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Storms Named After People is a coming-of-age film about loneliness, Florida's disposition during holidays, freedom within abandonment, and how one translates time and space when alone. I intend for this film to capture a unique and authentic representation of young women that I find difficult to come by in mainstream cinema. Some other things I plan to accomplish with Storms Named After people include subverting the audience's expectations, challenging tired stereotypes of women and various relationships among them, capturing loneliness from an optimistic point of view and embracing availability within a micro-budget filmmaking process. A final product that accomplishes all the above will be considered successful.

This PhD explores Bergsonian notions of duration and the unrepresentable characteristics of creative emotion. Contemplating emotion through Bergson’s duration assists an understanding of the measure of emotion’s quantitative multiplicity, the complexity of its qualitative multiplicity and its creative potential. The application of these ideas to the Deleuzian cinematic concepts of the movement-image and time-image, allows the exploration of digital and analogue cinematic techniques alongside the characteristics of representable and unrepresentable emotion. The analysis of emotion traverses various historical and contemporary subjects that include areas such as philosophy, science, art and digital sound and moving-image technology. Three video pieces created for this thesis illustrate and elucidate the theoretical argument. The first work deals with movement, duration and change, the second with coexistent time, memory and perception and the third with intuition the élan vital and creative emotion. Each film is intended to allow the viewer/listener to enter their own creative emotion. Thus the research revaluates and elevates the further potentials of emotion, beyond its mere representation in order to discover how its very nature, suggests new approaches to the creation of art work that is itself, able to reveal the nature and process of creative emotion.

The thesis traces the history of the film poem as a concern and formal strategy within artists' film traditions over the last one hundred years. Via a theoretical framework (that includes Russian Formalist literary poetics, experminetal film studies, critical theory and linguistics) the investigation reveals and explicates what connects the ways different practitioners have synthesised the two terms "film" and "poem" and discusses the relevance of the "film poem" as a combinative term within a contemporary art context.

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.

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.

My thesis examines visual and written culture of the interwar Soviet Union dealing with the body as an object of public observation, appreciation, and critique. It explores how the need to construct new Soviet subjectivities was realised through the figure of the body. I explore the representation of ‘physical culture’ (fizkul’tura), with reference to newspapers, specialist fizkul’tura and medical journals, and Party debates. This textual discourse is considered alongside visual primary sources – documentary and non-fiction film and photography, painting and sculpture, and feature films. In my analysis of these visual primary sources I identify three ‘categories of looking’ – surveillance, aesthetics, and spectatorship – that I claim structure representations of the embodied Soviet subject. My introduction incorporates a brief history of early Soviet social psychological conceptualisations of the body, outlining the coercive renovative project of Soviet subjectification and introducing the notion of surveillance. My first and second chapters explore bodily aesthetics. The first focuses on non-fiction media from the mid- to late-1920s that capture the sporting body in action; this chapter introduces the notion of spectatorship and begins to unpack the ideological function of how bodies are observed. The second further explores questions of bodily aesthetics, now in relation to fizkul’tura painting and Abram Room’s 1936 film, Strogii iunosha. My third chapter looks at fizkul’tura feature films from the mid- 1930s to explore how bodies were related to social questions of gender and sexuality, including marriage and pregnancy. My final chapter focuses on cinematic representations of football from the late 1930s and the relationship between bodies on display and onlooking crowds. These two chapters together indicate how the dynamic between the body and its spectator (whether individual or in a group) was reimagined in the late interwar years; the body’s aesthetic appeal is now of little importance compared to its ability to constitute a public subjectivity through the manipulation of emotion, trauma, and pathos.

The Thesis is focused on life and work of Břetislav Pojar. It is also focused on animated film and gives instructions for basic animation technique, which could be utilized in Art at elementary school. The life of Bretislav Pojar and his work are introduced in the theoretical part of this Thesis. The history of Czech and world animated film and its creators are also introduced. My own lessons are included in a project, which is described in practical part. This project is focused on animation and it was realized in Art. This part also included the reflection from implementation of project. There are photograps of children working on their animations at the end of this Thesis.