Le studio de la Tôei Dôga, fondé en 1956, est dans le Japon d’après-guerre tout à la fois le creuset d’une certaine conception de l’animation, le cœur de la formation d’une grande partie des techniciens qui vont soutenir l’industrie, mais aussi le lieu d’émergence, d’intégration et de réinvention de l’animation japonaise. En effet, si Hiroshi Ôkawa, qui dirige le studio jusqu’à sa mort en 1971, cherche à définir la structure comme le « Disney de l’Orient », le modèle américain, avidement recopié, a aussi été rapidement mis de côté, pour donner lieu à de nombreuses réinventions, appropriations et innovations technologiques. Etudiées d’un point de vue esthétique et technique, grâce à la conjonction de l’analyse formelle des films et de la prise en compte systématique des témoignages et des documents de production, ces innovations donnent à voir un processus de réappropriation du médium qui touche de près à l’histoire des techniques. Un enjeu important, dans le cadre de ce travail, consiste également à replacer aussi précisément que possible la production animée dans l’environnement économique et culturel de son époque. Ceci ne prend cependant pas nécessairement la forme d’une approche purement culturelle, mais cherche plutôt à conjuguer, grâce à des outils empruntés à l’histoire de l’art et à l’histoire culturelle, la matière filmique et la mise en question de son « contexte ». Si l’enjeu central de cette thèse aura été de définir, sur un plan esthétique et technique, une histoire de la production animée raisonnée et fondée sur une étude précise des documents disponibles, il apparaît que ses conclusions mettent en jeu les différents modèles de production traversés successivement par la Tôei, comme autant de propositions artistique, politique et stratégique, de ce que peut être le cinéma d’animation. / The Tôei Doga studio, founded in 1956, is the place in post-war Japan where was developped a new conception of animation, trained a large part of the technicians who will support the industry in the next decades, but also the place of emergence, integration and reinvention of Japanese animation. Indeed, if Hiroshi Okawa, who will run the studio until his death in 1971, seeks to define the structure as the "Disney of the East", the American model, eagerly copied, was also quickly set aside by Tôei, a process originating many technological innovations. Studied from an aesthetic and technical point of view, through a combination of a formal analysis of Tôei Dôga’s production from 1956 to 1971 and the systematic consideration of the animators’ testimonies and production documents, these innovations make a process of appropriation of the medium visible, questionning the history of technology. A crucial issue in the context of this dissertation also includes replacing as accurately as possible Tôei Dôga’s production in the vibrant economic and cultural environment of its time. This however does not necessarily involve an approach similar to that of cultural studies, but is rather seeking to combine, with tools borrowed from art history and cultural history, film material with the questioning of its "context." If the central issue here has been to implement, on an aesthetic and technical level, a history of the animation production process based on a careful study of available records, it appears that Tôei’s successive production models involve many artistic, political and strategic suggestions of what animation may be.

Au Japon, les années 1960 ouvrent une période de contestation politique et artistique. Dans un contexte de déclin des studios traditionnels, les films mettant l’accent sur des faits divers violents se développent en parallèle du Pinku Eiga, genre érotique. Des cinéastes comme Kôji Wakamatsu et Masao Adachi émergent, et avec eux des films où se mêlent nudité et velléités révolutionnaires, témoignant tant d’une interrogation proprement érotique des corps que d’une remise en question virulente de la société contemporaine. Le crime, la déviation deviennent autant de canaux de contestation, tandis que l’érotisme déploie un contre-récit des relations humaines. En écho à ce questionnement, les films de la fûkeiron, la « théorie du paysage », interrogent le devenir des individus confrontés aux paysages du monde moderne. Aux corps surreprésentés du pink font face des corps absents, évacués du visible comme de l’Histoire officielle. Criminels, révolutionnaires ou nymphomanes, autant de vies dénudées qui échappent aux catégories traditionnelles et dont les cinéastes donnent à voir le processus d’émancipation, jusqu’à l’autodestruction parfois. Cet assujettissement visuel et narratif du corps à une organisation qui le dépasse interroge la possibilité d’une énonciation radicalement nouvelle. Dans l’intervalle qui sépare les corps figurants des corps capables d’énonciation, les vies dénudées des vies qualifiées prise dans des logiques utilitaristes, se dessine une dialectique qui interroge la chair comme puissance fondamentale de l’image, seule à même de faire se fissurer les paysages trop lisses de la modernité. / In Japan, the 1960s open an era of political and artistic protests. The decline of traditional film studios is followed by the development of violent genre movies and pinku eiga (erotic films). New filmmakers like Kôji Wakamatsu and Masao Adachi emerge, shooting films in which nudity echoes a constant thirst for revolution, both questioning the erotic nature of bodies and criticizing the contemporary society. Crime and deviation become a new way of protesting, while eroticism allows for a counter-narrative of human relationships. Echoing this interrogation, films of the fûkeiron, the “landscape theory”, address the question of the future of individuals confronted with the landscapes of the modern world. Overexposed bodies from pink cinema are now confronted with bodies that are absent, expelled from both the visible world and the official history. Criminals, revolutionaries, nymphomaniacs, all those bare lives elude the traditional classification and show a new way toward emancipation, sometimes leading to their self-destruction. This visual and narrative subjugation of the body under an organization that exceeds him questions the possibility of a radically new narrative. In the interval that separates figuration bodies from bodies capable of their own narrative, bare lives from qualified lives that are the byproduct of a rationalized system, a dialectic emerges that question flesh as a fundamental potential of images, a potential that might be the only one capable of breaking apart the way too smooth landscapes of modernity.

Orientador: José Carlos Zamboni / Banca: Maria Lídia Lichtscheidl Maretti / Banca: Madalena Natsuko Hashimoto Cordaro / Resumo: Enquanto um ser sobrenatural fia numa roca uma linha transparente e frágil, um poderoso samurai, com um punho cerrado sobre sua espada, percebe que seu destino está sendo desenrolado e partir-se-á como os fios de uma teia de aranha. Outro samurai, não tão jovem, mas com a espada em riste, derrama seu sangue em terra familiar. Um menino e uma menina vestem máscaras demoníacas para sobreviver em um mundo que não admite doçura. São esses alguns dos personagens e dos temas presentes na obra de Akira Kurosawa, motivos sinistros e dolorosos demais para serem tocados pela mente comum, mas que são tomados corajosamente pelo gênio brilhante e sensível, que transforma tudo em beleza e arte. O objetivo deste ensaio é comentar o casamento da beleza e do sofrimento em seus filmes, onde também comparecem os seguintes convidados: a vida do próprio diretor, a literatura que o influenciou, a pintura e a música que admirou e que inseriu em seus filmes e, como parte essencial de qualquer trabalho científico, como Fritjoff Capra disse em O Tao da Física, minha vida também comparece aqui, como é inevitável, já que sou eu o fotógrafo deste casamento. / Abstract: While a white phantom of old-man or woman devily spins a translucent and frail thread on a distaff, a powerful samurai, with a fist strongly shut upon his sword, realizes that his destiny is being unwrapped there, and knows that will be torn as easily as a thread of a spider-web. Another samurai, not so young, but with his sword still ready, suffers the bleeding of his life in the land of his owns. A boy and a girl have to dress masks of demons in order to survive in a world that doesnþt allow sweetness at all. These are some of the characters and themes often found in the works of Akira Kurosawa; sinister and painful motives, usually refused by common peopleþs minds, but courageously taken by the brilliant and sensitive genius, who turns everything of these into art and beauty. This is what we search in this essay: the wedding of beauty and suffering in his movies, where it comes too the following guests: his own life, the books he read, the paintings he admired, the music he liked to put on his films, and, as an essential part of a scientific work, like Fritjoff Capra said in The Tao of Phisics, here comes my life too, as it is inevitable, being a photographer of this wedding as I am. / Mestre

Orientador: Claudiney Rodrigues Carrasco / Acompanha 1 DVD-R DL Recordable / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T02:58:46Z (GMT). No. of bitstreams: 1 Chritaro_GustavoRocha_M.pdf: 2779207 bytes, checksum: 36c364413fdb91f0537ab70583dc27f4 (MD5) Previous issue date: 2009 / Resumo: Este trabalho tem como proposta analisar o uso do jazz no cinema de animação japonês, através de um estudo de caso que tem como objetivo o longa-metragem de animação "Metrópolis" (2001), dirigido por Rintaro, com roteiro de Katsuhiro Otomo, e música de Toshiyuki Honda. A metodologia que escolhemos foi a de estabelecer conexões com a literatura específica da área de trilhas sonoras, e dialogar com o pensamneto de outras áreas, como a filosofia e a crítica literária Além disso, foram feitas exposições formais sobre a parte técnica da trilha musical e a partir de então, foram realizadas uma síntese entre a literatura e o procedimento de análise / Abstract: This work intents to analyse the use of jazz music in the Japanese animated cinema , trough a case study that has as object the feature-film "Metropolis" (2001),direct by Rintaro, screen-played by Katsuhiro Otomo , and underscored by Toshiyuki Honda. The methodology we have chosen was that of establishing connections with the film music specific writings, and dialoging with the thinking of other areas, such as philosophy and literary criticism. Formal exposition about the form music technical characteristics was also made, and then a synthesis was made between the literature and the analyses procedure / Mestrado / Mestre em Música

La décennie 1960 figure comme une période d’intenses bouleversements dans l’histoire du cinéma japonais. Une nouvelle génération de cinéastes s’impose et se démarque des "grands maîtres" des années 1930 et 1950, tandis que se diversifient les plateformes de production et que les grands studios voient s’effriter leur monopole sur l’industrie des loisirs. L’heure est à la libération sexuelle, à la contestation politique, aux mouvements citoyens contre la pollution industrielle : un climat libertaire propice aux irrévérences, dont le monde cinématographique se fait comptable à travers une série de "scandales". Pourtant cette nouvelle et turbulente jeunesse du cinéma ne saurait s’envisager comme un simple phénomène démographique, malgré ce que certains cinéastes, Nakahira Kô et les tenants d’un éphémère "Taiyôzoku", voudraient faire croire à la fin des années 1950. Pour d’autres, Oshima Nagisa, Yoshida Kijû ou Matsumoto Toshio, le renouvellement passe au contraire par une redéfinition du rôle du cinéaste et de la façon dont il "agit" le monde : aussi est-il plutôt question de "vision du monde". Cette transition se constate d’autant mieux qu’on la rapporte au cinéma d’après-guerre, dont Imai, Naruse, Kurosawa développent des options esthétiques spécifiques, pour bâtir un espace-temps entropique, miné par l’angoisse. Mais l’accès du pays à la prospérité au tournant des années 1960, célébrée en grande pompe par les Jeux Olympiques de Tokyo de 1964, semble dissiper cette angoisse, entraînant les cinéastes de la nouvelle génération vers d’autres modèles théoriques et esthétiques, aptes à rendre compte de la nouvelle société de consommation et de communication de masse. / The years 1960s stand as a time of upheaval in the history of Japanese cinema. A new generation of filmmakers arises, marking its difference from the so-called “great masters” of the 1930s and 1950s. The platforms of movie production diversify, while the great studios lose their domination upon the leisure industry. It is time for sexual freedom, political protests, civil movements against industrial pollution: a climate suitable for audacity and bold behaviors one can notice thoughout the cinematographic world, thanks to various "scandals". Yet that new and boisterous youth shall not be considered as a mere demographic change, whatever may pretend filmmakers such as Nakahira Kô and other upholders of the so-called "Taiyôzoku" at the end of the 1950s. Indeed, for the likes of Oshima Nagisa, Yoshida Kijû and Matsumoto Toshio, that renewal relies on the contrary on a new definition of filmmaking as a way to "enact" the world: thus would it rather be a matter of weltanschauung. Such a transition is obvious when compared to postwar films: for instance, Imai, Naruse or Kurosawa develop specific aesthetic patterns what draw a world of entropy, undermined by anguish. Yet the access to prosperity at the turn of the 1960s, as celebrated by 1964 Tokyo Olympic Games, seems to dissipate such feelings, leading the young generation of filmmakers toward other aesthetic options, able to give account of the new society of mass consumption.

Nesta etnografia, o cinema japonês exibido na cidade de São Paulo entre as décadas de 1950 a 1980 é abordado a partir da memória de antigos freqüentadores das salas de cinema do bairro da Liberdade. O foco desta investigação são os significados locais atribuídos pelos públicos nikkei e não-nikkei aos filmes japoneses, às salas de cinema da Liberdade e à experiência de freqüentá-las. A experiência vivida é acionada pelo método da história de vida e ganha centralidade na análise por meio das reflexões suscitadas pela antropologia da experiência. / In this ethnography, the Japanese cinema which was shown in the city of São Paulo between 1950 and 1980 is evoked in the memories of old-time movie goers of the Liberdade district. This investigation focuses on the local meanings attributed by both nikkei and non-nikkei audiences to Japanese films, to Liberdades cinemas and to the experience of frequenting them. Lived experience, which is made accessible by the method of life history, becomes central to analysis in a reflexive process provoked by the anthropology of experience.

Esta pesquisa tem como objetivo o mapeamento do espaço que ocupa Terayama Shūji, poeta, escritor, dramaturgo e diretor de cinema japonês, frente ao período histórico a que pertenceu e frente às teorias da vanguarda e do pós-modernismo. A investigação se inicia com o período do pós-guerra no Japão, quando em meio a protestos e ansiedades políticas, floresce na capital do país uma nova vanguarda artística. O primeiro capítulo é dedicado a um exame do teatro angura e da nova onda do cinema, dois movimentos dos quais Terayama fez parte. Procura-se então delinear suas propostas artísticas e suas principais influências, japonesas e estrangeiras, examinando como seu trabalho se aproxima ou se afasta do paradigma pós-moderno conforme teorizado principalmente por Fredric Jameson, mas levando em conta reflexões sobre as aplicações desse conceito especificamente no Japão. Por fim, o último capítulo se debruçará sobre dois longas-metragens do diretor Joguem seus livros, vamos às ruas, de 1971, e Pastoral: Morrer no campo, de 1974 de modo a encontrar exemplos do seu caráter experimental, subversivo, de sua insurreição contra as instituições da família e do Estado e de suas complexas relações com a política, a história, o pastiche e a espetacularização. / This research aims at mapping the space occupied by Terayama Shūji, a Japanese poet, playwright and filmmaker, in his historical context and in relation to avant-garde and postmodernism theories. The investigation begins with postwar Tokyo, when amid protests and a climate of political anxiety, a new avant-garde movement starts to flourish. The first chapter is dedicated to an examination of the angura theatre and the Japanese new wave, two of the movements Terayama was part of. We shall then trace his general artistic views and main influences, Japanese and foreign, examining how they relate to postmodern characteristics as theorized mainly by Fredric Jameson, but also inquiring at how this very concept can apply to the Japanese context. In the last chapter, we shall take two of Terayamas feature films Throw Away Your Books, Rally In The Streets and Pastoral: To Die in The Country for further analysis, in order to find more specific examples of his experimental and subversive character, his rejection of the institutions of family and the State, and his complex relationship with politics, history, pastiche and spectacularization.

Esta pesquisa tem como objetivo o mapeamento do espaço que ocupa Terayama Shūji, poeta, escritor, dramaturgo e diretor de cinema japonês, frente ao período histórico a que pertenceu e frente às teorias da vanguarda e do pós-modernismo. A investigação se inicia com o período do pós-guerra no Japão, quando em meio a protestos e ansiedades políticas, floresce na capital do país uma nova vanguarda artística. O primeiro capítulo é dedicado a um exame do teatro angura e da nova onda do cinema, dois movimentos dos quais Terayama fez parte. Procura-se então delinear suas propostas artísticas e suas principais influências, japonesas e estrangeiras, examinando como seu trabalho se aproxima ou se afasta do paradigma pós-moderno conforme teorizado principalmente por Fredric Jameson, mas levando em conta reflexões sobre as aplicações desse conceito especificamente no Japão. Por fim, o último capítulo se debruçará sobre dois longas-metragens do diretor Joguem seus livros, vamos às ruas, de 1971, e Pastoral: Morrer no campo, de 1974 de modo a encontrar exemplos do seu caráter experimental, subversivo, de sua insurreição contra as instituições da família e do Estado e de suas complexas relações com a política, a história, o pastiche e a espetacularização. / This research aims at mapping the space occupied by Terayama Shūji, a Japanese poet, playwright and filmmaker, in his historical context and in relation to avant-garde and postmodernism theories. The investigation begins with postwar Tokyo, when amid protests and a climate of political anxiety, a new avant-garde movement starts to flourish. The first chapter is dedicated to an examination of the angura theatre and the Japanese new wave, two of the movements Terayama was part of. We shall then trace his general artistic views and main influences, Japanese and foreign, examining how they relate to postmodern characteristics as theorized mainly by Fredric Jameson, but also inquiring at how this very concept can apply to the Japanese context. In the last chapter, we shall take two of Terayamas feature films Throw Away Your Books, Rally In The Streets and Pastoral: To Die in The Country for further analysis, in order to find more specific examples of his experimental and subversive character, his rejection of the institutions of family and the State, and his complex relationship with politics, history, pastiche and spectacularization.

Ce mémoire s’applique à analyser la mise en forme de l’intime dans Une affaire de famille (2018) d’Hirokazu Kore-eda et dans Naissance et maternité (2006) de Naomi Kawase, deux cinéastes japonais œuvrant dans une période alliant crise économique, adoption de politiques néolibérales et regain en popularité du nationalisme. À l’aide d’une approche principalement esthétique, l’objectif sera d’examiner les moyens disposés par ces films à représenter et à imaginer deux types de relations intimes pouvant être mobilisées par le cinéma, soit respectivement la relation entre les personnages de la diégèse et la relation entre le cinéaste et le spectateur. Bien que leurs films semblent apolitiques en étant centrés sur les relations humaines, il sera question d’observer comment une approche centrée sur l’intime permet d’en révéler les ramifications d’ordre politique et social. / This thesis aims to analyse the formatting and the representation of the intimate in Hirokazu Kore-eda's Une affaire de famille (2018) and in Naomi Kawase's Naissance et maternité (2006), two Japanese filmmakers creating during a period marked by economic crisis, the adoption of neoliberal politics, and nationalism regaining popularity. From a mainly aesthetic point of view, the goal will be to examine the ways in which these two films represent and imagine two types of intimate relationships mobilized by cinema, which are respectively the relationship between the diegesis' characters and the relationship between filmmaker and spectator. Although their films seem apolitical, as they are centred around human relationships, the question is to observe how an approach focused on the intimate brings to light political and social ramifications.

Denna avhandling undersöker könsrollerna på arbetsplatsen i de utvalda japanska bästsäljande filmerna som producerades under de senaste tre decennierna, vilket upplevde införandet av politiska åtgärder som avser att förbättra jämställdheten på arbetsplatsen. Studien hävdar att trots de samhälleliga och politiska förändringarna i Japan under de senaste trettio åren har bästsäljande filmer behållit traditionella könsrollsskildringar. Förklaringen kan vara att det är mycket lättare att ändra regler och lagstiftningar än uppfattningen om könsroller, som länge har existerat i samhället. / This thesis examines the gender roles in the workplace featured in the selected Japanese bestseller films produced in the last three decades, which saw the introduction of policies aimed at improving gender equality in the workplace. The study argues that despite societal and political changes in Japan in the last thirty years bestseller films have perpetuated traditional portrayal of gender roles. The explanation could be that it is much easier to change rules and legislations, than the perception on gender roles, which have existed in the society for a long time.