Cette recherche porte sur le langage cinématographique (ou mode de représentation) adopté par Mizoguchi en contraste avec le style classique hollywoodien. Notre hypothèse est que le refus de Mizoguchi de recourir au découpage classique et au gros-plan procurerait au spectateur une expérience de perception qui tendrait à se rapprocher de celle vécue par un spectateur de théâtre ou le témoin d’une action se déroulant dans notre monde physique. Mizoguchi a débuté son métier au début des années 1920. Le cinéma japonais venait tout juste de prendre la voie d’un art nouveau en quittant son statut de simple captation de spectacles théâtraux. L’industrie cinématographique japonaise était alors en incubation marquée par diverses influences occidentales. Nous nous pencherons plus particulièrement sur les questions stylistiques à partir du moment où le cinéma japonais s’engageait dans le parlant en imitant le style classique hollywoodien. Ce cinéma dominant devenait une norme que Mizoguchi décida de ne pas suivre pour préférer un style caractérisé par des plans-séquences. Ce style plus « neutre » et «objectif » allait être encensé par Bazin après la guerre au moment où ce dernier découvrit notamment Welles et Wyler. À partir de plusieurs extraits filmiques, nous analysons le plan-séquence mizoguchien comme substitution à une série de plans rapprochés qui se serait imposé normalement avec le style classique hollywoodien. Et ce, afin de discuter des enjeux de réalisme et de théâtralité soulevés par Bazin. / This research focuses on the film language (or mode of representation) chosen by Mizoguchi in contrast to the Hollywood classical style. Our hypothesis is that Mizoguchi’s refusal to resort to traditional cutting and close-up would give the viewer an experience of perception that would tend to be get closer to the one experienced by a stage audience or viewers witnessing an action taking place in our physical world. Mizoguchi made his entry into the profession in the early 20s. At that time, Japanese cinema just recently became a new art by leaving its status of a mere capture of theatrical performances. The Japanese film industry was being incubated with various Western influences. We will focus specifically on stylistic issues from the moment the Japanese cinema engages in talkies by imitating the Hollywood classical style. This dominant style became a standard practice which Mizoguchi decided not to follow to prefer sequence-shots. The long takes style was to be later praised by Bazin for its neutrality and objectivity when he discovered Welles and Wyler after the Second World War. Through analysis of film excerpts, we compare Mizoguchi’s sequence-shots with cutting that would usually take place with the Hollywood classical style. This is to discuss the issues of realism and theatrics raised by Bazin.

Cette recherche porte sur le langage cinématographique (ou mode de représentation) adopté par Mizoguchi en contraste avec le style classique hollywoodien. Notre hypothèse est que le refus de Mizoguchi de recourir au découpage classique et au gros-plan procurerait au spectateur une expérience de perception qui tendrait à se rapprocher de celle vécue par un spectateur de théâtre ou le témoin d’une action se déroulant dans notre monde physique. Mizoguchi a débuté son métier au début des années 1920. Le cinéma japonais venait tout juste de prendre la voie d’un art nouveau en quittant son statut de simple captation de spectacles théâtraux. L’industrie cinématographique japonaise était alors en incubation marquée par diverses influences occidentales. Nous nous pencherons plus particulièrement sur les questions stylistiques à partir du moment où le cinéma japonais s’engageait dans le parlant en imitant le style classique hollywoodien. Ce cinéma dominant devenait une norme que Mizoguchi décida de ne pas suivre pour préférer un style caractérisé par des plans-séquences. Ce style plus « neutre » et «objectif » allait être encensé par Bazin après la guerre au moment où ce dernier découvrit notamment Welles et Wyler. À partir de plusieurs extraits filmiques, nous analysons le plan-séquence mizoguchien comme substitution à une série de plans rapprochés qui se serait imposé normalement avec le style classique hollywoodien. Et ce, afin de discuter des enjeux de réalisme et de théâtralité soulevés par Bazin. / This research focuses on the film language (or mode of representation) chosen by Mizoguchi in contrast to the Hollywood classical style. Our hypothesis is that Mizoguchi’s refusal to resort to traditional cutting and close-up would give the viewer an experience of perception that would tend to be get closer to the one experienced by a stage audience or viewers witnessing an action taking place in our physical world. Mizoguchi made his entry into the profession in the early 20s. At that time, Japanese cinema just recently became a new art by leaving its status of a mere capture of theatrical performances. The Japanese film industry was being incubated with various Western influences. We will focus specifically on stylistic issues from the moment the Japanese cinema engages in talkies by imitating the Hollywood classical style. This dominant style became a standard practice which Mizoguchi decided not to follow to prefer sequence-shots. The long takes style was to be later praised by Bazin for its neutrality and objectivity when he discovered Welles and Wyler after the Second World War. Through analysis of film excerpts, we compare Mizoguchi’s sequence-shots with cutting that would usually take place with the Hollywood classical style. This is to discuss the issues of realism and theatrics raised by Bazin.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T07:32:51Z (GMT). No. of bitstreams: 1 Lucas_MonicaIsabel_D.pdf: 12185228 bytes, checksum: e3248f11886182b6eafa8d6f127e446e (MD5) Previous issue date: 2005 / Resumo: Esta investigação propõe o estudo do contexto teórico que envolve a produção do compositor Joseph Haydn (1732-1809), concentrando-se nas idéias de humor e agudeza [Witz], que têm sido freqüentemente relacionadas à produção deste compositor, desde sua própria época. Para isto, selecionamos críticas de jornais e revistas do século XVIII que discorrem sobre esses aspectos da produção haydniana. No sentido de possibilitar a melhor compreensão do sentido setecentista desses termos, é necessário tratar também de outros conceitos relacionados a eles: a idéia de cômico e as visões setecentistas sobre o riso. Estas informações estão contidas em obras teóricas sobre as artes do século XVIII, como a enciclopédia sobre as artes de Sulzer (1771-74) e a estética musical de Schubart (1784). A recuperação destas noções é utilizada para obter uma melhor compreensão das críticas escritas a Haydn em sua própria época. Elas apresentam visões negativas ou positivas de Haydn, e, com os fundamentos teóricos, é possível atribuir seus conteúdos a premissas conservadoras, de orientação retórica, ou que seguiam as tendências da disciplina então recém surgida, a estética. Assim, as críticas a Haydn permitem criar subsídios para estudar o humor e a agudeza em obras que indubitavelmente representam o estilo maduro destes compositor: os quartetos de cordas op. 33 (1781) / Abstract: This investigation proposes a study of the theoretical context that involves the works of Joseph Haydn (1732-1809), concentrating in the ideas of humor and wit [Witz]. This ideas have been related to the music of Haydn since his own time. Therefore, we selected some eighteenth century journal and magazine critics that involves these aspects of his production. In order to have a better comprehension of the eighteenth century meaning of these concepts, it is necessary to handle also other related notions: the idea of comic and the Eighteenth-Century visions about laughter, contained in works like the arts encyclopedia by Sulzer (1771-74) and the music aesthetic by Schubart (1784). These notions enables us to have a better comprehension of the eighteenth century critics involving the music of Haydn. They contain negative or positive visions about his music, and it is possible to attribute this visions to conservative, rhetorically oriented, or to aesthetic (then a recently created discipline) premises. These critics allow us to create subsidies to observe how humor and wit occur in works that undoubtedly represent Haydn¿s mature style: the string quartets op. 33 (1781) / Doutorado / Doutor em Música

Au XVIIe siècle, Dijon, capitale de la province, est le lieu où résident les membres des organes politiques, administratifs et financiers. La ville connaît alors un remarquable essor de la construction privée. Les bâtisseurs sont principalement les officiers des cours souveraines, parlementaires ou conseillers à la chambre des comptes, qui satisfont leur besoin de représentation sociale en commandant des demeures dignes de leur rang : l’hôtel est bien l’illustration de ceux qui détiennent le pouvoir, le lieu à la fois d’une démonstration sociale, architecturale et artistique.Cette étude, première synthèse sur les hôtels particuliers dijonnais de 1610 à 1715, est abordée selon trois axes de réflexion : les commanditaires, les architectes et leurs réalisations. L’analyse architecturale des hôtels, qui laisse une large part à la distribution, permet une étude comparative avec Paris et les autres grandes villes parlementaires du royaume. / In the seventeenth century, Dijon, capital of the province, was the place where proposed members of the political, administrative and financial bodies chose to live. The city therefore experienced a remarkable boom in the construction of private residences. The builders were mainly officers of the sovereign courts, members of parliament or advisors to the Board of Auditors who wanted to satisfy their need for social representation by ordering houses worthy of their rank : the private mansion was the illustration of people of power, place both a demonstration of social standing, architectural and artistic.This study, the first synthesis of the private mansions of Dijon from 1610 to 1715, is approached according to three lines of thought: the commissioners, the architects and their constructions. The architectural analysis of mansions which leaves a large part to the distribution, allows the comparison with Paris and other major cities of the parliamentary kingdom.

In this thesis, I demonstrate the dynamic way in which musical processes can be described as metaphors. Using Steve Larson’s three main metaphors (gravity, inertia, and magnetism) as a starting point, I propose additional metaphors (friction, repulsion, momentum, wave, orbit, and oscillation) to analyze the first movements of Mozart’s Piano Concerto No. 20 in D minor, K 466 and Schumann’s Piano Concerto in A minor, op. 54. These metaphors provide a means to discuss points of convergence and divergence between the Classical style and the early-Romantic style. Additionally, most theorists of the energeticist tradition only discuss motion through prose; I introduce a way to represent these metaphors as musical examples. By focusing on the listener’s experience through musical motion, the model proposed in this thesis is useful, not only for the theorist, but for all who wish to communicate ideas about music in a dynamic way.