Le conte n’est pas abordé ici dans sa qualité bien reconnue de genre fixe, de forme « simple » et « naïve » à destination des enfants. Situé en France, entre l’après-guerre et aujourd’hui, le corpus sollicité comprend des adaptations affichées (de La Belle et la Bête de Cocteau en 1946 au Barbe-Bleue de Catherine Breillat en 2009) et des emprunts disséminés et masqués que retravaillent certaines œuvres de Buñuel, Claude Chabrol, Louis Malle, Claude Miller, Claire Denis, Laurent Achard et Marina de Van. Ni anthropologique, ni structuraliste, ni narratologique, ni psychanalytique, mais combinant ces approches, notre thèse a pour visée de déplacer des lignes épistémologiques et méthodologiques, les grilles herméneutiques traditionnelles s’avérant insuffisantes à rendre compte des processus à l’œuvre lorsque le médium cinématographique réécrit selon ses propres dispositifs et avec ses effets spécifiques les contes anciens. Ce renversement se traduit par des poétiques du trouble, de l’opacité, la tentation d’orientations stylistiques naturalistes et de déplacements génériques vers le thriller voire les formes de l’horreur. Non seulement on peut en dégager les affinités profondes entre des cinéastes français éloignés dans le temps, mais on propose de repérer l’expérience du corps éprouvé comme un motif central, de nature érotique, où se redéfinit, dans certains fragments voire certains photogrammes, le travail de l’image cinématographique. C’est dans une visée exploratoire, qui privilégie les démarches analytiques que notre thèse met au jour, sous les emprunts aux contes de l’enfance (Charles Perrault, les frères Grimm, Hans Christian Andersen), une filiation sadienne et bataillienne du cinéma français d’auteur. / Fairytales are not seen here as a fixed genre, a "simple" and "naïve" construct aimed at a child audience. Our body of reference works, originating in France and dating from the post-war years up to this day, includes traditional film adaptations (from Cocteau’s Beauty and the Beast in 1946 to Catherine Breillat’s Bluebeard in 2009) as well as obscure representations reworked in films by Buñuel, Claude Chabrol, Louis Malle, Claude Miller, Claire Denis, Laurent Achard and Marina de Van. Using an approach neither anthropological, structural, narratological or psychoanalytic, but one that combines all of these, our thesis aims to shift epistemological and methodological lines, the traditional hermeneutic matrices proving inadequate to reflect the processes occurring as the film medium, using specific means and effects, rewrites classical fairytales. This inversion is translated by emotional upheaval and blurring, a desire for naturalistic orientations and changing of genre towards the thriller or even forms of horror. Not only do the deep affinities between older generation French filmmakers emerge, but one identifies the use of the body as a central motive, erotic in nature, where shaping the film image is redefined in certain sequences and frames. Using an exploratory approach favouring analytic processes, our thesis illustrates the sadean and bataillean filiation between childhood fairytales (Charles Perrault, The Brothers Grimm, Hans Christian Andersen) and French arthouse cinema.

Depictions of college professors in American films are common, and while a number of studies have investigated various aspects of college life in motion pictures, few have focused exclusively on the cinematic professoriate. In addition to being an indelible part of history, cinematic depictions of college professors are part of the national discourse on the role and function of the faculty and university. An investigation of how college professors have been represented in American films, and how these representations are read and created by real-life college professors and filmmakers may provide a deeper understanding of the relationship between popular culture images and academia. This project consists of three sections. The first focuses on the trajectories of negative representations of college professors in popular American films from 1970-2016. The second examines interview responses of film professors to on-screen depictions of college faculty. The third presents a case study of professorial depictions by a group of filmmakers who created a feature length film about a college professor. As various public stakeholders are increasingly questioning the role of the college professor and the institution of higher education, this project seeks to examine the influence of popular professor images and cultural influences on the conceptions of two interpretive communities – one that embodies the professoriate and one that creates images surrounding it. Moreover, this project considers these depictions within film marketplace and popular culture contexts.

Partant de la difficulté qu’il y a à définir le « cinéma politique », ce travail se propose dans un premier temps de synthétiser, d’organiser et d’actualiser les savoirs disponibles sur le sujet. L’objectif est d’esquisser un panorama, non des films eux-mêmes, mais des discours théoriques qui accompagnent leur développement et fixent leurs objectifs. Ces discours peuvent être rassemblés en trois grands modes de lecture, en fonction de la définition qu’ils donnent de la politique et de la manière dont ils la rendent disponible pour les films. La deuxième partie procède à partir d’une hypothèse inverse : certes, on peut identifier des formes d’engagement dans les arts, mais on peut également constater que la politique est traversée par des logiques esthétiques, au sens de ce qui a trait à la perception et à la sensation (fictions, procédés de mise en scène, modes de distribution de l’espace et du temps). Or, si l’expérience esthétique est une modalité de l’expérience politique, cela signifie que les œuvres d’art peuvent avoir un rôle à jouer dans la manière dont une société se donne à voir, à éprouver, se transforme. À partir de là, il reste à imaginer les conséquences de cette hypothèse dans le champ de la théorie du cinéma, l’enjeu étant de parvenir à formuler un quatrième mode de lecture des films : la lecture esthétique. Les onze thèses qui composent la troisième partie s’efforcent d’en dessiner les contours, sur le plan à la fois théorique et méthodologique. Enfin, des analyses de films des années 1960 (une période qui passe souvent pour « moins politique » que la suivante) viennent mettre en pratique la lecture esthétique, explorer ses possibilités, éprouver ses limites. Chaque analyse se présente comme le contrechamp d’une thèse, de manière à illustrer la complémentarité des discours et des images. L’ambition de ce travail est donc de proposer une nouvelle analytique du cinéma politique, mais aussi de montrer ce que les films sont susceptibles d’ajouter aux problèmes politiques dont ils héritent. / Noticing how difficult it is to understand the notion of “political cinema”, I intend to summarize, arrange and update the knowledge on this subject. Part I presents an overview of theoretical discourses that try to define the purpose of political films. These theories can be gathered into three major reading frameworks, depending on the definition of politics they rely on and the way they extend it to include filmic phenomena. Part II reverses the perspective: it certainly is possible to identify several forms of commitment in the movies, but one can also notice that politics itself is woven from aesthetic logics, i.e. issues of perception and sensation (fictions, staging, directing, partitions of space and time). Yet if aesthetic experience is involved in political experience, it means that works of art can play a crucial part in the way a given society takes its definite shape, produces determined feelings, evolves. This hypothesis prepares the ground for a fourth reading framework that I present as a legitimate candidate to fulfill the task of understanding political cinema: the aesthetic reading. Part III consists of eleven theses that try to outline it, from both a theoretical and a methodological point of view. Finally, I put the aesthetic reading into practice by providing analyses of films from the 1960’s, a time often seen as “poorly committed”. The intention is to investigate the relevance of the aesthetic reading and its limits. Since politics is about discourses and images complementing one another, the whole part adopts an alternate structure, each analysis immediately following and expanding on a thesis. This study thus aims at renewing the methods and purposes of political film analysis, but also intends to understand what a film can do to the political problems it inherits.

No description available.

Syftet med föreliggande uppsats var att granska populärkultur för att undersöka om könsmakt-ordningen återspeglas inom den kulturgenren eller ej. Frågeställningen var: Präglas populär-kulturens innehåll och uttryck av könsmaktordningens ojämställda förhållanden? Om så är fallet, på vilka sätt? I uppsatsen avgränsades populärkultur till att gälla amerikanska filmer under år 2009. Det empiriska materialet utgjordes av de fyra mest sedda filmerna under det aktuella året. Datainsamlings- och analysmetoden var filmanalys med diskursanalytisk ansats. I uppsatsen användes även en deduktiv ansats, vilket innebar att radikalfeministisk teori användes som utgångspunkt i granskningen av filmerna. Resultatet visade att könsmakt-ordningen återspeglades inom den utvalda populärkulturen på så vis att kvinnor och män framställdes med könsbundna roller och temperament, genom att kvinnorna bland annat skil-drades som hjälpbehövande och gråtmilda medan männen bland annat skildrades som själv-ständiga och heroiska. Vidare visade resultatet att kvinnor framställdes som sexuella objekt samt att exponeringen av kvinnors kroppar inom sexindustrin framställdes positivt ur såväl kvinnors som mäns perspektiv. Slutsatsen var att denna ojämställda framställning inom populärkulturen kan vara en bidragande orsak till könsmaktordningens reproduktion och vidmakthållande. / The aim with this essay was to analyze popular culture to examine whether or not the gender power structure is reflected in that culture genre. The question was: Is the content and expression of the popular culture characterized by the unequal conditions of the gender power structure? If so, in what ways? In the essay, popular culture was limited to American movies during 2009. The empirical material was four of the most watched movies during that year. The method for data collection and analysis was film analysis with a discourse analytic approach. In the essay, a deductive approach was also used which in this case meant that the analysis of the movies was based on radical feminist theory. The result showed that the gender power structure was reflected in the selected popular culture due to the fact that women and men were portrayed with stereotypic gender roles and temper, that women were presented as sexual objects and that the exposure of women's bodies in the sex industry was portrayed in a positive sense. The conclusion was that this unequal narrative in the popular culture can be a contributing factor to the reproduction and maintenance of the gender power structure.

abstract: Using Critical Race Theory (CRT) and Tribal Critical Race Theory (TribCrit) as a theoretical framework, this dissertation analyzes a contemporary cinematic film directed by an American Indian filmmaker about American Indians and answers the question of whether the visual texts are unmasking, critiquing, confronting, and/or reinforcing reductive and stereotypical images of American Indians. Using Critical Thematic Analysis as a process, this dissertation interrogates Drunktown’s Finest (2014) to understand ways a contemporary American Indian filmmaker engages in counterstorying as a sovereignist action and simultaneously investigates ways the visual narrative and imagery in the film contributes to the reinforcement of hegemonic representations—the static, constrained, White-generated images and narratives that have been sustained in the hegemonic culture for over a century. With an increase in the number of American Indian filmmakers entering into the cultural elitist territory of Hollywood, moving from the margins to the center, I believe Natives are now in a better position to apprehend and reconstruct a multidimensional and complex American Indian identity. I posit that the reshaping of these mass-mediated images can only be countered through the collective and sustained fostering of a more complex imagery of the American Indian and that authorship of the representation is crucial to changing the hegemonic imagery of American Indians. / Dissertation/Thesis / Doctoral Dissertation Curriculum and Instruction 2017

Esta dissertação de mestrado tem como objetivo verificar quais são as representações sociais sobre a escola, a partir da comparação entre os filmes Os incompreendidos (1959) e Machuca (2004). Adotou-se, para esse fim, a análise da estrutura narrativa do longa-metragem ficcional, sabendo-se que é o produto cinematográfico mais acessível a um público mais amplo. É necessário salientar que, ao trabalhar com imagens, sabe-se que não existe uma leitura fixa e predeterminada, mas sim leituras particulares de imagens que concatenadas com teorias apresentam novo sentido. A análise dos dados será feita, em boa medida, à luz das teorias narratológicas de David Bordwell. / This dissertation aims verify what are the social representations about the school, through the comparison between the films The 400 blows (1959) and Machuca (2004). For this purpose, was adopted the analyze of narrative structure of fictional feature film, knowing that it is the cinematographic product more accessible for a wider audience. It is necessary emphasize when you work with images that there is not a fixed and predetermined reading, but there are private readings that concatenated with theories bring new meanings. The data analyze was largely done based on narratological theories from David Bordwell.

A pesquisa parte da análise fílmica para responder às perguntas: como a cidade aparece no moderno cinema brasileiro que surge nos anos 1960? Como estas questões se colocam numa década de extrema tensão política e cultural do Brasil? A premissa é que, na metrópole de crescimento tentacular e maior pólo industrial do Brasil, o jargão do progresso encobre a urbanização precária de uma sociedade desigual. Os filmes rodados neste meio oferecem um campo notável para compreendermos como a modernização conservadora revela sua face no cinema. Além do trabalho sobre os filmes, a tese procura averiguar em qual medida as obras analisadas estabelecem continuidades ou rupturas em relação à produção anterior, na forma plástica e nas narrativas. Os resultados revelam que sendo a utopia um problema na representação da cidade no cinema brasileiro, no caso de São Paulo o desajuste das personagens se deve a que o progresso da cidade resulta de um desenvolvimento que combina modernidade econômica com uma elite aferrada ao poder. / With filmic analysis as its point of departure, the research attempts to respond to the following questions: how is the city portrayed in the modern Brazilian cinema that emerged during the 1960s? How are these questions framed in a decade of such extreme political and cultural tension in Brazil? The premise is that, in the nations largest industrial hub, a metropolis of tentacular growth, the jargon of progress covers up the precarious urbanization of an unequal society. The films shot in this environment provide notable source material from which to understand how conservative modernity shows its face in cinema. In addition to its treatment of the films, the thesis also seeks to ascertain to what extent the analyzed works continue from or break with the earlier production in both their plastic form and narratives. The results show that, as utopia is a problem in the representation of the city in Brazilian cinema, in the case of São Paulo in particular, the maladjustment of the characters stems from the citys progress as a result of an urban development that combines economic modernity with a power-hungry elite.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-18T13:40:06Z No. of bitstreams: 1 luizotaviovieirapereira.pdf: 1746620 bytes, checksum: 4ec65ab91fdfdf100544800ab72b6bb8 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-18T14:08:29Z (GMT) No. of bitstreams: 1 luizotaviovieirapereira.pdf: 1746620 bytes, checksum: 4ec65ab91fdfdf100544800ab72b6bb8 (MD5) / Made available in DSpace on 2017-05-18T14:08:29Z (GMT). No. of bitstreams: 1 luizotaviovieirapereira.pdf: 1746620 bytes, checksum: 4ec65ab91fdfdf100544800ab72b6bb8 (MD5) Previous issue date: 2017-02-16 / O objetivo do estudo é o de realizar uma análise sobre as transformações da narrativa cinematográfica, sobretudo a partir da chegada da tecnologia digital, resultando em um hibridismo que democratiza o sistema de produção ao mesmo tempo em que valoriza novas formas de significação. O trabalho tem como recorte o movimento mumblecore nos Estados Unidos. Caracterizados pela legitimação do discurso tecnológico como novidade, esses filmes se apropriam das facilidades maquínicas ao mesmo tempo em que radicalizam os processos híbridos das mídias. Nesse sentido, a proposta é analisar as particularidades da mise-en-scène construída por essa geração de cineastas a fim de compreender a desconstrução narrativa que valoriza o fragmento em detrimento de qualquer hierarquia representacional. / The aim of the study is to analyze the transformations of the cinematographic narrative, especially since the arrival of digital technology, resulting in a hybridism that democratizes the production system while valuing new forms of meaning. The object of study is the mumblecore movement in the United States. Characterized by the legitimacy of technological discourse as novelty, these films appropriated the machinic facilities at the same time as they radicalize the hybrid processes of the media. In this sense, the proposal is to analyze the peculiarities of the mise-en-scène constructed by this generation of filmmakers in order to understand the narrative deconstruction that values the fragment to the detriment of any representational hierarchy.

Se pourrait-il que le cinéma ne se soit pas mis à parler parce qu’il avait quelque chose à dire, mais afin de faire parler la parole, de la mettre sur écoute, de renseigner les imaginaires discursifs qui configurent notre expérience commune ? Se pourrait-il que le langage soit ainsi inscrit au cœur du septième art, comme il fut au centre des savoirs de la modernité théorique ? Notre époque a inventé les moyens de reproduire techniquement la parole, mais n’a sans doute pas tout à fait pris la mesure de la révolution anthropologique induite par la visibilité exceptionnelle que ceux-ci lui donnent. Nous partons de l’hypothèse qu’il y a une pensée cinématographique du langage et de ses usages, un savoir (esthétique, rhétorique, poétique) qui s’ajoute à la parole dès lors qu’elle est représentée dans les films. Plaçant la parole filmée au centre de l’analyse de quatre fables cinématographiques — Fury (1936) de Fritz Lang, Fail Safe (1963) de Sidney Lumet, Salò (1975) de Pier Paolo Pasolini et Film Socialisme (2010) de Jean-Luc Godard —, ce travail donne à entendre quatre "leçons de langage", interrogeant les puissances et les infortunes de la parole dans un monde persuadé qu’il communique massivement. À quoi pensent les films quand ils parlent ? Entre autres choses, ils méditent la portée sociale et politique des actes de parole. / Could it be that movies did not started talking because they had something to say, but in order to make the speech speak, to overhear it, to inform the discursive imaginaries that shape our common experience ? Could it be that language is at the very heart of the art of film, as it has been at the centre of modern theoretical knowledges ? Our times have invented the means of reproducing speech technically, but we have probably not fully appreciated the importance of the anthropological revolution induced by the exceptional visibility that it provides to it. Our hypothesis is that there is a cinematographic thought of language and of its uses, an aesthetical, rhetorical and poetical knowledge that is added to speech when it is represented in films. Putting the filmed speech in the centre of the analysis of four cinematographic fables — Fritz Lang’s Fury (1936), Sidney Lumet’s Fail Safe (1963), Pier Paolo Pasolini’s Salò (1975) and Jean-Luc Godard’s Film Socialisme (2010) — our work proposes four « language lessons », questioning the powers and misfortunes of speech in a world convinced that we communicate massively. What do films think when they talk ? Among other things, they meditate the social and political significance of speech acts.