La thèse porte sur le cinéma d’amateur et, plus particulièrement, sur la pratique des home movies en France, à savoir la réalisation et la réception en famille de films d’amateur. En étudiant la période qui s’étend de 1960 à aujourd’hui, nous nous sommes intéressés à la manière dont la pratique a évolué à la fois sur le plan technique et technologique, grâce à l’introduction de trois formats (le Super 8, le VHS et le numérique), et sur le plan social et culturel, à travers la prise en compte de différents types de modèles familiaux (de la famille nucléaire aux familles recomposées en passant par les familles adoptantes). À partir de ces observations, nous avons élaboré une esthétique des home movies entendue comme esthétique du lien. Cette étude croise deux approches : d’une part, la sémio-pragmatique avec la notion d’espace de communication élaborée par Roger Odin et, d’autre part, l’interactionnisme inspiré des travaux d’Erving Goffman. Ainsi, nous avons construit deux espaces de communication afin de systématiser les interactions, les discours, les relations énonciatives et les affects qui se développent respectivement durant le filmage et le visionnage. Nous avons également introduit deux modes principaux censés structurer les processus de production de sens qui seraient à l’œuvre dans les deux étapes de la pratique et nous les avons appelés respectivement mode ludique (le filmage serait donc mené comme un jeu) et mode taxonomique (le visionnage s’apparenterait à une opération de classement). Pour cela, nous nous sommes également appuyés sur des entretiens avec les membres de six familles françaises ayant réalisé ou réalisant encore des home movies. Nous avons formulé l’hypothèse que la pratique des home movies permettrait aux individus impliqués dans la production et/ou dans la réception de ces films de prendre conscience des dynamiques familiales et de leur rôle au sein du groupe. Nous avons nommé méta-famille le potentiel autoréflexif de la pratique des home movies. / My research concerns the evolution in France of home movie filming from the 1960s (Super 8 films) to the present (digital films) and the changes that have affected the family unit during this period. It brings together a theoretical dimension, the symbolic implications of the practice, and an empirical one, the findings emerging from an exploratory case study of six French families shooting home movies. Based on the psychological, social and cultural study of these families, the multidisciplinary approach of this piece, combined with a qualitative methodology (in the form of several in-depth interviews with the members of those families), is meant to explore how family images and conversations help individuals to think about themselves and their roles within their groups. I conceived my field survey as a form of role-play in which the subjects were supposed to show me their home movies and talk about them: I interviewed family members separately (for instance, the parents together and then their children) about the same home movies in order to find out how people give several interpretations of the same representation of a family event. I will argue that the making of home movies contributes to a family’s sense of self-awareness by introducing a concept that I have named the meta-family. Thanks to the interactions in shooting home movies and the different types of verbalisation, the family is allowed to think about itself. The meta-family is not the real family, shooting or watching images, but represents the conscious and unconscious workings of the family members produced with, and through, the images. The evolution of the technical age and technologies in the practice of home movies has followed, recorded and sometimes predicted those conscious and unconscious changes within the family unit.

[pt] A presente tese tem como objetivo traçar uma paisagem constelar de vivências queers (minorias sexuais, de gênero, étnico-raciais, etc) que afirmam suas vidas através da reconfiguração das ideias de lar e casa. Para isso, foram utilizados diversos objetos-acontecimentos (filmes, livros, materiais arquivísticos) que nos ajudassem a produzir fendas ou fissuras afirmativas no pensamento sobre o poder através das suas potências de vida, fazendo eco ao que propõe Beatriz Preciado em seu ensaio Multidões Queer: notas para uma política dos anormais (2011). Alguns deles são: o livro Stella Manhattan (1995), de Silviano Santiago; os home movies do cineasta Derek Jarman; materiais pessoais de Alice B. Toklas e Gertrude Stein arquivados no Harry Ramson Center, da Universidade do Texas em Austin; a peça de teatro Domínio do Escuro (2015) de Juliana Pamplona; o filme The Watermelon Woman (1996), de Cheryl Dunye e o filme Shortbus (2006), de John Cameron Mitchell. Trata-se de uma organização de tese que faz parte de uma corporeidade que não é histórica no sentido normativo da palavra, mas tecida como um gesto que se aproxima daquele presente no Atlas de Aby Warburg, no esforço de fazer entender o link, um nexo, uma conexão secreta entre diferentes imagens que se afirmam enquanto resistências às normas de gênero e sexualidade, e aos modos de estar junto normatizados na modernidade e na História. / [en] The goal for this thesis is to draw a constellation of queer livings (sexual, gender, ethnic, racial and other minorities) that reassures their lives through the reconfiguration of the ideas of home and house. In order to accomplish that, several happening-objects were used (films, books, archive material) to help us produce affirmative slits or clefts when thinking about power through its life potency, echoing what Beatriz Preciado suggests in her essay Multitudes queer. Notes for a politics of abnormality (2011). Some of them are: the book Stella Manhattan (1995), by Silviano Santiago; movie maker Derek Jarman s home movies; personal material from Alice B. Toklas and Gertrude Stein archived at Harry Ramson Center, at the University of Texas in Austin; the play Domínio do Escuro (2015) by Juliana Pamplona; the movie The Watermelon Woman (1996), by Cheryl Dunye and the movie Shortbus (2006), by John Cameron Mitchell. It is a thesis organized in a non-historical corporeity in the normative sense of the word, but woven as a gesture close to the one present in Aby Warburg s Atlas, in an effort to understand the hidden connection between different images that arise as resistence to the norms of gender and sexuality, and to the normatized forms of being together in modernity and in History.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ao enfocar o filme de família no contexto da produção pós-moderna, esta dissertação tem por intenção debater a questão da autenticidade, bem como o processo de legitimação cultural de sub-gêneros fílmicos afins surgidos na década de 60, como o filme diário e o filme pessoal. A proliferação deste tipo de produção uma espécie de meio-termo entre auto-etnografias e filmes de arte - desafia as ciências sociais e, mais especificamente, a antropologia visual contemporânea a compreender a emergência de novas formas audiovisuais de representação social. A partir do estudo pioneiro de Bourdieu sobre a função social da fotografia, debate-se a estetização do território familiar e a função social do filme amador. / Focusing on the home movies in the context of post-modern culture, this dissertation intends to debate the question of authenticity, as well as the process of cultural legitimation of filmic sub-genres originated in the sixties: the diary film and the personal film. The proliferation of this type of film production something in-between the autoethnographies and the art films challenges the social sciences and, more specifically, the contemporary visual anthropology to understand the appearance of new audiovisual forms of social representation. The important work of Bourdieu on the social rules of photography is a starting point to debate the aesthetics of private family domain and the social rules of amateur film

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ao enfocar o filme de família no contexto da produção pós-moderna, esta dissertação tem por intenção debater a questão da autenticidade, bem como o processo de legitimação cultural de sub-gêneros fílmicos afins surgidos na década de 60, como o filme diário e o filme pessoal. A proliferação deste tipo de produção uma espécie de meio-termo entre auto-etnografias e filmes de arte - desafia as ciências sociais e, mais especificamente, a antropologia visual contemporânea a compreender a emergência de novas formas audiovisuais de representação social. A partir do estudo pioneiro de Bourdieu sobre a função social da fotografia, debate-se a estetização do território familiar e a função social do filme amador. / Focusing on the home movies in the context of post-modern culture, this dissertation intends to debate the question of authenticity, as well as the process of cultural legitimation of filmic sub-genres originated in the sixties: the diary film and the personal film. The proliferation of this type of film production something in-between the autoethnographies and the art films challenges the social sciences and, more specifically, the contemporary visual anthropology to understand the appearance of new audiovisual forms of social representation. The important work of Bourdieu on the social rules of photography is a starting point to debate the aesthetics of private family domain and the social rules of amateur film

The film consists of images from home movies of Nana, her daughter (Francesca's mother), and Francesca, and their extended family at gatherings, visits, and vacations, and of Nana in her last years. Nana emigrated from Italy, as did other relatives. The home movies are in black and white or color. Images from photographs in black and white or color, and images of birth, marriage, and death certificates are included. Francesca and her mother speculate on Nana's life based on the contradictory information they have from these documents and from family members. The film ends with the words "In memoriam October 14, 1925 – March 20, 2007" and it is Francesca's wish that Nana found happiness in her life. The film begins with the quote: "There are three sides to every story. Your side, my side, and the truth. And no one is lying. Memories shared serve each differently." Robert Evans.

Syftet med uppsatsen är att diskutera vilka funktioner dagboksberättandet i essäfilm skulle kunna fylla samt på vilket sätt dessa filmer reflekterar sin samtid. I uppsatsen kommer jag diskutera och identifiera olika funktioner med hjälp av relevant och teoretisk litteratur samt genom enstaka filmexempel. Om ny teknologi och tillgänglighet har öppnat upp gränserna för det privata och offentliga, kan essäfilmer, som för in det personliga och privata i det dokumentära, ses som ett uttryck för dessa uppluckrade gränsdragningar. Den digitala utvecklingen, vår samtid samt essäfilmens specifika möjligheter är områden som den här texten huvudsakligen berör.

À partir de l’œuvre du cinéaste et artiste hongrois Péter Forgács, la thèse aborde plus généralement la question du remontage de films amateurs dans le documentaire contemporain et examine les enjeux esthétiques, historiques et politiques du remploi des films de famille. Les concepts de déterritorialisation et de reterritorialisation développés par Gilles Deleuze et Félix Guattari nous permettent d’interroger la manière dont la pratique « archéologique » du remontage ouvre les films de famille à de multiples resignifications. Comment traversent-ils des territoires esthétiques, géographiques, institutionnels et politiques, de mémoire, d’histoire et de pensée ? Comment, à travers le temps, les histoires que contiennent ces rouleaux des pellicules substandard sont-elles traversées par l’Histoire ? Comment ces films peuvent-ils, rétrospectivement, subvertir la construction officielle de l’histoire et de la mémoire et renégocier la perception du temps historique ? Quelle métahistoire construisent-ils ?L’analyse de la déterritorialisation et de la reterritorialisation des films de famille par le remploi, nous permet d’interroger la manière dont la pratique du remontage crée un nouveau territoire cinématographique, où la mémoire et l’histoire du passé comme de l’avenir peuvent être creusées dans et par l’image. Ici apparaissent les enjeux poét(h)iques et politiques du remploi. / Through the work of Hungarian artist and filmmaker Péter Forgács, the thesis addresses the question of the reuse (remontage) of amateur films in contemporary documentary and examines the aesthetic, historical and political implications of the appropriation of home movies. The concepts of deterritorialization and reterritorialization developed by Gilles Deleuze and Félix Guattari allow us to question how the “archeological” practice of reassembly exposes home movies to multiple significations. How can they traverse aesthetic, geographical, institutional and political territories as well as territories of memory, history and thought? How are the stories contained in these rolls of substandard film traversed by History? How can these films subvert the official construction of history and memory and renegotiate the perception of historical time? What metahistory do they establish?The analysis of deterritorialization and reterritorialization of home movies allows us to question how the practice of reassembly creates a new cinematographic territory, in which memory and history of the past, as of the future, can be mined in and by the image. Thus remontage implicates poet(h)ical and political issues.

Ce travail de doctorat est consacré au cinéma amateur produit au Brésil entre les années 1920 et 1965. Notre recherche a été développée à partir d'un corpus constitué par des films produits par cinq familles. Dans une première partie, nous revenons sur l'origine et le développent de cette pratique au Brésil en nous basant: l'étude des disputes commerciales qui ont marqué l'arrivée sur le marché des équipements dédiés exclusivement à l'usage amateur; les publications des années 1920 et 1930 consacrées à ce public et sur la récupération du contexte de production des images qui forment notre corpus. Dans cette première partie nous discutons aussi les expressions « film de famille» et «cinéma amateur» en proposant un dialogue avec le théoricien Roger Odin. Dans une deuxième partie, nous suivons l'itinéraire migratoire de ces images jusqu'à leur entrée dans les archives et leur reprise dans les documentaires contemporains. Pour reconstruire ce chemin migratoire nous nous inspirons des méthodes de recherché proposées par l'historienne Sylvie Lindeperg. Cette recherche a pour objectif principal de discuter des procédures de publicisation du cinéma domestique. En suivant le parcours migratoire des images qui forment notre corpus nous affirmons la thèse que les films réalisés dans un contexte familier ne gagne une dimension public et politique que lorsque qu'ils sont soumis à un processus de «montage», un concept que nous travaillerons à partir de la pensée de l'historien de l'art Georges Didi-Huberman. / The present doctoral thesis' research object is home movies created in Brazil between years1920 to 1965. This research developped itself into two branches of work and is focused onhome movies produced by five families. In a first branch we explore the origins and laterdevelopment of home-moviemaking since 1920 in Brazil. For such study, we evoke analisyson the commercial dispute that followed the commercial debut of domestic use purposed exclusive equipment, on the propaganda prints from the 1920's and 30's which where destined to amateur film-making public, and also by the understanding of this image production context that constitutes our work's core purpose. In this first part, we also debate expressionssuch as "family film" and "amateur cinema" as an introductive dialogue for the theorist RogerOdin. As a second part of our work, we follow the home movies migratiory path, to theirentry in the cinemathèques and their use in contemporary documental film-making. To retrace this migration course, we inspired on a research method proposed by historian SylvieLindeperg. The present work's main purpose is to discuss the publication procedures ofdomestic films. By understanding the migratory course of the images in our interest, weaffirm the thesis that films made in a family context only gain on a public and political dimention after being submitted to an "montage" process; it is a concept that we develop on the trails of art-historian Didi-Huberman's propositions. / O trabalho realizado no âmbito do doutorado tem como objeto de pesquisa filmes domésticosproduzidos no Brasil entre os anos 1920 e 1965. A pesquisa se desenvolveu em duas vertentestendo como foco de estudo um corpus constituído por filmes caseiros produzidos por cincofamílias. Na primeira vertente, nos debruçamos sobre a origem e o desenvolvimento daprática do cinema doméstico a partir dos anos 1920, no Brasil. Para esse estudo nos baseamosna análise das disputas comerciais que marcaram a entrada no mercado dos equipamentosvoltados exclusivamente para uso caseiro; nas publicações dos anos 1920 e 1930 dirigidas aopúblico amador e na recuperação do contexto de produção das imagens que formam nossocorpus. Nessa primeira etapa problematizamos também as expressões “filme de família” e“cinema amador” propondo um diálogo com o teórico Roger Odin, responsável pelainstitucionalização desse campo de estudos na França. Na segunda vertente, acompanhamos opercurso migratório dos filmes domésticos, seu ingresso nas cinematecas e sua retomada emdocumentários contemporâneos. Interrogamos as estratégias empregadas na incorporação deregistros familiares em centros de preservação de documentos audiovisuais e os diferentesgestos de reapropriação e ressignificação por parte de artistas que os retomaram em suasobras. Para rescontruir esse caminho migratório nos inspiramos no método de pesquisapromovidos pela historiadora Sylvie Lindeperg, que nos últimos dez anos vem realizando umestudo em torno a migração das imagens da Segunda Guerra Mundial. O presente trabalhotem como objetivo principal discutir os procedimentos de publicização dos filmes domésticos.Seguindo o caminho migratório das imagens que constituem nosso corpus afirmamos a tesede que os filmes realizados dentro do contexto familiar apenas ganham uma dimensão públicae política quando submetidos a um processo de “montagem”, conceito que trabalhamos apartir das proposições do historiador da arte Georges Didi-Huberman.

Made available in DSpace on 2016-06-02T20:23:10Z (GMT). No. of bitstreams: 1 2750.pdf: 1011456 bytes, checksum: b341ebc9aa41f21594e4f410310a4793 (MD5) Previous issue date: 2010-01-20 / Financiadora de Estudos e Projetos / Cinemateca Brasileira, the largest film archive in Brazil, for years has stored, catalogued and conserved a large number of Brazilian films that have survived to the present day. But in order for a film to be thoroughly preserved it needs to be known by both the general public and specialized audiences. Some collections manage to be fully preserved while others remain stored without the adequate circulation: this is the case of the home movies collection. The aim of the current research is the valorization of this collection through its physical description and the investigation about its content. Throughout this process, the cataloguing procedures currently in practice at the archive and the specificities of the collection of home movies regarding its informational status will be described. From this investigation specific work methods and forms of analysis will be proposed. In a broader perspective, historical background and conceptual discussions about the formation of the amateur field, the use of cinema in the domestic realm, the production of images in the private domain and the amateur cinema columns of the magazine Cinearte will add to the cataloguing procedures of Cinemateca Brasileira. / A Cinemateca Brasileira, o maior arquivo de filmes do Brasil, há anos armazena, cataloga e conserva uma parcela de filmes brasileiros que chegou até o nosso tempo. Para que a preservação de um filme seja realizada de forma plena, no entanto, é necessário que ele possa existir para além do arquivo e que possa ser acessado pelo público geral e pelo público especializado. Muitos filmes e coleções atingem a sua preservação plena, outros ficam armazenados sem terem uma circulação adequada; este é o caso do acervo de filmes domésticos. A presente pesquisa tem por objetivo a valorização deste acervo através da sua descrição física e de uma investigação sobre o seu conteúdo. Neste processo será descrito o trabalho de catalogação atualmente em prática na Cinemateca Brasileira e as particularidades do trato informacional com os filmes domésticos e, a partir desta investigação, serão propostos métodos de trabalho e análise para esta coleção específica. Em um espectro mais amplo, informações históricas e discussões conceituais sobre a formação do campo amador e do cinema na esfera doméstica, as especificidades da produção na esfera privada e as colunas de amadores da revista Cinearte complementarão o trabalho de catalogação da Cinemateca Brasileira.

Made available in DSpace on 2016-03-15T19:40:52Z (GMT). No. of bitstreams: 1 Jael Breitschwerdt.pdf: 952030 bytes, checksum: 787f5cd0ef86094489b72b510635ffc9 (MD5) Previous issue date: 2010-06-08 / Fundo Mackenzie de Pesquisa / The aim of this study was to evaluate early signs of Autism Spectrum Disorders, using retrospective video analysis. The participants were eight children later diagnosed with ASD and eight children with typical development. Home videos of the participants were collected from families, at the ages 12, 24 and 36 months. Videos were edited and then analysed by two ASD specialists. The behaviors: Eye Contact; Facial Expression; Play behavior/ Imitation; Communication; Joint Attention and Repetitive Behaviors, were analysed. The results suggest that early signs such as, deficits in Communication, Play behavior, Imitation and Repetitive behaviors, can be detected in infants at 24 months. Most importantly, findings indicate that deficit in Joint Attention was the most discriminating sign of children with ASD, as early as 12 months. / O objetivo desta pesquisa foi avaliar sinais precoces dos Transtornos do Espectro Autista, por meio da observação de vídeos. Os participantes foram oito crianças diagnosticadas com TEA e oito crianças com desenvolvimento típico, nas idades 12, 24 e 36 meses. Os comportamentos: Contato Visual; Expressão Facial/Sorriso Social; Brincadeiras/Imitação; Comunicação; Atenção Compartilhada; Comportamentos Estereotipados, foram analisados e classificados por dois especialistas. Os resultados sugerem que sinais como disfunções na Brincadeira/Imitação, Comunicação e Comportamentos Estereotipados podem ser detectados a partir de 24 meses de idade. Déficits na Atenção Compartilhada foi o sinal que mais discriminou as crianças com TEA das crianças com desenvolvimento típico, já aos 12 meses de idade.