, with emphasis on what evolves in between presence and absence, individual and collective, fiction and reality; (2) we derive the notion of a tactile buzz from the singular ways in which Godard combines the myriad of voices he summons, as yet another means to respond to the imperative that opens the film, namely, to think with the hands; and finally, (3) we reflect on the invention of a polymorphous voice in the medium-length film by Grace Passô and Ricardo Alves Jr., which, triggered by homonymous staging (2016) and book (2018) by Passô, has as its surprising protagonist a voice with the power to transit through different subjects. I show how, by mobilizing the materiality of the voice through different paths and with different emphases, the studied films act in order to displace entrenched — and passive — modes of listening.

Cette thèse, qui a pour objet dʼétude un seul film, celui de Jean-Luc Godard intitulé : HISTOIRE(S) DU CINÉMA, se compose de deux mouvements spéculaires distincts : avant le film et après le film.La première partie de notre thèse tente ainsi de produire la généalogie du film, c'est-à-dire à établir les divers et nombreux projets qui ont abouti aux multiples versions, qui ont été diffusées de façon parcellaires. La date que nous avons fait figurer dans notre titre correspond au plus large encadrement possible, correspondant entre son premier projet d'écriture : "Moi, Je" en 1973 et la date de sortie de la toute dernière version du film : "Moments choisis des Histoire(s) du cinéma" en 2004.Ensuite dans une seconde partie, notre réflexion a visé à interroger sur deux sortes d'éléments antérieurs qui ont donc prédéterminé a vouloir faire ce film. le premier étant Godard lui-même et les traces quʼil a laissé avant le film et le second domaine concerne les personnes autour de lui qui ont été des figures tutélaires : Langlois, Malraux et Bazin. La troisième partie entame l'aspect qu'on a nommé après le film. Il consiste à produire une critique du film en conduisant d'abord notre propre subjectivité à opérer un plan par plan précis des quinze premières séquences, relevant le pari qu'elle nous fournit une gamme esthétique relativement représentative du film. Ensuite nous avons répertorié un grand nombre de critiques qui ont été faites (jusqu'en 2008) car cela nous semble révélateur des types de discours quʼon tient devant le film, révélant cet objet filmique dans le monde cinéma. D'une certaine vue nous avons établi une pré-bibliographie du film par laquelle cette étude se termine. / This thesis, have the object of a lonely film, that Jean-Luc Godard titled: Histoire(s) du Cinema (meaning History(ies) of Cinema) It consists of two distinct specular studies movements: before the film and after the film. The first part of our thesis try to produce a genealogy of this film. So by establishing the various and numerous projects that have resulted in a multiple versions, which have been disseminated in a parcel of time. The date that we have shown in our title corresponds to the widest possible framing, corresponding between his first writing project: « Moi, Je » (meaning Me, Myself & I) in 1973 and the releasing date of his latest version of the movie: « MOMENTS CHOISIS D’HISTOIRE(S) DU CINÉMA » (meaning Selected Moments of History(s) of Cinema "in 2004. Then in a second part, our reflection aimed at questioning two kinds of earlier elements which therefore predetermined to want to make this movie. The first being Godard himself and the traces he left before the film and the second domain concerns some people around him who were the Guardian figures: Langlois, Malraux and Bazin.The third part begins the aspect that was named after the film. It consists in producing a critique of the movie by first leading our own subjectivity to operate a plan by precise plan of the first fifteen sequences, raising the bet that it provides us with a fairly representative aesthetic range of the film. Then we have listed a lot of criticisms that have been made (up to 2008) because it seems indicative of the types of speeches that we hold in front of the film, revealing this cinematic object in the world of cinema. From a certain view we have established a pre-bibliography of the film by which this study ends.

No description available.

No description available.

Consacrée à l'imaginaire du « dialogue euro-méditerranéen » tel qu'il se manifeste depuis le milieu des années 1990 en particulier (après la Déclaration de Barcelone en 1995 puis la mise en place de la Politique Européenne de Voisinage), cette thèse se penche sur trois cas d'étude qu'elle se propose d'analyser par le biais d'une approche transdisciplinaire. La première partie cherche à comprendre comment se construit et circule un « cinéma méditerranéen » et le savoir sur cette possible cinématographie régionale en analysant quatre festivals qui lui sont consacrés à Alger, Bruxelles, Montpellier et Tétouan. La deuxième partie s'intéresse aux enjeux que soulèvent des programmes sélectionnés par l'Union européenne (Euromed Audiovisuel et Marseille-Provence Capitale européenne de la culture) en procédant notamment à une analyse de discours portés par ces programmes et de films qu'ils ont soutenus. La troisième et dernière partie propose une analyse de Révolution Zendj (Thawra Zanj, Tariq Teguia, Algérie/France/Liban/Qatar, 2013) et, par extension, de la manière dont les questions informant ce film du point de vue de la mise en langue, du sous-titrage et du montage se présentent dans d'autres œuvres cinématographiques. L'étude conjointe des festivals, des programmes institutionnels dédiés au champ des productions culturelles et des films, permet de mettre au jour les implications esthétiques et politiques d'un imaginaire dominant du « dialogue » et du « cinéma méditerranéen ». Elle rend également compte de formes et de pratiques d'articulation des voix, des langues, des points de vue et des récits, qui permettent d'imaginer autrement la Méditerranée et les rapports entre les personnes qui se trouvent vivre dans cet espace et leurs histoires. / This thesis seeks to question the imaginary around the "Euro-Mediterranean dialogue", a topos inspired by - and unfolding since - the 1995 Barcelona Declaration and the ensuing Neighborhood Policies. It focuses on three case studies that it analyses according to an interdisciplinary approach. The first part examines both the construction and circulation of a so-called "Mediterranean cinema", and the knowledge around this supposed regional production in the context of four festivals dedicated to it and taking place in Algiers, Brussels, Montpellier and Tetouan. The second part examines the concerns raised by programs selected for support by the European Union through Euromed Audiovisuel and Marseille-Provence Capitale européenne de la culture (Marseille-Provence, European Capital of Culture). These concerns are addressed through an analysis of the discourse produced by these programs and the films funded by them. The third and last part proposes an analysis of the film Zanj Revolution (Thawra Zanj, Tariq Teguia, Algeria/France/Lebanon/Qatar, 2013) and, by extension, examines the way in which questions related to the mise-en-langue, subtitling and editing that inform this film are present in other films. The intertwined study of festivals, of institutional programs dedicated to cultural productions and of films sheds light on the aesthetic and political implications of a dominant imaginary of "dialogue" and "Mediterranean cinema". The thesis also explores forms and practices that articulate voices, languages, points of view and narratives that are capable of weaving an alternative imaginary of the Mediterranean and of the histories and the relations between the people who happen to live in this space.

Against Adaptation: Toward Transdisciplinarity and Minor Cinema Linda Petříková Abstract Over the past decades, the field adaptation studies has been trying to break new grounds and escape the confines of the predominant fidelity discourse. This thesis wants to propose new perspectives that have been widely underrepresented, at least in the Anglo-American context, drawing attention to the great relevance to adaptation of the writings of French critical thinkers, most notably Gilles Deleuze and his two-volume publication on cinema and Jacques Rancière and his continuation/reevaluation of Deleuze's film-related concepts. Without directly addressing questions of adaptation, the way both philosophers think about cinema is inseparable from their thinking about literature and indeed about other arts and media, exemplifying new transdisciplinary approaches to adaptation this thesis hopes to encourage. Even though it might seem counterintuitive, considering the efforts of adaptation studies to cut the roots it has grown within literary departments, I chose three Shakespearean adaptations for the case studies as I believe that such focus will enable us to see more clearly the significance of interstices as much as of the links the films form with the text. Jean-Luc-Godard's King Lear, Orson Welles's Chimes at...