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To Be A Witness: Lynching and Postmemory in LaShawnda Crowe Storm's "Her Name Was Laura Nelson"Ratcliffe, Viola 23 July 2015 (has links)
No description available.
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Coulisses : scénario original ; suivi de Condensation et déplacement dans l'onirisme au cinémaTisseur, Pierre 17 April 2018 (has links)
Cet essai tente de démontrer que les concepts freudiens de condensation et de déplacement qui caractérisent le travail du rêve peuvent également être associé au travail d'écriture des scènes de rêve du scénario Coulisses ainsi qu'à quelques scènes oniriques de films de Federico Fellini, Ingmar Bergman et David Lynch.
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Del pincel a la cámara : un análisis del concepto "nostalgia americana" visto en las pinturas de Edward Hopper y reinterpretado en la película "Blue Velvet" de David LynchAlva Flores, Mariana 27 November 2017 (has links)
El presente es un profundo análisis del film “Blue Velvet” de David Lynch y la
reinterpretación del concepto “nostalgia norteamericana”, visto en las pinturas
de Edward Hopper. La “nostalgia americana” es un término acuñado por la
tesista, que describe el sentir de la población estadounidense luego de los
momentos de guerra y crisis de su país. Gracias a un análisis de la imagen, se
concluye que las pinturas de Edward Hopper retratan ese estado anímico
compuesto de nostalgia, soledad, ensimismamiento y melancolía, a través de
los aspectos formales y de contenido. De esa manera aparece David Lynch,
quien logra reinterpretar el mismo sentir. Luego de descomponer “Blue Velvet”
y analizar minuciosamente sus escenas, se argumenta que la reinterpretación
se da a través de dos procedimientos: a través de composiciones similares
entre las pinturas y los encuadres, y por medio de los nuevos recursos que
otorga la comunicación audiovisual, que favorecen e impulsan dichos aspectos
de composición. Es importante tener en cuenta que tanto los recursos
audiovisuales, como los aspectos formales (en las pinturas) se relacionan al
componer encuadres similares y narrar casi un mismo discurso: el de la
“nostalgia americana”. Sin embargo, este relato se potencia en “Blue Velvet”,
ya que se utilizan recursos como el movimiento de cámara, el movimiento
interno y el montaje, los cuales favorecen a evidenciar el concepto. Y allí se
descubre la relevancia de esta investigación, ya que, gracias al análisis de los
recursos audiovisuales, se evidencia la autoridad del cine como recurso
artístico capaz de observar, procesar y analizar sucesos traumáticos que han
sido parte la historia. Se otorga un aporte al conocimiento existente sobre cine
y pintura, pero además se enriquece el conocimiento audiovisual
estableciendo nuevos aportes y conceptos.
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Les genres cinématographiques comme clés de signification dans l'oeuvre de David Lynch : une étude de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001)Groleau, Catherine 10 February 2024 (has links)
Le genre filmique – moteur par excellence de la cinématographie hollywoodienne – s’est imposé, au cours des dernières décennies, comme un champ théorique à part entière des études cinématographiques. Or, sa reconnaissance tardive au sein de la recherche universitaire témoigne du paradoxe structurant le champ cinématographique hollywoodien. En effet, la tension qu’entretient Hollywood entre l’industrie du divertissement et le cinéma d’art se révèle d’une façon particulière à travers la notion de genre cinématographique, qui s’avère à la fois un canevas de fabrication et un espace de création. Ce mémoire vise l’étude du genre filmique selon trois articulations : d’un point de vue institutionnel, d’abord, en questionnant les enjeux du champ cinématographique hollywoodien ; d’un point de vue théorique, ensuite, au moyen d’une plongée au sein des conventions et des procédés de trois genres filmiques ; et finalement, à travers l’analyse d’un corpus de films du réalisateur David Lynch. Ainsi, l’œuvre de Lynch, par son caractère marginal, inclassable et profondément étrange, donnera lieu à un parcours, certes, atypique, mais néanmoins significatif de ces trois niveaux de l’étude du genre filmique, dictant par le fait même une division en deux parties du travail. Dans un premier temps, le mémoire s’attardera à mettre en perspective la définition du champ hollywoodien et la trajectoire de Lynch, ce qui nous permettra d’identifier trois genres filmiques qui présentent un ancrage particulier au sein de la filmographie lynchienne, soit le thriller, le film noir et l’horreur. Dans un deuxième temps, nous procéderons à l’analyse filmique de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001), trois films qui adoptent la logique de la trilogie en proposant, reprenant, puis aboutissant à un certain nombre de motifs issus des conventions génériques. Ainsi, les grilles de lecture des genres filmiques explorés par le cinéaste permettront d’observer la dimension à la fois classique et expérimentale de l’œuvre lynchienne par rapport à la cinématographie hollywoodienne tout en exposant les innovations du cinéaste à l’égard d’éléments génériques spécifiques. / The film genre – the driving force par excellence of Hollywood cinematography – has established itself in recent decades as a theoretical field in its own right in Film Studies. However, its late recognition within academia testifies to the paradox underlying Hollywood cinematography. Indeed, the tension that Hollywood maintains between the entertainment industry and art cinema is revealed in a particular way through the concept of cinematographic genre, which turns out to be both a canvas for production and a space for creation. This thesis aims to study the film genre according to three articulations: first, from an institutional perspective by questioning the challenges within the Hollywood cinematographic field from a theoretical point of view; second, by exploring the conventions and processes of three film genres; and thirdly, through the analysis of a corpus of films by director David Lynch. Thus, Lynch's work, by its marginal, unclassifiable and profoundly strange character, will lay the foundation for an admittedly atypical, but nevertheless significant analysis of these three levels of study of the film genre, thereby dividing this work in two parts. Initially, the thesis will focus on putting into perspective the definition of the Hollywood field and Lynch's trajectory, which will allow us to identify three significant film genres within Lynch’s filmography, namely the thriller, film noir and horror. In a second step, we will proceed with the filmic analysis of Blue Velvet (1986), Lost Highway (1997) and Mulholland Drive (2001), three films which adopt the logic of a trilogy by proposing, summarizing then culminating in a certain number of motifs from generic conventions. Thus, the analytical perspectives from the film genres explored by the filmmaker will allow us to observe both the classical and experimental style of the Lynchian work in Hollywood cinematography while exhibiting the filmmaker's contribution to certain elements of filmic genre.
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Att fånga det flyktiga : Om existentiell mening och objektivitetEdlund, Lena January 2008 (has links)
<p>This work attempts an answer to two questions. Firstly, is it possible to experience meaning when everything is transient? And secondly, in what way is objectivity possible when it comes to such phenomena as existential meaning? The questions originate from our insideperspective, and it is from what we have experienced ourselves that we try to make intelligible existential meaning. We are to a great extent part of the context in which we live. Our ability to contemplate our situation and our own contemplation is taking place in interplay with others. To make room for the small things meaningful in life, the expression existential meaning is used. In this expression both the meaningless and the meaningful are included, since both are needed for our understanding of meaning. Without the Other and that which is different, the individual person’s formation of existential meaning becomes just more of the same, it becomes an enclosure in the present. The encounter with the Other makes room for that which is different to break through.</p><p>Objectivity is possible when it comes to existential meaning, if one views objectivity as a process between people. It is performed in conversation. Those who converse, refer to their bodily experiences of the Time that remains and help each other, using language as the tool, to formulate their experiences. They compare each others’ manifestations of existential meaning,</p><p>and with the help of language they go further in the formation of what is meaningless and meaningful. Their conversations imply a normative presupposition that they can justify the claims that they make. Because it is actually not possible to make intelligible existential meaning in words other than by doing it as a mix of descriptions of that which is manifesting itself and linguistic rewritings in the form of stories. This expression of objectivity has a normative aspect, namely in relation to the possibility that we can be wrong. Therefore, we need each other in the act of judging, and together we are guided by the fact that it later on can emerge things that show that our judgment has not been fully correct. </p>
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Prise en compte des connaissances du domaine dans l'analyse transcriptomique : Similarité sémantique, classification fonctionnelle et profils flous : application au cancer colorectal / Using domain knowledge in the Transcriptomic analysis : Semantic similarity, functional classification and fuzzy profiles. Application to colorectal cancerBenabderrahmane, Sidahmed 15 December 2011 (has links)
L'analyse bioinformatique des données de transcriptomique a pour but d'identifier les gènes qui présentent des variations d'expression entre différentes situations, par exemple entre des échantillons de tissu sain et de tissu malade et de caractériser ces gènes à partir de leurs annotations fonctionnelles. Dans ce travail de thèse, je propose quatre contributions pour la prise en compte des connaissances du domaine dans ces méthodes. Tout d'abord je définis une nouvelle mesure de similarité sémantique et fonctionnelle (IntelliGO) entre les gènes, qui exploite au mieux les annotations fonctionnelles issues de l'ontologie GO ('Gene Ontology'). Je montre ensuite, grâce à une méthodologie d'évaluation rigoureuse, que la mesure IntelliGO est performante pour la classification fonctionnelle des gènes. En troisième contribution je propose une approche différentielle avec affectation floue pour la construction de profils d'expression différentielle (PED). Je définis alors un algorithme d'analyse de recouvrement entre classes fonctionnelles et ensemble des références, ici les PEDs, pour mettre en évidence des gènes ayant à la fois les mêmes variations d'expression et des annotations fonctionnelles similaires. Cette méthode est appliquée à des données expérimentales produites à partir d'échantillons de tissus sains, de tumeur colo-rectale et de lignée cellulaire cancéreuse. Finalement, la mesure de similarité IntelliGO est généralisée à d'autres vocabulaires structurés en graphe acyclique dirigé et enraciné (rDAG) comme l'est l'ontologie GO, avec un exemple d'application concernant la réduction sémantique d'attributs avant la fouille. / Bioinformatic analyses of transcriptomic data aims to identify genes with variations in their expression level in different tissue samples, for example tissues from healthy versus seek patients, and to characterize these genes on the basis of their functional annotation. In this thesis, I present four contributions for taking into account domain knowledge in these methods. Firstly, I define a new semantic and functional similarity measure which optimally exploits functional annotations from Gene Ontology (GO). Then, I show, thanks to a rigorous evaluation method, that this measure is efficient for the functional classification of genes. In the third contribution, I propose a differential approach with fuzzy assignment for building differential expression profiles (DEPs). I define an algorithm for analyzing overlaps between functional clusters and reference sets such as DEPs here, in order to point out genes that have both similar functional annotation and similar variations in expression. This method is applied to experimental data produced from samples of healthy tissue, colorectal tumor and cancerous cultured cell line. Finally the similarity measure IntelliGO is generalized to another structured vocabulary organized as GO as a rooted directed acyclic graph, with an application concerning the semantic reduction of attributes before mining.
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Att fånga det flyktiga : Om existentiell mening och objektivitetEdlund, Lena January 2008 (has links)
This work attempts an answer to two questions. Firstly, is it possible to experience meaning when everything is transient? And secondly, in what way is objectivity possible when it comes to such phenomena as existential meaning? The questions originate from our insideperspective, and it is from what we have experienced ourselves that we try to make intelligible existential meaning. We are to a great extent part of the context in which we live. Our ability to contemplate our situation and our own contemplation is taking place in interplay with others. To make room for the small things meaningful in life, the expression existential meaning is used. In this expression both the meaningless and the meaningful are included, since both are needed for our understanding of meaning. Without the Other and that which is different, the individual person’s formation of existential meaning becomes just more of the same, it becomes an enclosure in the present. The encounter with the Other makes room for that which is different to break through. Objectivity is possible when it comes to existential meaning, if one views objectivity as a process between people. It is performed in conversation. Those who converse, refer to their bodily experiences of the Time that remains and help each other, using language as the tool, to formulate their experiences. They compare each others’ manifestations of existential meaning, and with the help of language they go further in the formation of what is meaningless and meaningful. Their conversations imply a normative presupposition that they can justify the claims that they make. Because it is actually not possible to make intelligible existential meaning in words other than by doing it as a mix of descriptions of that which is manifesting itself and linguistic rewritings in the form of stories. This expression of objectivity has a normative aspect, namely in relation to the possibility that we can be wrong. Therefore, we need each other in the act of judging, and together we are guided by the fact that it later on can emerge things that show that our judgment has not been fully correct.
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Gud och vardagsspråket : En religionsfilosofisk förutsättningsanalys / God and Everyday Language : An Analysis of Presuppositions in Philosophy of ReligionFromm Wikström, Linda January 2010 (has links)
The main purpose of this dissertation is to answer the question of how one can understand the fact that we mean very different things when we say that God exists and when we say that chairs, mountains and trees exist, and that it is still a matter of existence. On the one hand it seems that we talk about the same thing when we say that something exists, irrespective of what it is, on the other hand it seems to be a question of very different things depending on what it is we are talking about as existing. This dissertation seeks to give an understanding of the relation between the concept of truth and the concept of reality. The conclusion is not only that we presuppose these concepts in everything we do, say, believe and think, but that we presuppose a specific understanding of these concepts, namely a concept of objective truth and a concept of an external and mind independent reality. In this dissertation it is also argued that our use of these concepts and that we use them in everything we do – that they are as basic as they are – says something about how it is, about reality. The use of these concepts does not only say something of what we conceptually presuppose but it also says something about what we assume in relation to reality. The conceptual aspect, in this way, has consequences ontologi.
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Neobvyklé tumory kůže a měkkých tkání / Unusual tumors of the skin and soft tissueHadravský, Ladislav January 2016 (has links)
This doctoral thesis describes unusual skin and soft-tissue tumors, which were the basis of the postgraduate study of Ladislav Hadravský, MD at Medical faculty in Pilsen of Charles University in Prague during 2013 - 2016. It contains documented cases of skin and soft-tissue tumors related to hereditary syndromes, unusual morphology, rare biological behavior, minor causal association with the respective disease, or different phenotypes. These cases were published in journals with the impact factor and in peer-reviewed journals. Regarding skin tumors, the study focused on sebaceous tumors of the skin, which may occur within Muir-Torre syndrome. In the retrospective study of sebaceous skin tumors, two unusual cases were found: the case of aggressive extraocular sebaceous carcinoma on the scalp in a patient with Muir-Torre syndrome and the case of multiple sebaceous skin tumors in a patient with MUTYH-associated polyposis of the colon mimicking Muir-Torre syndrome. As far as soft-tissue tumors are concerned, the study aimed at the morphological comparison of cases of myxoinflammatory fibroblastic sarcoma and pleomorhic hyalinizing angiectatic tumor.
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L'étrangeté lynchéenne : l'inquiétant cinéma de David Lynch accompagné d'un essai de mise en scène : Les Chemins de l'OubliLandré, Jonathan 05 1900 (has links)
Mémoire en recherche-création / Ce mémoire a pour objectif d’explorer les différents moyens cinématographiques mis en place par le cinéaste américain David Lynch afin de comprendre comment ce dernier parvient à transporter son audience dans un monde fantastique et bien sûr, étrange. En nous appuyant sur les premières définitions freudiennes de ce que représente l’inquiétante étrangeté (Das Unheimliche), nous explorerons les codes et images récurrentes dans la cinématographie lynchéenne qui font des films du réalisateur des œuvres aux caractères étranges, après avoir étudié en détail les éléments qui nous permettent de classer les œuvres de l’auteur dans la catégorie des œuvres fantastiques. / This thesis aims to explore the different cinematographic means implemented by David Lynch in order to understand how he manages to transport his audience in a fantastic and of course, strange world. By informing ourselves about the first Freudian definitions of what represents the uncanny (Das Unheimliche), we will explore the recurrent codes and images in Lynchian cinematography which make the director’s films works uncanny, right after having studied in detail the elements that allow us to classify the author’s works in the fantastic genre section.
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