Ce mémoire portera sur le réemploi d’images dans le cinéma politique d’une manière générale dans un premier temps, puis plus spécifiquement dans l’oeuvre du cinéaste québécois Pierre Falardeau. Il s’agit donc d’abord de regarder comment, d’un point de vue historique, l’image fut réemployée dans le cinéma documentaire classique. Il sera ensuite question de la réutilisation de l’image à des fins politiques dans le cinéma expérimental à travers une analyse du found footage film. Dans un deuxième temps, nous verrons le réemploi d’images dans le cinéma militant, engagé politiquement (voire révolutionnaire) dans le cinéma d’Amérique latine (Santiago Alvarez, Fernando Solanas et Octavio Getino) et en France (Guy Debord, Chris Marker et Jean-Luc Godard). Par la suite, nous verrons comment Pierre Falardeau recyclera des images principalement dans trois de ses documentaires : Pea Soup, Speak White et Le temps des bouffons. Nous allons voir où il se situe dans les différentes traditions de réemploi d’images que nous avons vu précédemment et comment il se rapprochait et se distinguait de ses prédécesseurs. / This thesis is concerned with the reuse of images in political cinema in general and, specifically, in the work of Quebec filmmaker Pierre Falardeau. We will first see how, from a historical point of view, archival images have been recycled in traditional documentary and then how they were used or reused for political purposes in found footage experimental films. We will then discuss the use of found footage in militant or revolutionary cinema both in Latin America (Santiago Alvarez, Fernando Solanas and Octavio Getino) and France (Guy Debord, Chris Marker and Jean-Luc Godard). We will then analyse Pierre Falardeau’s reuse of images in three of his documentaries: Pea Soup, Speak White and Le temps des bouffons. We will try and see how Falardeau fits within this tradition of the found footage film and the distinctive features of this aspect of his work.

Ce travail a pour objet le found footage, analysé en tant que pratique de recyclage culturel et comme important mouvement cinématographique de notre époque. L’étude trace d’abord un parallèle entre la fabrication du film d’images trouvées et le processus de recyclage industriel. Ensuite, le travail aborde les influences artistiques de ce mouvement du cinéma expérimental initié dans les années 1960, qui s’intensifie de plus en plus depuis l’avènement des dernières technologies numériques. En dernier lieu, l’étude propose une mise au point sur le found footage à l’ère des technologies numériques, en analysant les causes et conséquences de la (re)montée du mouvement, et en tenant compte de sa présence qui se multiplie sur l’Internet, par le biais du mashup. / This research deals with the found footage, analyzed here as a practice of cultural recycling and as a major cinematographic movement of our time. The study first draws a parallel between the manufacturing of "found images" and the process of industrial recycling. The thesis then discusses the artistic influences of the experimental film movement initiated in the 1960s, which has been increasing its presence more and more since the introduction of the latest digital technologies. Finally, the study proposes an investigation of found footage in relation to the digital technology era, analyzing the causes and consequences of the [re]rise of the movement, and taking into account the multiplication of its format on the Internet through the practice of mashup.

This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfer of meaning through casting, and my emotional relationship with the various parts of the sculptures. The three major themes of the work are: divine love and the complex of the apocalypse, the complexities and psychology concerning the relationship between a man and a woman, and the intrigue, potential energy, and beauty of the systems mankind hasinvented to harness the atom. The major artistic influences for this body of work have been: Jasper Johns, Marcel Duchamp, Constantine Brancusi, Alberto Giacommetti, Reg Butler, Henry Moore, Lynn Chadwick, Kenneth Armitage, Jeff Koons, Terry Winters, William DeKooning, Richard Diebenkorn, David Smith and Charles Long. I retain a strongrelationship with the movements of Dada, Surrealism, Futurism, and Assemblage, and amalso currently involved in solidifying the Manifesto of Raubeaux with a small group ofesteemed colleagues.

This study examines a small body of 19th-century American literature about the Antarctic: Adam Seaborn's (pseud.) Symzonia (1820), Edgar Allan Poe's "MS. Found in a Bottle" (1833) and The Narrative of Arthur Gordon Pym (1838), Peter Prospero's (pseud.) "The Atlantis" (1838-39), and James Fenimore Cooper's The Monikins (1835) and The Sea Lions (1849). These were written in a transitional phase in the history of the Antarctic. At the start of the period, the region was almost completely unknown. Towards the end of the period, however, the region had been mapped in its essence, and the existence of an Antarctic continent had been verified. For complex reasons, the region came into cultural focus in the U.S. during the 1820s to 40s, culminating in the first major American scientific expedition in 1838-42 to explore the South Seas and the Antarctic. The study is primarily historical, tracing ideas to their historical contexts in order to determine what these authors used the unknown space of the Antarctic for. These texts were written in imaginative response to contemporary notions of the Antarctic, which is reflected in the mode of representation. The literature is in the mode of speculative fiction-most of texts imagining a tropical, inhabited Antarctic-up until the region is explored, at which point it turns to realism. The texts fall into three categories: the utopian, liminal, and realistic. The utopian texts-Symzonia, The Monikins, and "The Atlantis"-are works of social criticism, using the blank space of the Antarctic to treat a diverse range of issues, including politics, evolutionary theories, race, and gender. Poe's "MS" and Pym represent the liminal category; they dramatize the anticipation of an imminent Antarctic discovery, narrating up to a point of revelation, only to stop short. The Sea Lions is the only realistic text, coming after the Antarctic is explored. Here the knowledge of the Antarctic has solidified into the environment we know today, but with religiously symbolical overtones.

The Second-Hand Society tells the stories of people in Portland, Oregon who redefine waste by making use of objects others discard. The author spends time in repair shops watching craftsmen hammer and polish broken typewriters, vacuum cleaners and shoes back to life. She follows book scouts, clothes pickers and liquidators as they gather merchandise to resell and spends hours at nonprofits that collect and redistribute unwanted electronics and building supplies. She watches junk artists and fashion designers assemble found objects into display pieces, accompanies Dumpster divers and "freegans" along their regular collection routes and visits the homeless encampment by the airport to see how an entire community of people survives on nothing but reclaimed materials. The members of the second-hand society challenge the traditional conception of things as "broken" or "unwanted" and assert that forward movement and new-new-new is not always optimal. By examining the motivations and practices of the people who make use of our discards and looking at the contradictions they run up against, this thesis develops a more complete understanding of the reality that's possible if we think differently about our waste.

Ce travail a pour objet le found footage, analysé en tant que pratique de recyclage culturel et comme important mouvement cinématographique de notre époque. L’étude trace d’abord un parallèle entre la fabrication du film d’images trouvées et le processus de recyclage industriel. Ensuite, le travail aborde les influences artistiques de ce mouvement du cinéma expérimental initié dans les années 1960, qui s’intensifie de plus en plus depuis l’avènement des dernières technologies numériques. En dernier lieu, l’étude propose une mise au point sur le found footage à l’ère des technologies numériques, en analysant les causes et conséquences de la (re)montée du mouvement, et en tenant compte de sa présence qui se multiplie sur l’Internet, par le biais du mashup. / This research deals with the found footage, analyzed here as a practice of cultural recycling and as a major cinematographic movement of our time. The study first draws a parallel between the manufacturing of "found images" and the process of industrial recycling. The thesis then discusses the artistic influences of the experimental film movement initiated in the 1960s, which has been increasing its presence more and more since the introduction of the latest digital technologies. Finally, the study proposes an investigation of found footage in relation to the digital technology era, analyzing the causes and consequences of the [re]rise of the movement, and taking into account the multiplication of its format on the Internet through the practice of mashup.

This work is intended to investigate the Aircraft Technical Diagnostics Systems by focusing on Central Maintenance Systems and the Fault Detection and Isolation (FDI) process among the avionic components. A review about the Computer Control Systems and background about the Avionic Architecture is presented prior to introducing to most popular FDI method; model-based diagnosis. The discussions about the onboard FDI practices are followed by a maintenance hangar FDI perspective which was concluded as a result of the field research. The outcomes of the field research and pointing the “real” fault isolation are analyzed to point the practical needs of a hangar FDI tools. Subsequently, a proposal technique, which can improve fault isolation by preventing No-Fault-Found (NFF), is given by discussing the methods to implement it. Finally, the results of investigation and conclusions of analysis are presented. / Baigiamajame darbe lietuviškos anotacijos nepateikta.

Ce mémoire portera sur le réemploi d’images dans le cinéma politique d’une manière générale dans un premier temps, puis plus spécifiquement dans l’oeuvre du cinéaste québécois Pierre Falardeau. Il s’agit donc d’abord de regarder comment, d’un point de vue historique, l’image fut réemployée dans le cinéma documentaire classique. Il sera ensuite question de la réutilisation de l’image à des fins politiques dans le cinéma expérimental à travers une analyse du found footage film. Dans un deuxième temps, nous verrons le réemploi d’images dans le cinéma militant, engagé politiquement (voire révolutionnaire) dans le cinéma d’Amérique latine (Santiago Alvarez, Fernando Solanas et Octavio Getino) et en France (Guy Debord, Chris Marker et Jean-Luc Godard). Par la suite, nous verrons comment Pierre Falardeau recyclera des images principalement dans trois de ses documentaires : Pea Soup, Speak White et Le temps des bouffons. Nous allons voir où il se situe dans les différentes traditions de réemploi d’images que nous avons vu précédemment et comment il se rapprochait et se distinguait de ses prédécesseurs. / This thesis is concerned with the reuse of images in political cinema in general and, specifically, in the work of Quebec filmmaker Pierre Falardeau. We will first see how, from a historical point of view, archival images have been recycled in traditional documentary and then how they were used or reused for political purposes in found footage experimental films. We will then discuss the use of found footage in militant or revolutionary cinema both in Latin America (Santiago Alvarez, Fernando Solanas and Octavio Getino) and France (Guy Debord, Chris Marker and Jean-Luc Godard). We will then analyse Pierre Falardeau’s reuse of images in three of his documentaries: Pea Soup, Speak White and Le temps des bouffons. We will try and see how Falardeau fits within this tradition of the found footage film and the distinctive features of this aspect of his work.

In this thesis statement I explore Sikh-Punjabi masculinity in the diaspora. I am concerned with questioning the construction of my identity and the possible impact of new forms of masculinity on the next generation of diasporic Sikh-Punjabi youth. I use found text and video to examine these new identity constructions. As a foundation for these explorations into masculinity, I am concerned with unveiling concealed and erased memories and realities as related to Sikh-Punjabi diasporic communities. This thesis looks at my work along with the work of other artists.

In this thesis statement I explore Sikh-Punjabi masculinity in the diaspora. I am concerned with questioning the construction of my identity and the possible impact of new forms of masculinity on the next generation of diasporic Sikh-Punjabi youth. I use found text and video to examine these new identity constructions. As a foundation for these explorations into masculinity, I am concerned with unveiling concealed and erased memories and realities as related to Sikh-Punjabi diasporic communities. This thesis looks at my work along with the work of other artists.