Hokkaido University (北海道大学) / 博士 / 理学

Hokkaido University (北海道大学) / 博士 / 理学

Hokkaido University (北海道大学) / 博士 / 理学

Hokkaido University (北海道大学) / 博士 / 理学

This study will serve to question and explore the ways in which the black subject and the filmmaker can be constructed and represented in narrative and documentary film. The arguments that follow in this written section of the thesis will serve to illustrate and support the three film projects that together make up the PhD in Film by Practice. I will begin by exploring the relationship between the filmmaker with the theoretical and practical frameworks. Alongside this I will discuss the concepts inherent in the three films produced for the PhD. My approach to the above questions in my PhD by practice can be broadly summarised by three stages. The first stage in this approach will be to concentrate on isolating and analysing theories that have informed the three projects. The second stage will then reveal how these informed ideas have moved from one medium (the theoretical, word, text, still image) to another (the language of the moving image). Finally, I will relate the three PhD films to each other, aligning their relationships in terms aesthetics, form and content regarding the black subject. I will conclude by illustrating how these three films argue for new responses when considering representations of the black subject in cinema.

The present study builds on the greater attention being paid by scholars, usually legal historians, to dissertations defended at German universities up to the beginning of the nineteenth century. Helmstedt University has been chosen because the institution as a whole was regarded in its heyday as a jewel in Protestant Germany's educational crown and the Theological Faculty was the senior of the four. A contributory reason for the choice of university and faculty was the wish to complement the work of Kundert on the dissertations defended in Helmstedt's Legal Faculty. Given the ephemeral nature of the material, the lack reliable information on the dissertations in the University's archives and the absence of policy on the part of the University of preserving a copy of each one printed, it is not surprising that the catalogue contains gaps, some of which may never be filled. The catalogue records chronologically the original text of each dissertation and, where appropriate, the details of any reprints. It is supported by six indices, namely praesides, respondents, respondents' place of origin, subjects, writers and recipients of dedications, letters and congratulatory verses, and printers. The rest of the thesis discusses the role of dissertations in German academic life up to ca. 1800 and the unsolved (and probably unsolvable) question of authorship. There follows an examination of certain dissertations defended under (and probably written by) selected professors which seem to characterise most accurately not only the theological standpoint of the writer but also the intellectual development of the Faculty at a particular time. The latter aim is essayed by setting the dissertations against the political and intellectual background of the Guelph territories.

This study focuses on Pier Paolo Pasolini's film Uccellacci e uccellini (1966). It is a film that narrates the wanderings of a working-class father and son around Rome on the day of the funeral of Palmiro Togliatti, leader of the Italian Communist Party. Along the road they meet some extraordinary characters, first of all a talking crow. Onto this simple narrative structure, however, the director overlays a number of allegories and metaphors, questioning the audience about the destiny of Italian society at a time of deep and dramatic political and social change. The present work reads Pasolini's film through a detailed comparison with the earlier and later works by the author, including his poetry, narrative, essays and films; using a broad critical literature (including a large collection of paper and magazine cuttings) the film is examined both in term of its compositional features and authorial poetics and in its reception amongst the public and critics. The thesis argues that Uccellacci e uccellini marks a turning point in Pasolini's cinematography and that it can be used to summarise and exemplify the development of Pasolini's thought and poetic. As a result, given the author's definition of Uccellacci e uccellini as a "film of poetry" and following his passion for contradiction, the analysis is more literary than cinematographic: as for a poem, the study takes into account the structure and the metaphors and attempts an interpretation based on a complex intertextuality.

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