Cette thèse vise à apporter un éclairage philosophique sur l'œuvre cinématographique d'Alfred Hitchcock. Plus spécifiquement, il est question d'envisager les phénomènes esthétiques et narratifs afin d'évaluer la pertinence de ses films en matière de morale. Pour ce faire, nous proposons un travail en quatre étapes : tout d'abord, il faut prendre le temps nécessaire pour consolider les fondements théoriques de l'exégèse. La première partie s'efforce donc de mettre en place les éléments principaux pour la connaissance de son œuvre, du contexte de production et de ses caractéristiques les plus pertinentes. Par la suite sont envisagés les apports théoriques et conceptuels des critiques dans la filiation de laquelle se situe ce travail : la politique de réhabilitation d'Hitchcock opérée par les Cahiers du cinéma porte ses fruits aujourd'hui encore, malgré la nécessité de dépasser leur approche spiritualiste. Ainsi, cette thèse se veut leur héritière, tout en revendiquant l'utilité de perspectives alternatives comme celles de Robin Wood ou de William Drummin. Le second moment se propose d'entrer dans la diégèse hitchcockienne et d'analyser le plus justement possible les particularités du monde fictionnel créé à travers la cinquantaine de films constituant le corpus. Cette étude met en valeur l'idée d'un pessimisme latent qui se manifeste à travers une contingence ambivalente, une menace de la fatalité, une ambiguïté des fin heureuses, et une critique presque généralisée des institutions. La représentation des personnages n'est pas plus heureuse dans la mesure où l'antagonisme traditionnel méchants / bons est faussé par un manque d'héroïsme des protagonistes et une sympathie récurrente des vilains, dont la mise en scène particulièrement ambiguë favorise un rapport non conventionnel de la part des spectateurs. La troisième partie tente de dépasser cette inquiétude généralisée en montrant que les ressources personnelles des protagonistes, associées à leur rencontre parfois traumatisante avec le monde les amène à rendre possible une certaine éthique des rapports humains. Le couple engagement / dévouement est au centre de ce développement, permettant de mettre en avant la possibilité d'une évolution des personnages : d'une amoralité initiale, résultat d'une hostilité généralisée et d'un égoïsme primaire, ils peuvent prétendre au statut de véritables héros, porteurs ou représentants de valeurs et de vertus liées à l'altruisme et à l'acceptation du monde. Enfin, le dernier mouvement propose une étude de la réception, dont le but est de comprendre la position spectatorielle. Pour ce faire, nous analysons les procédés permettant le partage des expériences, afin de parvenir au concept de « vicarialité » qui semble le plus à même de décrire la forte implication et la conscience de soi qui résulte de l'esthétique hitchcockienne. Le moment final est centré sur la constitution du jugement moral du spectateur et sur la pertinence de cette œuvre dans la vie éthique du public. / This thesis aims at bringing a philosophical perspective on Alfred Hitchcock's cinematographic work. More specifically, we intend to consider the aesthetic and narrative phenomenons in order to value the moral relevance of his films. To do this, we suggest a four stage work : firstly, one needs to take the time to strengthen the theoretical basis of the exegesis. The first part strives to introduce the main elements to for a proper study of his work, its context of production and its most relevant features. After this non exhaustive glance, we'll address the conceptual and theoretical contribution of the critics in the filiation whose approach we share. The politics of Hitchcock's rehabilitation by the Cahiers du cinéma still bears fruits today, despite the necessity to exceed their spiritualist approach. Therefore, this thesis claims the inheritance while calling upon different critics, likes William Drummin or Robin Wood. The second moment investigates Hitchcock's diegesis in order to analyse as correctly as possible the features of this fictional universe created through the fifty or so films of the corpus. What emerges from this study is the idea of a latent pessimism which shows itself through an ambivalent contingency, a fatality threat, ambiguity of the happy endings and an almost generalized criticism of the institutions. The character's presentation is not happier inasmuch as the traditional antagonism villains / good people is corrupted by a lack of heroism from the protagonists and a recurrent sympathy from the villains, the mise en scène of which leads to an unconventional connection with the spectator. The third part tries to exceed this widespread anxiety by showing that the protagonists' personal resources, associated with their (sometimes traumatizing) encounters with the world leads them to make a certain ethics of human relationships possible. The pair engagement / devotion is at the centre of this development and allows us to point up the possibility of an evolution of the characters: from an initial amorality resulting from a general hostility and a primary egoism, they can pretend to become real heroes, bringing or exemplifying values and virtues linked to altruism and acceptance of the world. The last step offers a study of the reception of the films; the aim is to understand the spectatorship's position. To do this, we analyse the processes leading to the sharing of the experiences, in order to reach the concept of “vicariality”, which seems the most suitable to describe the strong implication and the self-consciousness resulting from the hitchcockian aesthetics. The final moment is centred on the constitution of the moral judgement of the spectator and on the contribution of Hitchcock's work on the moral life of the spectators.

CineScrúpulos es una revista digital que recopila los trabajos desarrollados por los alumnos en la clase de Historia del Cine de la Facultad de Comunicaciones de la UPC. El curso no pretende brindar una visión historicista del cine repleta de fechas, nombres de directores, títulos de películas y lugares exóticos, sino que intenta evidenciar la linealidad casi genética que es intrínseca al quehacer fílmico, una tradición que no solo se repite sino que se reinterpreta en distintos escenarios y en distintos momentos. Porque se entiende que el cine es, ante todo, la herencia permanente de lo que se ha hecho antes. Los textos de la revista CineScrúpulos han sido elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la Universidad Peruana de Ciencias Aplicadas. Las imágenes utilizadas han sido obtenidas de distintas páginas web y el uso de las mismas se inscribe en lo estrictamente académico y divulgativo. / La presente edición de CineScrúpulos rinde homenaje a la obra de uno de los más grandes innovadores y revolucionarios directores de cine de todos los tiempos: Luis Buñuel. A 30 años de su muerte se hace una revisión exhaustiva de su obra para encontrar referentes en un director más contemporáneo como David Lynch. Asimismo, descubrimos a Álex de la Iglesia bajo la sombrilla de Alfred Hitchcock y luego regresamos al Perú para preguntarnos si somos capaces de construir un cine de género con sabor nacional. Pero antes damos un vistazo a la cartelera del segundo semestre de 2012, la misma que ha estado salpicada de algunas buenas películas y de otras que prometían más de lo que dieron.

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A tese investiga a recorrência do filme Um corpo que cai (Vertigo, 1958), de Alfred Hitchcock, como esquema matricial de uma reflexão meta-artística que, tomando como objeto a própria imagem (cinematográfica, pictórica, fotográfica, digital), atravessa toda a história moderna do cinema. Depois de definir e analisar a teoria artística proposta por Vertigo, a tese verifica os desdobramentos dessa teoria em uma série de filmes realizados desde o começo da década de 1960 até os anos 2000. Dentre os filmes analisados se acham La Jetée (Chris Marker, 1962), Blow up (Michelangelo Antonioni, 1966), Trágica obsessão (Obsession, Brian De Palma, 1975), Special Effects (Larry Cohen, 1984), Síndrome mortal (La Sindrome di Stendhal, Dario Argento, 1996), Estrada perdida (Lost Highway, David Lynch, 1997), A prisioneira (La captive, Chantal Akerman, 2000) e Na cidade de Sylvia (En la ciudad de Sylvia, José Luis Guerín, 2007). / The thesis investigates the recurrence of Alfred Hitchcock\'s Vertigo (1958) as the matrix scheme of a meta-artistic reflection that crosses all the modern history of cinema. It includes a series of films whose subject is the image itself (cinematographic, pictorial, photographic, as well as digital image). After defining and analyzing the artistic theory proposed by Vertigo, the thesis verifies the developments of this theory in many modern and contemporary films made since the beginning of the 1960\'s. Among the films analyzed one will find La Jetée (Chris Marker, 1962), Blow up (Michelangelo Antonioni, 1966), Obsession (Brian De Palma, 1975), Special Effects (Larry Cohen, 1984), The Stendhal Syndrome (Dario Argento, 1996), Lost Highway (David Lynch, 1997), La captive (Chantal Akerman, 2000), and In the city of Sylvia (En la ciudad de Sylvia, José Luis Guerín, 2007).

A tese investiga a recorrência do filme Um corpo que cai (Vertigo, 1958), de Alfred Hitchcock, como esquema matricial de uma reflexão meta-artística que, tomando como objeto a própria imagem (cinematográfica, pictórica, fotográfica, digital), atravessa toda a história moderna do cinema. Depois de definir e analisar a teoria artística proposta por Vertigo, a tese verifica os desdobramentos dessa teoria em uma série de filmes realizados desde o começo da década de 1960 até os anos 2000. Dentre os filmes analisados se acham La Jetée (Chris Marker, 1962), Blow up (Michelangelo Antonioni, 1966), Trágica obsessão (Obsession, Brian De Palma, 1975), Special Effects (Larry Cohen, 1984), Síndrome mortal (La Sindrome di Stendhal, Dario Argento, 1996), Estrada perdida (Lost Highway, David Lynch, 1997), A prisioneira (La captive, Chantal Akerman, 2000) e Na cidade de Sylvia (En la ciudad de Sylvia, José Luis Guerín, 2007). / The thesis investigates the recurrence of Alfred Hitchcock\'s Vertigo (1958) as the matrix scheme of a meta-artistic reflection that crosses all the modern history of cinema. It includes a series of films whose subject is the image itself (cinematographic, pictorial, photographic, as well as digital image). After defining and analyzing the artistic theory proposed by Vertigo, the thesis verifies the developments of this theory in many modern and contemporary films made since the beginning of the 1960\'s. Among the films analyzed one will find La Jetée (Chris Marker, 1962), Blow up (Michelangelo Antonioni, 1966), Obsession (Brian De Palma, 1975), Special Effects (Larry Cohen, 1984), The Stendhal Syndrome (Dario Argento, 1996), Lost Highway (David Lynch, 1997), La captive (Chantal Akerman, 2000), and In the city of Sylvia (En la ciudad de Sylvia, José Luis Guerín, 2007).

Den här uppsatsen behandlar huruvida det finns ett multipelt auteurskap och om termen auteur kan appliceras på andra filmskapare än regissören. Utifrån syftet ställdes sedan två frågor: Vilken roll har manusförfattaren jämfört med regissören när det kommer till auteurskap över en film? Samt frågan om på vilket sätt ett multipelt auteurskap skulle kunna formuleras? För att undersöka dessa frågor användes sedan en komparativ metod där romanen Rebecca jämförs med dess filmiska adaptation samt filmens manus. Baserat i fallstudien av Rebecca (1940) diskuteras sedan regissörens roll gentemot filmmanusförfattarens och författarens, samt vad dessa roller får för konsekvenser i termer av auteurskap. / This essay examines whether there is a multiple auteurship and if the term auteur can be applied to other filmmakers than the director. Based on this purpose, two questions where formulated: What is the role of the screenplay-writer compared to the director’s when it comes to auteurship over a film? The paper also examines the question of how a possible multiple auteurship could be formulated. To examine these questions, a comparative method was used in which the novel Rebecca was compared with its cinematic adaptation, as well as the film's screenplay. Based on the case study of Rebecca (1940), the director’s role is thereafter discussed compared to the screenplay-writers and the authors roles, as well as what the consequences of these roles have in terms of auteurship.

L'œuvre filmique relève-t-elle du "sévère exercice de dépersonnalisation" revendiqué par Gilles Deleuze dans l'invention d'une identité personnelle ? Quelles méthodes, les réalisateurs Alfred Hitchcock, Thomas Vinterberg et Kim Ki-duk inventent-ils pour représenter des femmes et des hommes soumis à des situations si intolérables qu'elles les dépersonnalisent et ce jusqu'à l'oubli de leur nom ? Enfin, quels liens peut-on opérer entre une dépersonnalisation qui relève d'une stratégie de survie déclenchée par des traumatismes d'origines diverses et, une autre, qui reflète la formidable puissance de l'acte créateur ? Ma réflexion s'inscrit à la croisée de deux formes de dépersonnalisation dont le psychanalyste Michel de M'Uzan a indiqué les destins radicalement opposés. Chacune, selon lui, s'accompagne d'affect distinct. Aussi à partir de ces différences essentielles quant à la qualité de l'émotion et à la visée, j'analyse, dans ma thèse, les modalités selon lesquelles le créateur est en mesure de nous montrer comment dévier la violence autodestructrice de l'une à la faveur de la puissance créatrice de l'autre qui, avec l'avènement de l'œuvre cinématographique, délivre l'image des empreintes terrifiantes d'un monde contemporain à la tonalité extrêmement archaïque. Tout au long de ma démonstration, les passages fréquents de la poïétique à la narration filmique m'ont permis, à la suite de la proposition de Gilles Deleuze et de la notion de créativité de Donald Woods Winnicott, d'envisager aussi la création en terme d'identité. / Does creation as something to do with the "exercise of severe depersonalization" claimed by Gilles Deleuze in the invention of a personal identity? What methods, directors Alfred Hitchcock, Thomas Vinterberg and Kim Ki-duk they invented to represent women and men subject to the conditions so intolerable that depersonalize them ? Finally, what links can be made between a depersonalization that is a survival strategy to trauma, and another that reflects the tremendous power of the creative act ? My thinking is at the intersection part of two forms of depersonalization in which the psychoanalyst Michel M'Uzan said the radically different fates. Each, he says, is accompanied by distinct affect. Also from these essential differences in the quality of the emotion and the destiny, I analyze in my thesis, the manner in which the creator is able to show us how to deflect the destructive violence of one to for the creative power of the other. Throughout my demonstration, the frequent passages between the narration and the poïesis allowed me, as a result of the proposed Gilles Deleuze and the notion of creativity Donald Woods Winnicott, to consider also creation in terms of identity.

Formal education is primarily based upon learning about space through static two-dimensional representations, while landscape architecture responds to the ever-changing spatial and temporal conditions of the material world. The film medium, with its illusion of movement and three-dimensionality, offers an easily accessible antidote to this conundrum. Although cinematic settings are often constructed to promote a particular narrative rather than emulate physical reality, these filmic worlds trigger powerful imagery which overwhelms the lived experience of space. Through the analysis of three seminal films by director Alfred Hitchcock – Rear Window, North by Northwest and The Birds – this project represents an endeavour to deconstruct the haunting filmic atmospheres which transformed my perceptions of three familiar landscapes. Through the use of drawing and composite graphics, I have sought to understand this cinematic ostranenie – or defamiliarization – of the everyday and its underlying creative potential for the realm of landscape architecture.

Formal education is primarily based upon learning about space through static two-dimensional representations, while landscape architecture responds to the ever-changing spatial and temporal conditions of the material world. The film medium, with its illusion of movement and three-dimensionality, offers an easily accessible antidote to this conundrum. Although cinematic settings are often constructed to promote a particular narrative rather than emulate physical reality, these filmic worlds trigger powerful imagery which overwhelms the lived experience of space. Through the analysis of three seminal films by director Alfred Hitchcock – Rear Window, North by Northwest and The Birds – this project represents an endeavour to deconstruct the haunting filmic atmospheres which transformed my perceptions of three familiar landscapes. Through the use of drawing and composite graphics, I have sought to understand this cinematic ostranenie – or defamiliarization – of the everyday and its underlying creative potential for the realm of landscape architecture.

How do artists scare us? Horror filmmakers and novelists alike can accomplish fear, revulsion, and disturbance in their respective audiences. The rhetorical and stylistic strategies employed to evoke these feelings are unique to the genre. Divulging these strategies will be the major focus of this thesis, yet there will also be discussion on the social and cultural background of the Horror genre.