Jean-Luc Godard and Jean-Pierre Gorin made in 1970 a “political film politically” about the Palestinian Revolution, Jusqu’à la victoire, which remained unfinished. Under the framework of their audio-visual research project, Sonimage, Godard edited the Palestinian footage with Anne-Marie Miéville. Working through the collapse of the revolutionary project, imaging the Palestinian resistance became a matter of the restitution of speech to the absent and to the dead Palestinians – to whom, as Godard laments self-critically in the film, they had not listened to. Godard’s and Miéville’s compass for action was reconfigured as “audiovisual journalism,” addressing the changing conditions in political engagement, challenging the mediatization of mediation prompted by the Leftist utopian belief in the emancipatory potential of the media. The hegemonic discourse circulating within Leftist intellectual culture abandoned the iconic referent of “The Revolution,” which became the fatal harbinger of totalitarianism. Since then, Third World subjects have been figured as terrorists or victims who are incapable of determining themselves politically, or to “develop” economically. Such a turn has given leeway to new models of engagement and emancipation that account for the real of reality, embedded in the non-discourse of rights or counter-memory, while beckoning for a politics of infinite restitution. Godard returned to the Palestine Question thirty years later in Notre musique, by stopping-over in post-war Sarajevo, a place where it became possible for Godard to host a gathering of the Trojan poets and storytellers of sorts. Reconciliation and rehabilitation are the reverse-shot of a world of violent ethnic strife evidencing the futility of the politization of forgiveness. By way of a montage, Godard vouches for the mobilization of the powers of the false in order to save the real. The beautiful becomes necessary to “cover” memories of catastrophe. The aesthetico-political task is the regulation of the distance between the viewer and the screen. The conditions are the belief in images, faith and the desire to see as our links to the world. Within the pervasiveness of the hyperreal and culture, which Godard equates to ruins, the exiles and vanquished call for the exception, which is art.

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Made available in DSpace on 2013-08-07T18:47:13Z (GMT). No. of bitstreams: 3 000408665-Texto+Completo+Parte+A-0.pdf: 12602194 bytes, checksum: c4531e120dcc139b72d6df53cd955676 (MD5) 000408665-Texto+Completo+Parte+B-1.pdf: 13185124 bytes, checksum: c04e2676f6c1319ef1148630aef2297f (MD5) 000408665-Texto+Completo+Parte+C-2.pdf: 7355739 bytes, checksum: b32b864b8d394a150ad347c66c1ee3ac (MD5) Previous issue date: 2008 / The following dissertation analyses index sequences that reffers to Dante’s work, beginning with the cinematographic translation of the poem “Divina Commedia” called “Our Song”, by J-L Godard. On the path between these two works, the visual universe of “Hell” had several translations based on the imaginary of the time they were produced. Each work has innumerable pieces of the ones preceded; in a phenomenon Cañizal calls Abyss Perspective. In order to study the image trajectory, we used the concept of imaginary discussed by authors such as Maffesoli, Durand, Machado da Silva and the concept of Collateral Experience discussed by Peirce. / Este trabalho analisa uma sucessão de índices que remetem à obra de Dante, tendo como elemento desencadeador uma tradução cinematográfica do poema “Divina Comédia”, chamada “Nossa Música”, feita pelo cineasta J-L Godard. No trajeto entre as duas obras, o universo visual do “Inferno” teve incontáveis traduções do imaginário da época em que foram produzidas. Cada obra contém fragmentos das que as antecederam, fenômeno a que Cañizal chama de Perspectiva em Abismo. Para estudar o fenômeno aplicado à trajetória das imagens, usou-se concepções de imaginário de autores como Maffesoli, Durand e Machado da Silva e da Experiência Colateral de Peirce.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:32:40Z (GMT). No. of bitstreams: 1 Maria_JoaoPauloMiranda_M.pdf: 42490477 bytes, checksum: da5eeddc5e6cbb844d4939a310c2be54 (MD5) Previous issue date: 2010 / Resumo: O trabalho investiga a transformação estética no cinema de Jean-Luc Godard, analisando antes, durante e pós o grupo Dziga Vertov, encabeçado por Jean-Luc Godard e estudantes maoístas. A mudança estética de Godard é notada por muitos, contudo há escassez de estudos detalhados sobre a influência dos anos do Grupo Dziga Vertov. Portanto, este trabalho enfoca as principais características antes do grupo, relacionando-as às mudanças de posicionamento ocorridas durante o período de atuação do Dziga Vertov. Descreve, ainda, como estas alterações resultaram no cinema atual desenvolvido pelo cineasta, que aborda com maior profundidade novas ligações entre as imagens em movimento. Sob esse aspecto, o cineasta se coloca como um dos únicos da área que alcança tal façanha / Abstract: This work investigates the aesthetic transformation in Jean-Luc Godard' Movies, analyzing before, during and post the Dziga Vertov Group, headed by Jean-Luc Godard and maoist students. Change aesthetics of Godard is noticed by many, but there is a shortage of detailed studies on the influence of Dziga Vertov group' years. Therefore, this work focuses on the main characteristics before Group, relating to changes of positioning occurring during the period of Dziga Vertov' action. Describes, yet, how these changes have resulted in current cinema developed by filmmaker, which deals with greater depth new connections between the moving images. In this sense, the filmmaker is the unique in the area that reaches such a feat / Mestrado / Mestre em Multimeios

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Consacrée à l'imaginaire du « dialogue euro-méditerranéen » tel qu'il se manifeste depuis le milieu des années 1990 en particulier (après la Déclaration de Barcelone en 1995 puis la mise en place de la Politique Européenne de Voisinage), cette thèse se penche sur trois cas d'étude qu'elle se propose d'analyser par le biais d'une approche transdisciplinaire. La première partie cherche à comprendre comment se construit et circule un « cinéma méditerranéen » et le savoir sur cette possible cinématographie régionale en analysant quatre festivals qui lui sont consacrés à Alger, Bruxelles, Montpellier et Tétouan. La deuxième partie s'intéresse aux enjeux que soulèvent des programmes sélectionnés par l'Union européenne (Euromed Audiovisuel et Marseille-Provence Capitale européenne de la culture) en procédant notamment à une analyse de discours portés par ces programmes et de films qu'ils ont soutenus. La troisième et dernière partie propose une analyse de Révolution Zendj (Thawra Zanj, Tariq Teguia, Algérie/France/Liban/Qatar, 2013) et, par extension, de la manière dont les questions informant ce film du point de vue de la mise en langue, du sous-titrage et du montage se présentent dans d'autres œuvres cinématographiques. L'étude conjointe des festivals, des programmes institutionnels dédiés au champ des productions culturelles et des films, permet de mettre au jour les implications esthétiques et politiques d'un imaginaire dominant du « dialogue » et du « cinéma méditerranéen ». Elle rend également compte de formes et de pratiques d'articulation des voix, des langues, des points de vue et des récits, qui permettent d'imaginer autrement la Méditerranée et les rapports entre les personnes qui se trouvent vivre dans cet espace et leurs histoires. / This thesis seeks to question the imaginary around the "Euro-Mediterranean dialogue", a topos inspired by - and unfolding since - the 1995 Barcelona Declaration and the ensuing Neighborhood Policies. It focuses on three case studies that it analyses according to an interdisciplinary approach. The first part examines both the construction and circulation of a so-called "Mediterranean cinema", and the knowledge around this supposed regional production in the context of four festivals dedicated to it and taking place in Algiers, Brussels, Montpellier and Tetouan. The second part examines the concerns raised by programs selected for support by the European Union through Euromed Audiovisuel and Marseille-Provence Capitale européenne de la culture (Marseille-Provence, European Capital of Culture). These concerns are addressed through an analysis of the discourse produced by these programs and the films funded by them. The third and last part proposes an analysis of the film Zanj Revolution (Thawra Zanj, Tariq Teguia, Algeria/France/Lebanon/Qatar, 2013) and, by extension, examines the way in which questions related to the mise-en-langue, subtitling and editing that inform this film are present in other films. The intertwined study of festivals, of institutional programs dedicated to cultural productions and of films sheds light on the aesthetic and political implications of a dominant imaginary of "dialogue" and "Mediterranean cinema". The thesis also explores forms and practices that articulate voices, languages, points of view and narratives that are capable of weaving an alternative imaginary of the Mediterranean and of the histories and the relations between the people who happen to live in this space.

Esta tese apresenta uma reflexão sobre o ensaísmo no cinema, a partir de um olhar à série História(s) do cinema, produzida pelo cineasta franco-suiço Jean-Luc Godard entre os anos de 1988 e 1998, e exibida pela emissora de TV francesa Canal+. A inquietação que origina a pesquisa é a necessidade de melhor compreender o que significa um exercício de pensamento audiovisual, tão atribuído às obras fílmicas de teor ensaístico e à própria série de Godard, e ao mesmo tempo tão pouco problematizado. Esta preocupação norteou a elaboração das duas questões centrais em torno das quais a investigação orbita e ao mesmo tempo busca responder: como se constitui um pensamento por e com imagens? E que saberes a respeito do mundo histórico são engendrados pela escritura ensaística no cinema, no caso de uma obra como Históría(s) do cinema? O trabalho aposta num cruzamento entre os campos da Comunicação e das Artes e se insere num nicho de estudos ainda em construção no seio da pesquisa em cinema, que floresceu especialmente nas últimas duas décadas, e vem se dedicando aos produtos audiovisuais que fogem às convenções de gênero mais marcadas (a exemplo do ensaio fílmico). A estrutura da tese é composta por três partes: 1) Cinema, uma forma que pensa; 2] Montagem, essa bela inquietação e 3) Nem arte, nem técnica: um mistério. A primeira é dedicada à apresentação do conceito de ensaio fílmico e à discussão sobre a sua conflituosa relação com o método, a partir de escritos recentes de autores como Josep Maria Català [2014a, 2014b, 2014c) e Antonio Weinrichter (2007, 2009), bem como de textos das teorias do cinema em que foi identificado um devir-ensaio, como em Hans Richter (1940) e Alexandre Astruc (1948). Na segunda parte, é discutida a noção de pensamento visual, partindo principalmente das contribuições teóricas de Didi-Huberman (2011, 2013a) ao estudo das imagens e de algumas experiências de saber visual mapeadas e trazidas à tona, que funcionam como uma espécie de prelúdio à análise de Histórias(s) do cinema. São elas o Atlas Mnmemosyne de Aby Warburg, o museu imaginário de André Malraux e o trabalho de curadoria de Henri Langlois junto à Cinemateca Francesa. Na terceira parte, a série História(s) do cinema é analisada à luz do conceitos de gesto, em Giorgio Agamben (2008, 2012) - desdobrado em duas categorias: gesto arqueológico e gesto apropriativo; e de visibilidade e legibilidade, em Didi-Huberman (2010, 2012b, 2013e), buscando identificar como se manifesta um exercício de pensamento audiovisual e como Godard pratica uma espécie de arqueologia crítica das imagens em sua obra. No entendimento a que se chegou com a pesquisa, o ensaio fílmico se baseia na exploração crítica do dispositivo e num pensamento por montagem, ambos traços constituintes de História(s) do cinema. / This thesis presents a reflection about essayism within cinema, from an observation of Histoire(s) du cinéma, a tv series produced by french-swiss filmmaker Jean-Luc Godard between 1988 and 1998, and exhibited by french TV channel Canal+. This research has its origins in the inquietude to better understand what means an exercise of audiovisual thought, often attributed to essayistic film works and to Godard's series, and, at the same time, so little discussed. This concern guides the elaboration of two main central questions that surround the investigation and that we intend to answer: how a thought with and through images is constituted? And which sorts of knowledges of historical world are engendered by essayistic filmmaking in a work such as Histoire(s) du cinémal The thesis invests in a confluence of two fields, Communication and Arts, and is situated in a niche of studies still under construction in the territory of film research, which flourished specially in the last two decades and has been devoted to audiovisual products that scape the most evident gender labels (such as film essay). The work is structured in three parts: 1) Cinema, a form that thinks; 2) Montage, this beautiful care and 3] Neither an art nor a technique: a mystery. The first part is dedicated to the presentation of the concept of film essay and to the debate about its conflicted relationship with method, from recent writings by authors such as Josep Maria Català [2014a, 2014b, 2014c) and Antonio Weinrichter (2007, 2009), and also some texts of film theory in which an essay-becoming is identified, as in Hans Richter [1940] and Alexandre Astruc (1948). En Ia segunda parte, se discute Ia noción de pensamiento visual, sobre todo a partir de los aportes teóricos de Didi-Huberman (2011, 2013a) para el estúdio de Ias imágenes y algunas experiencias de saber visual que fueron mapeadas e expuestas, y que funcionan como una especie de prelúdio a el análisis de Historia(s) dei cine. Ellos son el Atlas Mnmemosyne Aby Warburg, el museo imaginario de André Malraux y el trabajo curatorial Henri Langlois en Ia Cinemateca Francesa. En Ia tercera parte, se examina Ia serie Historia(s) dei cine a Ia luz de los conceptos de gesto, de Giorgio Agamben (2008, 2012) - dividido en dos categorias: gesto arqueológico y gesto de apropiación - y visibilidad y legibilidad en Didi -Huberman (2010, 2012b, 2013e), con el fin de identificar cómo se manifiesta un ejercicio de pensamiento visual y cómo Godard practica una especie de arqueologia crítica de Ias imágenes de su obra. En el entendimiento al que se llegó con Ia investigación, el ensayo fílmico se basa en Ia exploración crítica dei dispositivo y en un pensamiento por montaje, características constituyentes de Historia(s) dei cine. / En esta tesis se presenta una reflexión sobre el cine ensayo, a partir de una mirada a Ia serie Historía(s) dei cine, producida por el cineasta franco-suizo Jean- Luc Godard, entre los anos 1988 y 1998, y exhibida en Ia emisora de televisión francesa Canal+. La inquietud que provoca Ia investigación es Ia necesidad de mejor comprender Io que significa un ejercicio de pensamiento visual, ya que se Io atribuye a Ias obras cinematográficas ensayísticas y a Ia propia serie de Godard, y que permanece poco cuestionado. Esta preocupación ha guiado el desarrollo de los dos temas centrales en torno al los cuales gira Ia investigación y que, al mismo tiempo, intentamos responder: ^cómo se constituye un pensamiento con y por imágenes? Y que conocimientos sobre el mundo histórico se engendran por Ia escritura ensayísticas en el cine, como en una obra como Historia (s) dei cinel El trabajo promueve un cruce entre los campos de Ia Comunicación y Ias Artes y es parte de un nicho de investigación aún en construcción en los estúdios de cine, que floreció especialmente en Ias dos últimas décadas y se ha dedicado a los productos audiovisuales evaden Ias etiquetas de gênero más obvias [como el ensayo fílmico). La tesis se compone de tres partes: 1) Cine, de una forma que piensa; 2) Montaje, mi bella inquietud y 3) Ni el arte ni Ia técnica: un mistério. La primera está dedicada a presentar el concepto de ensayo fílmico y Ia discusión sobre su relación conflictiva con el método, a partir de los últimos escritos de autores como Josep Maria Català (2014a, 2014b, 2014c) y Antonio Weinrichter (2007, 2009), así como textos de Ias teorias cinematográficas en que se identificaron un devenir-ensayo, como en Hans Richter (1940) y Alexandre Astruc (1948).

Against Adaptation: Toward Transdisciplinarity and Minor Cinema Linda Petříková Abstract Over the past decades, the field adaptation studies has been trying to break new grounds and escape the confines of the predominant fidelity discourse. This thesis wants to propose new perspectives that have been widely underrepresented, at least in the Anglo-American context, drawing attention to the great relevance to adaptation of the writings of French critical thinkers, most notably Gilles Deleuze and his two-volume publication on cinema and Jacques Rancière and his continuation/reevaluation of Deleuze's film-related concepts. Without directly addressing questions of adaptation, the way both philosophers think about cinema is inseparable from their thinking about literature and indeed about other arts and media, exemplifying new transdisciplinary approaches to adaptation this thesis hopes to encourage. Even though it might seem counterintuitive, considering the efforts of adaptation studies to cut the roots it has grown within literary departments, I chose three Shakespearean adaptations for the case studies as I believe that such focus will enable us to see more clearly the significance of interstices as much as of the links the films form with the text. Jean-Luc-Godard's King Lear, Orson Welles's Chimes at...