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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Film als Theorie Bildforschung bei Harun Farocki und Jean-Luc Godard /

Pantenburg, Volker, January 2006 (has links)
Thesis (doctoral)--Universität, Münster. / Includes bibliographical references (p. 298-320).
2

Reprise(s) de Harun Farocki, la possibilité d'une expérience : enjeux cinématographiques et historiques / Retake(s) by Harun Farocki, the possibility of an experience : film and history at stakes

Bussy, Amélie 15 October 2014 (has links)
L’œuvre du cinéaste Harun Farocki permet de repenser les rapports entre cinéma et histoire et de dépasser l’habituelle conception selon laquelle l’historiographie serait une articulation compréhensible et analytique des événements passés entre eux. En reliant l’homme non pas tant à son passé qu’à sa condition historique actuelle, ses films se proposent d'écrire l'histoire comme une expérience, avec les moyens du cinéma. Ils annoncent les enjeux de diverses modalités d’écriture proprement filmiques de l’histoire, ce qui permettra d’interroger plus largement les pratiques qui cherchent réellement à employer et créer une forme cinématographique à même de rendre sensibles les interrogations historiques qu’elles soulèvent ou proposent. C'est en ce sens que cette thèse se donne pour projet de décrire quelles sont les « reprises » du cinéaste Harun Farocki qui concourent à écrire, au cinéma, une histoire dont nous pouvons en tant que spectateurs faire l'expérience. Il s'agit de voir comment ses reprises d'images posent, grâce à la mise en scène et au montage, des enjeux historiques et cinématographiques qui sont de réelles nouvelles manières de voir et d’entendre, et comment le cinéaste propose, avec les moyens inhérents à son art, de nouvelles écritures, de nouvelles lectures, une lisibilité inédite – pour l’histoire et pour le cinéma. / The work of filmaker Harun Farocki helps us to think the relationships between cinema and History and go further the usual conception of historiography, where history would be an analytic and understandable writing of the past events. Because they are linking us to a present historical condition rather than simply binding man to his past, his films try to write history as an experience, with the means of cinema. They will allow us to observe the methods and ways of writing films which really search to create a cinematographic form able to read in a new and sensible way the historical questions films can sustain. That's why this research proposes to enlighten and describe what are the “retakes” (“reprises” in french which also means “sew on again”) of filmmaker Harun Farocki which contribute to write history which we can experience as spectators. It intends to examine how his editing of already existing images invents its own aesthetic to write history with film – and how an “experience” can be offered specifically by new ways of writing, seing and hearing films, and by doing so, deepening our reading of film and history altogether.
3

Une question de confiance ? : image, langage et connaissance chez Harun Farocki, Artavazd Pelechian et Fernand Deligny / A question of confidence? : image, language and knowledge in the work of Harun Farocki, Artavazd Pelechian et Fernand Deligny.

Simms, Ian 16 October 2015 (has links)
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.
4

Le film-essai : outil d'historicisation politique

Lafleur, Sylvain January 2008 (has links)
No description available.
5

Le film-essai : outil d'historicisation politique

Lafleur, Sylvain January 2008 (has links)
Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
6

Harun Farocki e a (des)montagem do olhar / Harun Farocki and the (dis)assembly of the gaze

Lerman, Ricardo Terdiman 07 November 2017 (has links)
O trabalho de pesquisa pretende aprofundar-se na concepção e método de cinema de Harun Farocki tomando como problema a relação da sua arte cinematográfica com a história e com as construções simbólicas que se operam a partir da produção de imagens no mundo pós-industrial. Há um duplo movimento em seus filmes que consiste em, de um lado, esboçar, através das imagens que circulam no interior do espaço social, uma história audiovisual da civilização que advém com a invenção da fotografia, a fim de localizar as convergências entre guerra, economia, política e representação. Do outro, investigar o papel do realizador e portanto questionar a técnica, a moral e a política de sua atividade, a fim de interrogar a prática cinematográfica em um mundo contemporâneo saturado dela. O presente trabalho buscará, pelo procedimento da análise fílmica discutir os aspectos sociais e políticos da produção de imagens na atualidade segundo a obra de Farocki, ancorando-se na crítica da fotografia (Flusser) e da história da cultura (Benjamin). A pesquisa evidenciará como as estruturas formais de seus filmes constroem uma relação singular entre as imagens de arquivo e os processos históricos correspondentes, tendo como horizonte compreender a ideia de cinema que se constrói nos filmes \"Imagens do mundo e inscrições da guerra\" (1988) e \"Videogramas de uma revolução\" (1992). / The present work intends to deepen in the conception and method of Harun Farocki\'s work and investigate the relation between his cinematography art, history and the symbolic constructions that are made since the development of the post-industrial world. There is a double movement in Farocki\'s film. The first one involves sketching trough images that circulate in the interior of society an audiovisual history of the civilization that emerges with the invention of photography to locate the convergence between war, economics, politics and representation. The second one consists in investigate the role of the director in the the contemporary world and therefore to question the technique, morals and politics of his activity, in order to interrogate the cinematographic practice in a contemporary world saturated with it. This work of research will seek, through de procedure of film analysis, to discuss the social and political aspects of the production of images in the present time according to the work of Farocki, anchoring itself in the critic of photography (Flusser) and the history of culture (Benjamin). The research will show how the formal structures of his films construct a singular relation between the archive images and the corresponding historical process in the films \"Images of the world and inscriptions of war\" (1988) and \"Videograms of a Revolution\" (1992).
7

Harun Farocki e a (des)montagem do olhar / Harun Farocki and the (dis)assembly of the gaze

Ricardo Terdiman Lerman 07 November 2017 (has links)
O trabalho de pesquisa pretende aprofundar-se na concepção e método de cinema de Harun Farocki tomando como problema a relação da sua arte cinematográfica com a história e com as construções simbólicas que se operam a partir da produção de imagens no mundo pós-industrial. Há um duplo movimento em seus filmes que consiste em, de um lado, esboçar, através das imagens que circulam no interior do espaço social, uma história audiovisual da civilização que advém com a invenção da fotografia, a fim de localizar as convergências entre guerra, economia, política e representação. Do outro, investigar o papel do realizador e portanto questionar a técnica, a moral e a política de sua atividade, a fim de interrogar a prática cinematográfica em um mundo contemporâneo saturado dela. O presente trabalho buscará, pelo procedimento da análise fílmica discutir os aspectos sociais e políticos da produção de imagens na atualidade segundo a obra de Farocki, ancorando-se na crítica da fotografia (Flusser) e da história da cultura (Benjamin). A pesquisa evidenciará como as estruturas formais de seus filmes constroem uma relação singular entre as imagens de arquivo e os processos históricos correspondentes, tendo como horizonte compreender a ideia de cinema que se constrói nos filmes \"Imagens do mundo e inscrições da guerra\" (1988) e \"Videogramas de uma revolução\" (1992). / The present work intends to deepen in the conception and method of Harun Farocki\'s work and investigate the relation between his cinematography art, history and the symbolic constructions that are made since the development of the post-industrial world. There is a double movement in Farocki\'s film. The first one involves sketching trough images that circulate in the interior of society an audiovisual history of the civilization that emerges with the invention of photography to locate the convergence between war, economics, politics and representation. The second one consists in investigate the role of the director in the the contemporary world and therefore to question the technique, morals and politics of his activity, in order to interrogate the cinematographic practice in a contemporary world saturated with it. This work of research will seek, through de procedure of film analysis, to discuss the social and political aspects of the production of images in the present time according to the work of Farocki, anchoring itself in the critic of photography (Flusser) and the history of culture (Benjamin). The research will show how the formal structures of his films construct a singular relation between the archive images and the corresponding historical process in the films \"Images of the world and inscriptions of war\" (1988) and \"Videograms of a Revolution\" (1992).
8

Tempo e imagem : reverberações éticas da ferrugem com Étienne de la Boétie e Harun Farocki

Graff, Luiz Henrique January 2018 (has links)
Este trabalho busca, nas construções de Étienne de La Boétie sobre a servidão voluntária e nas produções do cinema de Harun Farocki, elementos para refletir sobre os modos de produção da imagem, especificamente sobre as condições de produção das imagens. Nessa via, busca o estabelecimento de uma imagem capaz de fazer furo na maquinaria, funcionando, dessa forma, como ferrugem, e assim denunciando a maquinaria da constituição da subjetividade. Inspirando-nos na proposição lacaniana do Tempo Lógico, este trabalho assume três tempos em que pensamos a imagem. Assim, estabelece uma conversa entre os pensamentos de La Boétie sobre a servidão voluntária e o cinema de arquivo de Farocki, no intuito de tentar compreender os mecanismos que criam as condições de alienação. Procuramos também refletir sobre imagens que poderiam criar um anteparo ao assujeitamento – uma ferrugem nesta maquinaria -, buscando compreender onde residiria a potencia de certas imagens de interrogar a contemporaneidade. / This research search for, in the propositions of Étienne de La Boétie about the voluntary servitude and in the cinema productions of Harun Farocki, elements to think about the methods of production of the image, specifically about the conditions of the productions of the images. This way, this work search for the constitution of an image capable of produce a hole in the machinery, working like the rust, and then, denouncing the machinery of the subjective constitution. This work inspires itself in the Logical Time as proposes by Jacques Lacan, constituting itself in three times in which thinks about the image. Thus, establish a discourse between the thoughts of La Boétie about the voluntary servitude and the cinema of Farocki, in order to try to understand the mechanisms that create the conditions to the alienation. The research quests to speculate about images that could create create a shield to the subjugation – rust in the machinery –, trying to understand where the potential of certain images of interrogate the contemporaneity could reside.
9

Agenciamentos estéticos e políticos no audiovisual contemporâneo : imagens de arquivo na obra de Harun Farocki

Mello, Jamer Guterres de January 2016 (has links)
Esta tese apresenta um estudo sobre os agenciamentos estéticos e políticos do uso de imagens de arquivo na obra do artista e cineasta alemão Harun Farocki. A pesquisa propõe, mais especificamente, um planejamento teórico-metodológico que busca descrever o funcionamento diagramático das imagens de arquivo a partir de seus agenciamentos. Para tanto, foram utilizadas obras de Farocki que reúnem diferentes fontes de arquivos e formas diversas de articulação entre essas imagens: A Saída dos Operários da Fábrica (1995), Imagens da Prisão (2000), Imagens do Mundo e Inscrições da Guerra (1989) e Reconhecer e Perseguir (2003). O objetivo do trabalho é problematizar os agenciamentos estéticos e políticos do uso de imagens de arquivo na obra de Farocki, de modo a compreender os regimes que os caracterizam como elementos de diferenciação que operam de forma diagramática. A tese está estruturada em três capítulos: no primeiro é feita uma apresentação e discussão do referencial teórico; o segundo descreve as características do corpus, apresentando detalhes dos filmes e aspectos da trajetória do cineasta; e o terceiro se refere à discussão de algumas das manifestações do arquivo à luz do horizonte teórico adotado. A base teórica da tese é formada por quatro autores principais: Michel Foucault e seu princípio arqueogenealógico ajudam a formalizar metodologicamente um modo de operação frente ao corpus; Jacques Rancière e seu conjunto de questões relativas à estética e à política auxiliam na delimitação de um espaço conceitual que tornou possível tratar o arquivo enquanto processo, condição essencial para a problematização aqui proposta; Georges Didi-Huberman possibilita compreender o arquivo como sintoma, uma imagem detentora de múltiplas temporalidades; Gilles Deleuze e seus conceitos de agenciamento e diagrama permitem identificar o arquivo como elemento de diferenciação, carregado de intensidades e singularidades que operam de forma diagramática no cinema contemporâneo. Foi possível identificar na obra de Farocki um conjunto de traços da constituição de um tipo de imagem documental que provém do arquivo e se expande, de forma mais ampla, a uma cultura audiovisual contemporânea. / This thesis presents a study on the aesthetic and political assemblages of the use of archival images within the work of German artist and filmmaker Harun Farocki. The research proposes, more specifically, a theoretical-methodological approach that seeks to describe the diagrammatic operation of archival footage from their assemblages. Therefore, works of Farocki that bring together different sources of archive and various forms of articulation between these images were used: Workers Leaving the Factory (1995), Prison Images (2000) Images of the World and Inscriptions of War (1989) and War at Distance (2003). The goal is to discuss the aesthetic and political assemblages of the use of archive images used in Farocki’s work, in order to understand the systems that characterize them as elements of differentiation that operate in diagrammatic form. The thesis is divided into three chapters: the first is made a presentation and discussion of the theoretical framework; the second describes the corpus features, with details of films and aspects of the filmmaker's trajectory; and the third refers to the discussion of some of the manifestations of the file in the light of the adopted theoretical horizon. The theoretical basis of the thesis consists of four principal authors: Michel Foucault and his archaeological and genealogical principle help to formalize methodologically an operation mode on the corpus; Jacques Rancière and his set of questions concerning the aesthetic and political help to define a conceptual space that made it possible to treat the file as a process, an essential condition for questioning proposed here; Georges Didi-Huberman possible to understand the archive as a symptom, one which holds image of multiple time frames; Gilles Deleuze and his concepts of agency and diagram identifying the archive as a differentiating element, loaded intensities and singularities that operate in diagrammatic form in contemporary cinema. Could be identified in the Farocki’s work a set of features of the formation of a type of document image that comes from the file and expands, more broadly, the contemporary audiovisual culture. / Esta tesis presenta un estudio sobre los ensamblajes estéticos y políticos de la utilización de imágenes de archivo en la obra del artista y cineasta alemán Harun Farocki. La investigación propone, más específicamente, una planificación teórica-metodológica que busca describir la operación en forma de diagrama de material de archivo desde sus ensamblajes. Por lo tanto, se utilizaron obras de Farocki que reúnen distintas fuentes de archivos y diversas formas de articulación entre estas imágenes: Salida de los Obreros de la Fábrica (1995), Imágenes de Prisión (2000) Imágenes del Mundo y Epitafios de la Guerra (1989) y Reconocer y Perseguir (2003). El objetivo del trabajo es discutir los ensamblajes estéticos y políticos de las imágenes de archivo en la obra de Farocki, de modo a comprender los sistemas que los caracterizan como elementos de diferenciación que operan en forma de diagrama. La tesis se divide en tres capítulos: el primero se hace una presentación y discusión del marco teórico; la segunda describe las características del corpus, con los detalles de las películas y los aspectos de la trayectoria del realizador; y la tercera se refiere a la discusión de algunas de las manifestaciones del archivo a la luz del horizonte teórico adoptado. La base teórica de la tesis consiste en cuatro autores principales. Michel Foucault y su principio de arqueologia y genealogía ayudanos a formalizar metodológicamente una manera de operación ante el corpus; Jacques Rancière y su conjunto de cuestiones sobre estética y política define un espacio conceptual que lo hizo posible para tratar el archivo como un proceso, una condición esencial para las interrogaciones que aquí se plantean; con Georges Didi-Huberman es posible comprender el archivo como un síntoma, una vez que sostiene la imagen de múltiples marcos de tiempo; Gilles Deleuze y sus conceptos de ensamblajes y el diagrama suponen identificar el archivo como elemento diferenciador, cargado de intensidades y singularidades que operan en forma de diagrama en el cine contemporáneo. Así es posible identificar en la obra de Farocki un conjunto de características de la constitución de un tipo de imagen documental que viene del archivo y se expande, más en general, a la cultura audiovisual contemporánea.
10

Tempo e imagem : reverberações éticas da ferrugem com Étienne de la Boétie e Harun Farocki

Graff, Luiz Henrique January 2018 (has links)
Este trabalho busca, nas construções de Étienne de La Boétie sobre a servidão voluntária e nas produções do cinema de Harun Farocki, elementos para refletir sobre os modos de produção da imagem, especificamente sobre as condições de produção das imagens. Nessa via, busca o estabelecimento de uma imagem capaz de fazer furo na maquinaria, funcionando, dessa forma, como ferrugem, e assim denunciando a maquinaria da constituição da subjetividade. Inspirando-nos na proposição lacaniana do Tempo Lógico, este trabalho assume três tempos em que pensamos a imagem. Assim, estabelece uma conversa entre os pensamentos de La Boétie sobre a servidão voluntária e o cinema de arquivo de Farocki, no intuito de tentar compreender os mecanismos que criam as condições de alienação. Procuramos também refletir sobre imagens que poderiam criar um anteparo ao assujeitamento – uma ferrugem nesta maquinaria -, buscando compreender onde residiria a potencia de certas imagens de interrogar a contemporaneidade. / This research search for, in the propositions of Étienne de La Boétie about the voluntary servitude and in the cinema productions of Harun Farocki, elements to think about the methods of production of the image, specifically about the conditions of the productions of the images. This way, this work search for the constitution of an image capable of produce a hole in the machinery, working like the rust, and then, denouncing the machinery of the subjective constitution. This work inspires itself in the Logical Time as proposes by Jacques Lacan, constituting itself in three times in which thinks about the image. Thus, establish a discourse between the thoughts of La Boétie about the voluntary servitude and the cinema of Farocki, in order to try to understand the mechanisms that create the conditions to the alienation. The research quests to speculate about images that could create create a shield to the subjugation – rust in the machinery –, trying to understand where the potential of certain images of interrogate the contemporaneity could reside.

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