Notre thèse décrit la trajectoire esthétique, économique et sociale du cinéma d’animation français. Cette sociogenèse couvre la période où il se constitue comme champ artistique, aboutissant enfin à une reconnaissance tardive, encore très peu renseignée. La première partie s’attache donc à l’archéologie de son évolution, depuis la première autonomisation de l’après guerre à la mise en place d’une politique publique qui modifie radicalement le paysage de l’animation au début des années 1980. Dans un contexte d'autonomisation contrariée du champ de l'animation, nous examinons ensuite les rôles respectifs du Centre National de la Cinématographie (CNC), des producteurs et des chaînes de télévision, et les nouvelles règles du jeu qu’ils introduisent. Nous interrogeons enfin l’impact de tous ces acteurs, qui jugent et produisent de la qualité cinématographique, sur le destin des artistes et leurs productions. / Our thesis describes the aesthetic, economic and social path of the french animation movies.This socio-genesis focuses on the moment when it becomes an artistic field, reaching at theend a late recognition, which is still poorly informed. The first part makes the archeology ofits evolution, from the first independence conquest after war, to the setting out of a publicpolicy, which makes a heavy change on the animation landscape at the early 1980’s. In this context of impeded empowerment of the animation field, we will examine then the respective roles of the National Cinematography Center, the producers and the television channels, andthe new rules they introduce. We will finally highlight the impact of these operators, who judge and produce cinematographic quality, on the destiny of the artists ant their movies.

Film Reception of the Mount Vesuvius Eruption and the Situation in the 1st Century AD ABSTRACT The main aim of my thesis named Film Reception of the Mount Vesuvius Eruption and the Situation in the 1st Century AD is to explore the historical accuracy of films covering this part of ancient history and their possible use during educational processes. Part of the work also sums up the current level of scientific knowledge on this topic. Text attachment as well as picture attachment can be found at the end of the work.

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Indiana University-Purdue University, Indianapolis / The goal of this thesis is to understand the relationship between the evolving representations of African American women in post-Civil Rights era films about the Transatlantic slave trade; the portraits these images present of black women and their history; and how these films approach the issues of difficult heritage and re-presenting atrocity in entertainment. Film shapes the ways in which we understand the past, leaving a lifelong impression about historical events and the groups involved. By analyzing the stories, directorial processes, and the public responses to four films of 20th and 21st centuries focused on the controversial historical topic of American chattel slavery and its representation of the most underrepresented and misunderstood victims of the Peculiar Institution, this work will argue that, when supplemented with historiography and criticism rooted in historical thinking, cinematic depictions of the past make history more accessible to the public and serve as a form of public memory, shaping the way the public thinks about our collective past.

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“What is Zen for Film?”, I was asked on the occasion of a preparatory meeting for Revisions, an exhibition to feature Zen for Film (1962–64), Nam June Paik’s “blank” film projection. Despite the many discussions that preceded the meeting, when it came to the question of what the main—and the only—artwork of this exhibition was, we felt as if we’d been left in the dark. Is Zen for Film an idea, a concept—or rather, an event, a performance, or a process? In its original form, Revisions: Zen for Film combined a research project, pedagogy, an exhibition, and an exhibition catalogue. Revised again in the following pages, Revisions is an exercise in slow looking. It questions the ambition of constructing the work with a fixed identity, a product that moves seamlessly from the studio to the world of dissemination, distribution, and display. Instead, Zen for Film will appear once again as an assemblage of people, things, and events, a vibrant materiality destined for a changeable future.

For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?

The main objectives of this diploma thesis are to describe and analyze character of the Roman Emperor Nero, the last member of Iulo-Claudian dynasty, in the historical film, which was made as a part of a series about Roman history. The first part deals with history of the Roman Empire since Gaius Octavius`s arrival to Rome in 44 BC till death of the Emperor Claudius in 55 AD. The second part gives a description of the character Emperor Nero of the Roman Empire. It is believed that it was he who had the whole city of Rome burnt. Other parts of this thesis show analysis of the film Nero, císař římský. Imperium: Nerone (TV film) 2004. It is a comparison of his character from literary to theatrical sources. The last part describes a didactic use of the film. There is a presentation of a model lesson that was created and taught in practice by the author herself. Key words Agrippina History classes Film Historical film Film Imperium: Nerone The Iulo-Claudian dynasty Nero Principate

This essay deals with the idea of women as the ”the other sex” within the field of authorship, and aims to bring to together feminist, film and auteur theory with analysis of historic documentations of reception as well as context for academic treatments of Mai Zetterling as an auteur/director. This, in attempt to, through intertwined discussion, catch a glimpse of better understanding how gender specificity may have influenced and continue to influnce perceptions of auteurs of female gender and their works, yet keeping focus on the case of Mai Zetterling and hers in specific.

Le cinéma français de l’après-guerre, largement apolitique, laisse pourtant surgir des questionnements autour de la remise en place de l’État de droit dans ses représentations de la justice pénale. Point de rencontre entre l’individu et l’État qui doit rétablir sa légitimité après les abus et les exactions du régime de Vichy, la justice représente un thème épineux pour les cinéastes, d’autant plus que le cinéma est à cette époque un moyen d’expression hautement surveillé, censuré et toujours associé à la propagande des régimes totalitaires. À partir d’un corpus de quarante longs métrages de fiction, l’objectif de cette étude est d’analyser les représentations des tribunaux, des forces de l’ordre, des prisons, du crime et du châtiment par le média de masse le plus important de l’époque, avant que la Nouvelle Vague n’entraîne une transformation de l’industrie et de l’esthétique cinématographiques et que la télévision atteigne un public plus nombreux encore. Les critiques dans la presse, les archives de la censure publique ou encore les bandes d’actualités qui abordent ces mêmes thèmes font partie des sources utilisées dans cette étude pour replacer dans leur contexte historique les images de la justice dans le cinéma de fiction. Souvent dépolitisés, parfois propagandistes, en quelques cas subversifs, ces films permettent de délimiter le périmètre d’expression possible autour de ce thème intrinsèquement politique dans la France des années 1940 et 1950. Ils fournissent un aperçu de la morale, des idéaux, des tabous, des espoirs et des peurs d’une société qui a rétabli la démocratie, mais qui commence à interroger la violence de ses propres pratiques de maintien de l’ordre. / Although French cinema from the period following World War Two is known for being largely apolitical, its images of criminal justice allow for a glimpse of the difficult questions that the postwar society was forced to ask itself about its return to the rule of law. As a point of conflict between the individual and the state—in a state attempting to reestablish its legitimacy—criminal justice was a delicate subject for filmmakers to address, especially since the cinematic medium, still seen as a means of propaganda and associated with totalitarian regimes, was strictly monitored and censored by public authorities. Using a corpus of 40 feature-length fiction films, this study attempts to analyze the representations of law enforcement, courts, prisons, crime, and punishment in the most important mass media of the era, before the transformation of the film industry by the New Wave and the spread of television to a substantial audience. A range of primary sources, from film reviews in the press to public censorship archives and newsreels dealing with similar themes, help to place the feature films’ images of criminal justice in their historical context. Often depoliticized, sometimes propagandistic, occasionally subversive, the films reveal the possibilities and the limits of expression on an intrinsically political topic, in the film industry and more broadly in 1940s and 1950s French society. They expose the morals, ideals, taboos, hopes and fears of a nation that had recently reestablished democracy but faced difficult questions about the violence of its own methods of maintaining order.