Orientador: Lucia Nagib / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-01T14:40:07Z (GMT). No. of bitstreams: 1 Nagib_Lucia_M.pdf: 17060929 bytes, checksum: 47bd60b7e547d9e76b3a9529be21801f (MD5) Previous issue date: 2001 / Resumo: Estabelecendo diálogos entre a obra de Jean-Luc Godard e o trabalho de teóricos, cineastas, críticos, filósofos, romancistas, etc., esta dissertação pretende abordar,num texto polifônico, algumas das características centrais do cinema moderno do pós-guerra / Mestrado / Mestre em Multimeios

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Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains vii, 179 p. Includes abstract and vita. Advisor: Eugene Holland, Dept. of French and Italian. Includes bibliographical references (p. 165-179).

Texte remanié de: Thèse 3# cycle--Lettres--Paris X, 1969. / Thèse soutenue sous le titre : "Cinéma moderne et société de consommation.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains viii, 255 p. Includes bibliographical references (p. 234-255). Available online via OhioLINK's ETD Center

In Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign, 1954-1968 I examine the significance of the Nouvelle Vague directors’ engagement with the world beyond metropolitan France, through formal analyses of seminal films by Jean-Luc Godard, Chris Marker, Alain Resnais, and Jean Rouch, as well as close readings of archival documents pertaining to their promotion and reception. I contend that the directors of the Nouvelle Vague were concerned with the shifts in national, transnational and colonial dynamics that marked their era. I demonstrate that their texts and films are structured by a dialectical relationship between a gaze turned outwards onto the world beyond metropolitan France, and a gaze turned inwards, onto the French. In my first three chapters, I inscribe the Nouvelle Vague in a cultural longue durée by examining its formal and thematic continuities with the tradition of French ethnography; the inter-war artistic movement, Surrealism; and the cinéma vérité documentary tradition of the early 1960s. I illustrate that the films of the Nouvelle Vague were fundamentally shaped by their directors’ engagement with the decolonization of the French empire. In my final chapter, I reexamine the most conspicuous example of foreign influence on the Nouvelle Vague, American cinema, in light of my preceding demonstrations. I determine that there are two levels of foreign influence on the Nouvelle Vague, and that the influence of American cinema was above all textual and superficial, whereas a grappling with the end of the French empire was, though far less conspicuous, fundamental to the form of the Nouvelle Vague films themselves.

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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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