Nous voulons, au cours de cette étude, poser la question de la confiance dans l’image ou plus précisément, nous interroger sur la manière dont cette confiance agit sur les approches, les méthodes et les dispositifs mis en place par trois artistes : Artavazd Pelechian, Harun Farocki et Fernand Deligny. Nous formulerons l'hypothèse d'un lien explicite entre émergence de formes de connaissances et pratiques artistiques, et nous analyserons les manières dont la question de confiance influe sur la mise en œuvre de l’image et, in fine, sur l’émersion de ce que nous nommerons une tierce connaissance.Afin d’aborder ces questions de confiance et de l’émergence de connaissance, il nous a paru nécessaire de choisir un corpus d’artistes qui ont des approches de l’image qui pouvaient mutuellement s’éclairer. Les trois auteurs choisis ont tous un positionnement très affirmé par rapport à la relation entre langage et image. Artavazd Pelechian situe son cinéma « avant Babel » et n’utilise jamais de voix d’acteur ou de voix-off dans ses films. Le langage verbal et écrit est absent de son cinéma contrairement à celui de Harun Farocki qui a dit qu’il « ne saurait plus écrire en l’absence de l’image sur l’écran, ou plutôt sur deux écrans ». Écriture et image sont aussi au cœur de la pratique de Fernand Deligny, mais c’est son travail de réflexion autour de l’autisme qui nous intéresse ici. Deligny concevait la relation au monde de l’enfant autiste, enfant hors-langage, comme une relation qui passait par l’image, ce qu’il nommait l’image biologique. La confiance – et son antonyme, la méfiance – dans l’image est centrale à la manière de sa mise en œuvre. Cette confiance est double, une dualité correspondant aux deux faces signifiant/signifié de l’image : la relation de l’image avec le réel et son lien avec le regardeur. Cette question de confiance implique un rapport avec le langage. Le corpus de cette étude consiste à faire émerger les liens entre le sujet et cette relation image/langage, qui permettent l’émergence d’une tierce connaissance. / This study questions the idea of confidence in the image, or to be more precise, explores the ways in which confidence in the image influences the approach, the methodology and the use of the image in the work of three artists: Artavazd Pelechian, Harun Farocki and Fernand Deligny. We develop the hypothesis of a clear link between the emergence of knowledge and artistic practices. We analyse the ways in which the idea of confidence affects the use of the image and, ultimately, the generation of what we have called ternary knowledge.To be able to address the idea of confidence and the emergence of knowledge, it was necessary to choose a group of artists whose respective approaches to the use of the image were complimentary and yet resonant. The three artists we chose all have a very different approach to the relation between language and image. Artavazd Pelechian places his cinema, “before Babel” and uses neither the voice of an actor, nor that of a narrator; written and spoken language is absent from his work. Harun Farocki, on the other hand, “is no longer able to write without the presence of an image on the screen, or rather, on two screens”. Writing and the image are also at the heart of Fernand Deligny’s work but it is his approach to autism that interests us here. Deligny postulated that an autistic child related to the world though what he termed, a biological image.Confidence – and its antonym, distrust – in the image, is central to the way in which the image is used. This confidence is dual, corresponding to the two faces of the image: signifier and signified. The question of confidence implies a relationship to language and the body of work analysed in this thesis attempts to shed light on the relationships between the subject and the relation between image and language which ultimately allow the emergence of ternary knowledge.

Cette thèse se trouve impliquée dans la problématique de l’expression des écriteslectures des enfants dans les ateliers d’alphabétisation auprès de l’Observatoire de l’Education UFRGS/FACED dans le Projet Ecrites-lectures : un mode de lire et écrire au milieu de la vie et deux groupes de recherches : des Philosophies de la Différence, dans le Programme d’Etudes Supérieures en Education – UFRGS et Psychologie Interculturelle, dans le Laboratoire de Santé, Individu, Société – Lyon 1. Elle fait une critique d’apprivoisement du langage comme mot d’ordre et part du répertoire de la sémiotique linguistique du signifiant qui transforme le penser en représentation dans le territoire des pédagogies de l’alphabétisation. La thèse effectue une fissure dans le système ce sémiotique en montrant le vitalisme de l’expression d’écrites-lectures au milieu de la vie. Pour faire déborder le mot d’ordre de la sémiotique linguistique, on fait la construction de deux mouvements parallèles avec la pensé de la différence. Le premier mouvement est fait avec la sémiotique rhizomatique qui met en oeuvre l’hétérogénéité des signes dans son action connective en produisant l’effet de multiplicité de sens. Dans l’autre mouvement l’expression est vécue dans le sens immanent, ce qui est toujours sensible à la singularité. Ces deux mouvements offrent les conditions de possibilités pour qu’on vive la langue comme un acte de puissance d’agir des corps qui se retrouvent toujours dans le jeu de l’affection. Avec ces mouvements on transversalise la méthode de dramatisation du logos alphabésatiseur. La transversalisation permet de montrer un drame d’expression errante qui se fait entre plusieurs types de lignes, traits et gestes d’écrites-lectures, soit le drame d’expression des enfants est une partie du sensible d’une langue qui s’exprime toujours comme une langue à venir. / Esta tese implica o problema da expressão de escrituras das crianças nos ateliers de alfabetização, junto ao Observatório da Educação UFRGS/FACED, no Projeto Escrileituras: um modo de ler e escrever em meio à vida e dois grupos de pesquisas: o das Filosofias da Diferença e Educação, no Programa de Pós-Graduação em Educação - UFRGS e da Psicologia Intercultural, no Laboratório Saúde, Indivíduo, Sociedade – Lyon 1. Ela tece uma crítica ao aprisionamento da linguagem como palavra de ordem e parte do repertório da semiótica linguística do significante, que torna o pensar como representação no território das pedagogias da alfabetização. A tese realiza uma fissura no sistema dessa semiótica, mostrando o vitalismo da expressão de escrileituras em meio à vida. Para transvazar a palavra de ordem da semiótica linguística, se constroem dois movimentos paralelos com o pensamento da diferença. O primeiro movimento se faz com a semiótica rizomática, que aciona a heterogeneidade dos signos em sua ação conectiva e produz o efeito de multiplicidade de sentidos. No outro movimento, a expressão é vivida no sentido imanente, que é sempre sensível à singularidade. Esses dois movimentos fornecem possibilidades para viver a língua como ato da potência de agir dos corpos que se encontram sempre no jogo da afecção. Junto aos movimentos transversaliza-se o método de dramatização do logos alfabetizador. A transversalização permite mostrar um drama de expressão errante que se tece entre vários tipos de linhas, traços e gestos de escrileituras, ou seja, um drama de expressão das crianças que é parte sensível de uma língua que se expressa sempre como uma língua em devir. / This thesis approaches the problem of children readwriting expression in literacy workshops in the UFRGS/FACED’s Observatory of Education: Readwriting Project (Projeto Escrileituras) and two research groups: of the Philosophies of Difference on Program Graduate Education – UFRGS and Psychology Intercultural in Laboratory Health Individual, Society – Lyon 1. It elaborates a criticism on the language imprisonment as watchword that is part of the linguistic semiotics repertoire of the signifier, which considers thinking a representation in the territory of literacy pedagogies. This thesis makes a fissure in the linguistic semiotics closed system by revealing the vitalism of readwriting expression in life. In order to transfuse the watchword from linguistic semiotics, the construction of two movements parallel to the philosophy of difference is made. The first movement is made with rhizome semiotics. It activates the heterogeneity of the sign in its connective action, producing the effect of senses multiplicity. As for the second movement, the expression is experienced in the immanent sense, which is always sensitive to singularity. These two movements enable possibilities to live language as the acting power practice of the bodies, which always find themselves within the game of affection. Therefore, it is along with these movements that the method of literacy logos dramatization is mainstreamed. The mainstreaming allows showing an erratic drama of expression in which several kinds of contours, features, and gestures of readwriting are weaved, i.e., the children drama of expression is part of a language sensitive section, which always expresses itself as an ever-changing language.

Cette thèse se trouve impliquée dans la problématique de l’expression des écriteslectures des enfants dans les ateliers d’alphabétisation auprès de l’Observatoire de l’Education UFRGS/FACED dans le Projet Ecrites-lectures : un mode de lire et écrire au milieu de la vie et deux groupes de recherches : des Philosophies de la Différence, dans le Programme d’Etudes Supérieures en Education – UFRGS et Psychologie Interculturelle, dans le Laboratoire de Santé, Individu, Société – Lyon 1. Elle fait une critique d’apprivoisement du langage comme mot d’ordre et part du répertoire de la sémiotique linguistique du signifiant qui transforme le penser en représentation dans le territoire des pédagogies de l’alphabétisation. La thèse effectue une fissure dans le système ce sémiotique en montrant le vitalisme de l’expression d’écrites-lectures au milieu de la vie. Pour faire déborder le mot d’ordre de la sémiotique linguistique, on fait la construction de deux mouvements parallèles avec la pensé de la différence. Le premier mouvement est fait avec la sémiotique rhizomatique qui met en oeuvre l’hétérogénéité des signes dans son action connective en produisant l’effet de multiplicité de sens. Dans l’autre mouvement l’expression est vécue dans le sens immanent, ce qui est toujours sensible à la singularité. Ces deux mouvements offrent les conditions de possibilités pour qu’on vive la langue comme un acte de puissance d’agir des corps qui se retrouvent toujours dans le jeu de l’affection. Avec ces mouvements on transversalise la méthode de dramatisation du logos alphabésatiseur. La transversalisation permet de montrer un drame d’expression errante qui se fait entre plusieurs types de lignes, traits et gestes d’écrites-lectures, soit le drame d’expression des enfants est une partie du sensible d’une langue qui s’exprime toujours comme une langue à venir. / Esta tese implica o problema da expressão de escrituras das crianças nos ateliers de alfabetização, junto ao Observatório da Educação UFRGS/FACED, no Projeto Escrileituras: um modo de ler e escrever em meio à vida e dois grupos de pesquisas: o das Filosofias da Diferença e Educação, no Programa de Pós-Graduação em Educação - UFRGS e da Psicologia Intercultural, no Laboratório Saúde, Indivíduo, Sociedade – Lyon 1. Ela tece uma crítica ao aprisionamento da linguagem como palavra de ordem e parte do repertório da semiótica linguística do significante, que torna o pensar como representação no território das pedagogias da alfabetização. A tese realiza uma fissura no sistema dessa semiótica, mostrando o vitalismo da expressão de escrileituras em meio à vida. Para transvazar a palavra de ordem da semiótica linguística, se constroem dois movimentos paralelos com o pensamento da diferença. O primeiro movimento se faz com a semiótica rizomática, que aciona a heterogeneidade dos signos em sua ação conectiva e produz o efeito de multiplicidade de sentidos. No outro movimento, a expressão é vivida no sentido imanente, que é sempre sensível à singularidade. Esses dois movimentos fornecem possibilidades para viver a língua como ato da potência de agir dos corpos que se encontram sempre no jogo da afecção. Junto aos movimentos transversaliza-se o método de dramatização do logos alfabetizador. A transversalização permite mostrar um drama de expressão errante que se tece entre vários tipos de linhas, traços e gestos de escrileituras, ou seja, um drama de expressão das crianças que é parte sensível de uma língua que se expressa sempre como uma língua em devir. / This thesis approaches the problem of children readwriting expression in literacy workshops in the UFRGS/FACED’s Observatory of Education: Readwriting Project (Projeto Escrileituras) and two research groups: of the Philosophies of Difference on Program Graduate Education – UFRGS and Psychology Intercultural in Laboratory Health Individual, Society – Lyon 1. It elaborates a criticism on the language imprisonment as watchword that is part of the linguistic semiotics repertoire of the signifier, which considers thinking a representation in the territory of literacy pedagogies. This thesis makes a fissure in the linguistic semiotics closed system by revealing the vitalism of readwriting expression in life. In order to transfuse the watchword from linguistic semiotics, the construction of two movements parallel to the philosophy of difference is made. The first movement is made with rhizome semiotics. It activates the heterogeneity of the sign in its connective action, producing the effect of senses multiplicity. As for the second movement, the expression is experienced in the immanent sense, which is always sensitive to singularity. These two movements enable possibilities to live language as the acting power practice of the bodies, which always find themselves within the game of affection. Therefore, it is along with these movements that the method of literacy logos dramatization is mainstreamed. The mainstreaming allows showing an erratic drama of expression in which several kinds of contours, features, and gestures of readwriting are weaved, i.e., the children drama of expression is part of a language sensitive section, which always expresses itself as an ever-changing language.

Cette thèse se trouve impliquée dans la problématique de l’expression des écriteslectures des enfants dans les ateliers d’alphabétisation auprès de l’Observatoire de l’Education UFRGS/FACED dans le Projet Ecrites-lectures : un mode de lire et écrire au milieu de la vie et deux groupes de recherches : des Philosophies de la Différence, dans le Programme d’Etudes Supérieures en Education – UFRGS et Psychologie Interculturelle, dans le Laboratoire de Santé, Individu, Société – Lyon 1. Elle fait une critique d’apprivoisement du langage comme mot d’ordre et part du répertoire de la sémiotique linguistique du signifiant qui transforme le penser en représentation dans le territoire des pédagogies de l’alphabétisation. La thèse effectue une fissure dans le système ce sémiotique en montrant le vitalisme de l’expression d’écrites-lectures au milieu de la vie. Pour faire déborder le mot d’ordre de la sémiotique linguistique, on fait la construction de deux mouvements parallèles avec la pensé de la différence. Le premier mouvement est fait avec la sémiotique rhizomatique qui met en oeuvre l’hétérogénéité des signes dans son action connective en produisant l’effet de multiplicité de sens. Dans l’autre mouvement l’expression est vécue dans le sens immanent, ce qui est toujours sensible à la singularité. Ces deux mouvements offrent les conditions de possibilités pour qu’on vive la langue comme un acte de puissance d’agir des corps qui se retrouvent toujours dans le jeu de l’affection. Avec ces mouvements on transversalise la méthode de dramatisation du logos alphabésatiseur. La transversalisation permet de montrer un drame d’expression errante qui se fait entre plusieurs types de lignes, traits et gestes d’écrites-lectures, soit le drame d’expression des enfants est une partie du sensible d’une langue qui s’exprime toujours comme une langue à venir. / Esta tese implica o problema da expressão de escrituras das crianças nos ateliers de alfabetização, junto ao Observatório da Educação UFRGS/FACED, no Projeto Escrileituras: um modo de ler e escrever em meio à vida e dois grupos de pesquisas: o das Filosofias da Diferença e Educação, no Programa de Pós-Graduação em Educação - UFRGS e da Psicologia Intercultural, no Laboratório Saúde, Indivíduo, Sociedade – Lyon 1. Ela tece uma crítica ao aprisionamento da linguagem como palavra de ordem e parte do repertório da semiótica linguística do significante, que torna o pensar como representação no território das pedagogias da alfabetização. A tese realiza uma fissura no sistema dessa semiótica, mostrando o vitalismo da expressão de escrileituras em meio à vida. Para transvazar a palavra de ordem da semiótica linguística, se constroem dois movimentos paralelos com o pensamento da diferença. O primeiro movimento se faz com a semiótica rizomática, que aciona a heterogeneidade dos signos em sua ação conectiva e produz o efeito de multiplicidade de sentidos. No outro movimento, a expressão é vivida no sentido imanente, que é sempre sensível à singularidade. Esses dois movimentos fornecem possibilidades para viver a língua como ato da potência de agir dos corpos que se encontram sempre no jogo da afecção. Junto aos movimentos transversaliza-se o método de dramatização do logos alfabetizador. A transversalização permite mostrar um drama de expressão errante que se tece entre vários tipos de linhas, traços e gestos de escrileituras, ou seja, um drama de expressão das crianças que é parte sensível de uma língua que se expressa sempre como uma língua em devir. / This thesis approaches the problem of children readwriting expression in literacy workshops in the UFRGS/FACED’s Observatory of Education: Readwriting Project (Projeto Escrileituras) and two research groups: of the Philosophies of Difference on Program Graduate Education – UFRGS and Psychology Intercultural in Laboratory Health Individual, Society – Lyon 1. It elaborates a criticism on the language imprisonment as watchword that is part of the linguistic semiotics repertoire of the signifier, which considers thinking a representation in the territory of literacy pedagogies. This thesis makes a fissure in the linguistic semiotics closed system by revealing the vitalism of readwriting expression in life. In order to transfuse the watchword from linguistic semiotics, the construction of two movements parallel to the philosophy of difference is made. The first movement is made with rhizome semiotics. It activates the heterogeneity of the sign in its connective action, producing the effect of senses multiplicity. As for the second movement, the expression is experienced in the immanent sense, which is always sensitive to singularity. These two movements enable possibilities to live language as the acting power practice of the bodies, which always find themselves within the game of affection. Therefore, it is along with these movements that the method of literacy logos dramatization is mainstreamed. The mainstreaming allows showing an erratic drama of expression in which several kinds of contours, features, and gestures of readwriting are weaved, i.e., the children drama of expression is part of a language sensitive section, which always expresses itself as an ever-changing language.

A un moment où le projet anthropotechnique semble s'imposer à travers l'avènement du paradigme technoscientifique et l'implantation généralisée des technologies du code, l'enjeu consiste à interroger et à mettre en crise la soudure métaphysique entre anthropos et techné en repensant la question de la technique par-delà le partage entre Nature et Culture. Dans cette perspective, il ne s'agit plus de penser LA Technique comme ce qui vient s'opposer à une Nature prédonnée pour instituer le règne instrumental d'une humanité coupée du mouvement cosmique, mais au contraire des modes techniques différenciés, autant de manières d'articuler des trames d'espace et de temps, c'est-à-dire des expériences sensibles. Ces modes d'articulation ne répondent pas du pouvoir ni de la volonté de l'Homme mais s'ouvrent depuis l'écart sensible et mouvant du naturer, écart événementiel qui échappe à toute tentative de capture. / At a time of the increasing dominance of anthropotechnic, with the advent of the technoscientific paradigm and the generalised introduction of digital technology, the challenge consists in questioning and disrupting the metaphysical bond between anthropos and techné by reconsidering the issue of technique beyond the division between Nature and Culture. From this perspective, the problem is no longer to see Technique in opposition to a pre-given Nature, opposition which allows the establishment of the instrumental reign of mankind cut off from the cosmic process. The question is to view different technical modes as ways to articulate weaves of space and time, that is as sensitive experiences. These modes of articulation do not depend on the power or the will of Man, but emerge from the sensitive and moving difference of 'naturing', a difference which escapes from any attempt to capture it.

The thesis considers Felix Guattati's notion of transversality, Fernand Deligny anti-pedagody, and Brigid Brophy's novel In Transit (1969) to argue that the terms of subsumption and stratification have the potential to address the conceptual apparatus of the avant-garde to avoid certain foreclosures concerned with the rhetoric of revolutionary transformation traditionally associated both with vanguardism in a politico-ideological sense and with the avant-garde as an aesthetic and critical project. To unlock the critical potential of the terms of subsumption and stratification in regard to the avant-garde, the theoretical framework of Félix Guattari and Fernand Deligny developed as a result of their clinical experience with psychotic and autistic patients, respectively, is used to foreground how subsumption and stratification are inherent in the notions of transversality, group subjectivity, assemblage of enunciation, signification, schizoanalysis, tracing, and mapping. Using these, the thesis argues that in order to address the theoretical foreclosures associated with the notion of the avant-garde, the latter should be viewed in the light of the complementary operations of subsumption and stratification. To substantiate the argument, the thesis juxtaposes Félix Guattari's notion of transversality,...

Made available in DSpace on 2016-04-28T20:38:44Z (GMT). No. of bitstreams: 1 Adriana Barin de Azevedo.pdf: 1424080 bytes, checksum: 3a76dfd7b8b95773efa928a329b948a2 (MD5) Previous issue date: 2013-09-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work intends to show a way of thinking and practicing clinic inspired by Benedict de Spinoza and Gilles Deleuze's philosophy. Our reading of Spinoza's philosophy follows especially the one by Deleuze of it. With these authors, we can speak of a clinic that is concerned with lodging, caring and treating an individual, starting with the question of what he or she can do. This way, we realize that no individual lives the same change of affections, since it is always a singular experience. For Spinoza, the individual is a singular power (potentia), which varies through situations of suffering and joy. Even having a minimal power (potentia), even being very sad, an individual is always perfect, that is, he or she lacks nothing. These authors tell us that the idea of lacking is connected to interpretations and classifications that are the product of our imagination, which comprehends the affections abstractly. In order to show this process, we refer to Fernand Deligny's work with autistic children. This author lodges these children without understanding their autistic condition, marked by the absence of language as a limitation. He is interested in gestures and paths that express what these children are able to do. In his work he uses the concept of net as what allows bodies to participate in a single common plan. We think that this net concept echoes what Spinoza calls living under the guidance of reason, since what is rational for this author is connected with lodging in a common plan of composition. The clinic involve this kind of rational knowledge and, besides, an intuitive knowledge that allows us to understand an individual in his or her own singular power (potentia), that is, in what he or she can compose with everyone. We deal with this kind of clinical experience in a teaching-learning situation, in which a group of teachers show us a way of weaving a net by inventing formation practices. In this process, both teachers and students learn about their own singular power (potentia) / Este trabalho se propõe mostrar um modo de pensar e fazer clínica inspirado na filosofia de Benedictus de Espinosa e Gilles Deleuze. Nossa leitura da filosofia de Espinosa acontece especialmente pela maneira como Deleuze a apresenta. Com estes autores, podemos falar de uma clínica que se ocupa do acolhimento, do cuidado, do tratamento de um indivíduo, a partir da pergunta por aquilo que ele pode. Por este caminho, percebemos que nenhum indivíduo vive a mesma variação afetiva, já que se trata sempre de uma experiência singular. Para Espinosa, o indivíduo é uma potência singular, que varia através das situações de sofrimento e de contentamento. Mesmo em um mínimo de potência, mesmo tomado de tristeza, um indivíduo é sempre perfeito, ou seja, nada lhe falta. Estes autores nos alertam que a ideia de falta está ligada a interpretações e classificações que são fruto de nossa imaginação, a qual compreende os afetos de maneira abstrata. Para mostrar este processo, nos aproximamos da experiência de Fernand Deligny em seu trabalho com crianças autistas. Este autor acolhe essas crianças sem compreender a sua condição autista, marcada pela ausência de linguagem, como uma limitação. Ele se interessa pelos gestos e trajetos que expressam aquilo de que estas crianças são capazes. Em seu trabalho ele traz o conceito de rede, como aquilo que permite aos corpos participarem de um mesmo plano comum. Compreendemos que esta concepção de rede ressoa àquilo que Espinosa chama de viver sob a condução da razão, já que o que é racional para este autor, diz respeito a um encontro de acolhimento em um plano comum de composição. A clínica envolve este tipo de conhecimento racional, e além deste, um conhecimento intuitivo, que permite compreender um indivíduo em sua potência singular, ou seja, naquilo em que ele pode se compor com todos os outros. Tratamos deste tipo de experiência clínica em uma situação de ensino-aprendizado, em que um grupo de professores nos mostra um modo de tecer uma rede através da invenção de práticas de formação. Neste processo, tanto professores quanto alunos aprendem a respeito da própria potência singular

L'objectif de ce projet de recherche était d'approfondir notre compréhension des liens entre communauté et cinéma, rendus possibles par et pour le film documentaire, à travers l'analyse des interactions entre le cinéaste, la personne filmée et le spectateur. L'expérience cinématographique sera analysée d'une part en tant que pratique sociale à travers la prise en considération du contexte de production des films. D'autre part, le film sera aussi considéré comme expérience imaginaire de sociabilité. Les trois films de notre corpus s'intéressent à des expériences communautaires atypiques et mettent en scène des relations fragiles et précaires avec des personnes souffrant de troubles sociaux majeurs, c'est-à-dire des psychotiques, des déficients intellectuels profonds ou des autistes. C'est à partir de l'expérience de l'apparente insociabilité de ces individus que nous réfléchirons au lien d'accompagnement ainsi qu'au concept de care qui seront envisagés, aussi, comme pouvant traduire la relation particulière qui a lieu entre le spectateur et le film. En effet, le cinéma permet l'élaboration d'une expérience relationnelle construite dans les œuvres médiatiques. Le dispositif filmique donne l'occasion au spectateur d'expérimenter des postures morales et affectives nouvelles. Nous tiendrons compte, au cours de ce mémoire, de la façon dont les choix esthétiques du cinéaste peuvent éduquer et faire évoluer la sensibilité du spectateur. Nous essaierons aussi de souligner les différents jeux de pouvoir et d'influence entre les trois instances que sont le cinéaste, la personne filmée et le spectateur. Après avoir décrit le cadre et les enjeux théoriques du projet, le premier chapitre concernera le film La Moindre des choses (1996) dans lequel Nicolas Philibert filme, jour après jour, les pensionnaires de la clinique psychiatrique de la Borde. Ce film nous a servi de prétexte pour penser ou repenser la place du spectateur comme étant inclus dans la relation entre le cinéaste et la personne filmée et cela à partir de cette phrase d'un des protagonistes du film : « On est entre nous, mais vous aussi, vous êtes entre nous. » Le deuxième chapitre s'intéressera au film Ce Gamin là (1985) de Renaud Victor qui cherche à faire voir au spectateur ce que le projet de Fernand Deligny de vivre dans les Cévennes en compagnie d'enfants autistes a d'original et de particulier. Nous pensons que l'enfant autiste nous amène à dépasser nos expériences de sociabilités habituelles. Le lien d'accompagnement d'enfants autistes, puisque toujours fragile et précaire, révèle quelque chose sur nos façons d'avoir du commun. L'étude des médias et de la médiation est pertinente parce qu'elle nous permet de multiplier et de diversifier les modes de communications. Dans Ce Gamin-là, bien que les images permettent au cinéaste de rendre compte de l'événement d'un contact, l'accent sera mis sur l'analyse du commentaire de Deligny, puisqu'il accompagne le spectateur dans l'appréhension d'une réalité qui lui est étrangère. Ce film nous a aussi appris que l’étude des techniques utilisées nous renseigne sur les différentes façons de dire ou de montrer un lien communautaire, affectif ou social particulier. Le Moindre Geste (1971) qui permet à Yves Guignard, déficient intellectuel sévère, de devenir le héros d'un film, se distingue des deux autres films de par la distinction radicale entre les deux étapes du tournage et du montage. Le troisième chapitre se concentrera, d'une part, sur l'analyse de la relation qui se développe entre Yves et Josée Manenti à la caméra. Ensuite, nous verrons de quelle façon le jeu du montage de Jean-Pierre Daniel laisse une grande liberté à Yves, mais aussi au spectateur en multipliant les possibilités d'interprétations. / This master's thesis explores the interactions between community and cinema through the analysis of three films about people with mental disorders, intellectual disability and autism. Special attention will be given to the interactions between the filmmaker, the filmed person and the viewer in a documentary film context. Our study of the interactions between cinema and sociality will consider two things. First, cinema is seen as a social practice through the material aspect of film production. Second, we will adopt an aesthetic approach as an analysis of the imaginary social experience created by cinema. Our corpus integrates three movies showing atypical community experiences and fragile relationships. The thesis pays special attention to the possible interactions with young autistics through the concept of supportive care, which in a way reflects the filmmaker's relationship with the viewer. In such, cinema permits relational experiences to be constructed through the medias. The cinematographic fabric gives the viewer the opportunity to experiment with new moral and affective perspectives. In this thesis, we will consider how the aesthetic choices of the filmmaker can educate the viewer's sensitivity. Also, we will try to underline the different mechanisms of power and influence engaging the filmmaker, the filmed person and the viewer. In the first chapter, we will study the movie La Moindre des choses (1996) in which Nicolas Philibert films, day after day, the residents of a psychiatric institution. The movie enables us to think or to rethink the viewer's position as one included in a small community formed by the filmmaker, the filmed person and the viewer, based on one of the protagonist's lines : « We're among ourselves, but you're also among us ». The second chapter examines the movie Ce Gamin-là (1985) in which Renaud Victor shows the particular nature of Fernand Deligny's project of living amongst autistic children in a rural French community. We don't think that autism signifies that no bonding is possible. The autistic child helps us go beyond our ordinary social experiences and find other ways of being together. The analysis of medias and mediation is relevant, since it helps multiply and diversify our channels of communications. The movie Le Moindre Geste (1971) gives a central role to Yves Guignard, a severely intellectually disabled men. The particularity of this movie is that it shows the radical segregation between the filming step and the editing step. The third chapter will focus first on the analysis of the relationship that develops between Yves Guignard and the camerawoman, and then on the editing role of Jean-Pierre Daniel and how it gives Yves Guignard greater liberty, which consequently helps the viewer experience multiple interpretation possibilities.

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