Orientador: Antonio Fernando da Conceição Passos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:53:17Z (GMT). No. of bitstreams: 1 Brum_AlessandraSouzaMelett_D.pdf: 6418413 bytes, checksum: dad9e2871db7b089481e37ab5aa01174 (MD5) Previous issue date: 2009 / Resumo: O primeiro longa-metragem de Alain Resnais Hiroshima Mon Amour foi lançado em circuito comercial no Brasil em 1960, ano seguinte a sua estreia na França. O filme causou grande impacto entre a crítica especializada motivando inúmeros artigos em jornais e revistas. É em torno do amplo e rico material produzido pela crítica brasileira, motivada pelas inovações estéticas introduzidas pelo cineasta francês que essa pesquisa se desenvolve. A recepção crítica a Hiroshima Mon Amour irá refletir as transformações pela qual o cinema passava na época, adquirindo importância nos debates em torno do fazer e do pensar cinematográfico. / Abstract: The first Alain Resnais feature film, Hiroshima Mon Amour was issued in commercial circuit in Brazil in 1960, the year following their debut in France. The film has caused great impact on the specialized criticism motivating many articles in newspapers and magazines. This research embrace the abundant material produced by the Brazilian critic, which was motivated by aesthetic innovations introduced by French filmmaker. The criticizing reception to Hiroshima Mon Amour will reflect the changes that went through the cinema at the time, gaining importance in debates around the making and cinematographic thought. / Doutorado / Multimeios / Doutor em Multimeios

This dissertation is a rhetorical study of the critical reception of the French film Hiroshima mon amour (1959; dir.: Alain Resnais; screenplay: Marguerite Duras). My main argument is that the themes of love and technology followed a dialectical progression in the critical reception of Hiroshima mon amour. They were important and politically charged in the first essays on the film at the turn of the Sixties. But they lost momentum and became more neutral due to the academization of Film Studies and to the rise of semiology that privileged linguistic abstractions. The return of the themes of love and technology in the Eighties signals the search for renewed forms of commitment. However, this commitment "through abstraction" is also predicated on forgetting. In fact, a different understanding of commitment does not allow remembering that Hiroshima mon amour was also a protest against the first French atomic test in Algeria and its colonial implications. My dissertation examines the limits of what can be said through different paradigms of criticism and commitment through the careful study of the rhetorical situation of each critical act. Jacques Derrida's twin concepts of aimance and of the peut-être guide my research. I examine how we can think Hiroshima mon amour on the background of the paradoxical communities that invented new forms of political participation in postwar France. The early debate on the representation of "mad love" in Resnais' film signaled a concern for the way in which modern technology undermined the binary oppositions between war/peace, civilian/military, and friend/enemy. The paradoxical communities that originated from this realization opened to rhetorical articulations that united people with no communal party membership. Derrida's politics of aimance carries on this reflection on the peut-être by targeting the traditional view that envisions the political as limited to the public sphere and tend to exclude women. By contrast, Hiroshima mon amour empowered women because it tapped into the dark territories of the private in order to show that modern technology had colonized the intimate and daily life. Hence, women critics could acquire a strong political voice from the oppression of the private.

This thesis examines how the cinematic organization of film is used to convey meaning. Hiroshima mon amour (1959) and L'Annee derniere a Marienbad (1961) I two films directed by Alain Resnais, are used as models for this purpose. This thesis argues for a new type of film criticism, one that recognizes the uniqueness of film by adding technical analysis to the literary methods that currently dominate. Traditionally, film criticism has followed two directions: firstly that of the "film reviewer" whose efforts bow to the economic needs of the industry, and secondly the academic or scholarly approach which is based in large part on literary criticism, and falls into two general categories, thematic analysis and interpretive analysis. This thesis proposes that the literary methods which are appropriate for literature are inadequate for film, because of the way cinematographic technique is employed to convey meaning. To this end, the films, Hiroshima mon amour and L'Annee derniere a Marienbad, are analyzed in terms of technique and how technique structures film, as well as in more traditional terms. The evolution of film technology correlates directly with what a director is able to portray on the screen, and so it is appropriate to include in this examination the art-historical context of Hiroshima. mon amour and L'Annee derniere a Marienbad: what came directly before as well as what was happening in literature, art, politics and film technology contemporaneously with these two films. The organization of film not only occurs at a literary or intellectual level, but at a physical or technical level. The intent of this thesis is to implement a model for a third sort of film analysis, an alternative to interpretation-driven criticism, one which includes, in addition to explication and interpretation, the use of film technology as a valid means of comprehending a film. The result of this broader form of analysis is a more accurate understanding of film through the comprehension of the aspects which make it an original art form. The use of specific film technology forms a more balanced and accurate approach to film criticism.

Oeuvre cinématographique réalisée par Alain Resnais en 1959, Hiroshima mon amour est également reconnue pour sa valeur scénaristique, autrement dit littéraire, que l'on doit au travail de Marguerite Duras, et qui a d'ailleurs fait l'objet d'une publication distincte après la sortie du film. L'originalité de la présente recherche repose sur la distinction des deux médiums coexistants, une division qui non seulement oriente mais enrichit la réflexion sur une dialectique de la mémoire et de l'oubli. Si la matérialité filmique et la matérialité textuelle, chacune à l'aide des procédés qui lui sont propres, interrogent le devoir de mémoire et la fonction de l'oubli, il appert que le texte oriente davantage la question de l'oubli, alors que le film fait voir plus positivement le travail de la mémoire. L'écriture de Marguerite Duras se voit marquée par un style épuré où la figure rhétorique de la répétition prédomine et propose une vision du monde où l'oubli, au même titre que la guerre, est inévitable et récurrent. Le traitement de l'image cinématographique d'Alain Resnais permet de conférer aux images mentales une matérialité au sein d'un montage éclaté. Ce dernier participe d'une représentation directe du temps et du processus psychique de la remémoration, de même qu'il donne à voir l'histoire d'un monde devenu impossible à appréhender objectivement sans en évoquer la fragmentation. De surcroît, la structure de l'oeuvre contenant l'apposition d'une tragédie personnelle et d'une catastrophe historique, l'étude de la mémoire tient compte de cette distinction entre les dimensions intime et historique. L'analyse de la partie intime envisage la remémoration comme un effort de rappel qui repose sur l'émergence de la trace mnésique caractérisée par sa persistance. En parallèle, la partie plus historique convie à penser la trace documentaire selon son caractère périssable et ses limites à servir la mémoire historique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Marguerite Duras, Alain Resnais, Hiroshima mon amour, Littérature et cinéma, Mémoire, Oubli, Répétition, Image-temps, Trace.