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Esthétique et rhétorique de bandes-annonces cinématographiques 1988-2008Win, Claudia January 2009 (has links)
Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Ken Loach : voice of the working classHerrmann, Jana January 2014 (has links)
Ken Loach has been playing an important role for the British cinema for more than five decades now. His work has gained international regocnition and recieved various prestigious awards. Some of his films were even quite successful at the box office, nevertheless many people have still not heard of him. That is regrettable, because Loach is without doubt one of the best in his field. This paper is meant to show what distinguishes his films from the work of other directors and explains why his films are of such great value.
Loach's career can be broadly divided into three stages, which will be specified in the first chapter of the paper. Afterwards three examples were chosen to illustrate Loach's working methods and the results of these. The films Kes (1969), Riff-Raff (1991) and My Name Is Joe (1998) are dealt with in separate chapters in chronological order, in this way the development of Loach's career can be reproduced. First the contents and backgrounds of the particular films will be briefly explained, followed by the analysis of important aspects of Loach's work based on the examples. / Ken Loach ist seit mehr als fünf Jahrzehnten ein wichtiger Teil der britischen Filmszene. Längst hat seine Arbeit auch international Anerkennung gefunden und wurde mit vielen renommierten Auszeichnungen bedacht. Einige seiner Filme liefen sogar an den Kinokassen recht erfolgreich, trotzdem ist er für viele Menschen noch immer kein Begriff. Das ist sehr bedauerlich, denn Loach gehört zweifelsohne zu den ganz Großen in seinem Fach. Diese Arbeit soll aufzeigen, worin seine Filme sich von den Werken anderer Regisseure unterscheiden und warum sie so wertvoll sind.
Loachs Werdegang lässt sich grob in drei Phasen unterteilen, welche im ersten Teil der Arbeit näher beschrieben werden. Anschließend wurden drei Beispiele ausgewählt, mit deren Hilfe Loachs Arbeitsweise und die dadurch erzielte Wirkung veranschaulicht werden. Den Filmen Kes (1969),Riff-Raff (1991) und My Name Is Joe (1998) ist in chronologischer Reihenfolge jeweils ein Kapitel gewidmet, um auf diese Weise auch eine Entwicklung in Loachs Laufbahn nachvollziehen zu können. Die Inhalte und die Hintergründe der einzelnen Filme werden zunächst kurz erläutert, um dann anschließend auf wichtige Aspekte von Loachs Schaffen anhand der Beispiele einzugehen.
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Filmers visualisering av stereotyper : Islam ur ett västerländskt perspektiv / Movies visualization of stereotypes : Islam from a Western perspectiveBengtsson, Alexander January 2014 (has links)
This essay examines on what kind of Muslim stereotypes exist in entertainment movies which are being produced in the West and particularly the United States. First, the focus will be on explaining the concept of stereotypes and Islamophobia and what role the media has in the movies' production of its contents. The incident at the World Trade Center will also be discussed briefly. By using semiotic and narrative analyses the essay investigates if a stereotyped image is being used about Muslims and how Muslim main characters that have the role of being protagonists, are visualized in entertainment movies. The material that is included in the empirical analysis consists of three selected movies. The purpose of this essay is to create a broader understanding on how stereotypes of Islam and Muslims are being used within the entertainment industry with particular focus on movies that are produced in the West. The results in this paper show that stereotypes of Islam and Muslims lives on in the 21st century movies and that Muslims who are characterized as protagonists are illustrated with traits and appearance that reminiscent of the West. However, Islam and Muslims is not a frequent content in movies produced in USA.
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Off the Road: Exploring Postcolonial Themes in the American Road MovieWright, Andy 01 January 2016 (has links)
This essay explores the colonial nature of the American road movie, specifically through the lens of how road movies treat the South according to Stuart Hall’s concepts of identity and Edward Said’s on Othering and the colonial gaze. To accomplish this, the essay analyzes the classic 1969 road movie, “Easy Rider”, and the more contemporary parody from 2008, “Harold and Kumar Escape from Guantanamo Bay.” The thrust of this paper becomes: if a progressive parody of road movies cannot escape the trappings of colonialism “Easy Rider” displays, perhaps the road movie itself is flawed.
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Cinema e pensamento em Gilles Deleuze: a distinção dos automatismos pela passagem da imagem-movimento para a imagem-tempo / Movie and thought in Giles Deleuze: the distinctions of the automatisms by the passage from the movement-image to the time-imageVladimir Pereira Seixas 21 February 2011 (has links)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação investiga o conceito de imagem-movimento e de imagem-tempo do filósofo Gilles Deleuze por meio das implicações contidas na passagem de um conceito para o outro. O aparecimento de regimes de imagem constituem mundos e automatismos específicos: o automovimento do chamado regime orgânico e a autotemporalização presente no regime inorgânico. A substituição da imagem-movimento pela imagem-tempo caracteriza-se por uma reversão da subordinação do tempo pelo movimento. Dessa forma, apresenta a conquista da realidade íntima do tempo puro, em que o tempo aparece completamente emancipado de determinações cronológicas. Ao marcar essa passagem, deve ser entendido como Deleuze alcança um novo regime de imagem e pensamento a partir de uma aliança com a arte cinematográfica. A transposição entre esses dois regimes expressa a mudança de um regime que afirma um autômato motor para outro em que há o surgimento de um autômato capaz de levantar o fundamental do pensamento. E mais decisivamente erigir o plano de imanência. / This thesis investigates the concepts of movement-image and time-image created by the philosopher Gilles Deleuze by analyzing the passage of one concept to the other. The emergence of image systems constitutes worlds and unique automatisms: the auto-movement from the organic system, and the auto-temporalization present in the inorganic system. Replacement of the movement-image by the time-image is characterized by a reverse logic of how time is subordinated to movement. Therefore, it presents the conquer of the intimate reality of the short time, in which time appears completely free of any chronological barriers. In highlighting this passage, its possible to understand how Deleuze reaches another image and thought systems in an alliance with the cinematic art. The transposition between these two systems expresses the shift in one system that reaffirms the automaton-machine to another system in which there is an automaton capable of raising the essential in thinking. And more decisively erect the plane of immanence.
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Performances melodramáticas QUEER: as personagens trans nos filmes de Pedro AlmodóvarBerto Júnior, Hedilberto Pessoa 19 August 2016 (has links)
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Previous issue date: 2016-08-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Based on gender studies, media representation and Queer Theory, this research discusses the construction of identities, bodies and sexualities of trans characters in Pedro Almodovar's films, on the assumption that the filmmaker uses in his work elements that create questions about the conception of subjects, showing new ways of thinking truths about individuals, presented in his films, from slippery and fluid optical that does not hold the intelligibility standards that try to crystallize the social understanding of the bodies, identities and sexual experiences. / Baseado nos estudos de gênero, representação midiática e Teoria Queer, a pesquisa discute a construção das identidades, corpos e sexualidades das personagens trans nos filmes de Pedro Almodóvar. O trabalho parte do pressuposto que o cineasta utiliza em sua obra elementos que criam questionamentos sobre a concepção dos sujeitos, mostrando novas formas de pensar as verdades sobre os indivíduos, apresentados, nas suas películas, a partir de óticas escorregadias e fluidas que não se prendem às normas de inteligibilidade que tentam cristalizar a compreensão social acerca dos corpos, das autoafirmações identitárias e das vivências sexuais. As personagens revelam que determinados saberes tidos como únicos são mais plurais e múltiplos do que as regras normativas tentam impor.
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[de] LENI RIEFENSTAHL-FILME: EINE DESIGN-ANSATZ IN SEMIOTISCHE ANALYSE DES BILDES / [en] LENI RIEFENSTAHL FILMS: A DESIGN APPROACH AT THE SEMIOTIC ANALYSIS OF THE IMAGE / [pt] FILMES DE LENI RIEFENSTAHL: UMA ABORDAGEM DE DESIGN NA ANÁLISE SEMIÓTICA DA IMAGEMADRIANA BARBOSA RIBEIRO 28 May 2015 (has links)
[pt] A tese ora apresentada traz a investigação sobre a representação imagética de conteúdo nos filmes de Leni Riefenstahl frente ao percurso das categorias sígnicas peirceanas. Por meio desta fundamentação semiótica de extração peirceana, investiga-se a questão sígnica, que serve de ponte entre a observação histórica e a premissa de que o conteúdo conceitual nazista está esteticamente representado nos filmes de Leni Riefenstahl. À identificação, na filmografia de Leni Riefenstahl, do filme que antecede sua colaboração com Hitler, e dos filmes que abrangem seu relacionamento, tanto com o partido Nacional Socialista quanto com figuras proeminentes do nazismo, segue-se a observação de cada um destes casos em particular. Visando a contextualização de seus filmes, procede-se à verificação da trajetória de Leni Riefenstahl em sua articulação com o contexto cinematográfico, cultural e político da Alemanha desde os anos que antecedem a era nazista, bem como o período nazista até o final da Segunda Guerra Mundial. Buscamos articular elementos próprios do campo do Design à áreas correlatas, como o cinema, que possam contribuir para uma nova perspectiva da pesquisa teórica neste campo. Os filmes de Riefenstahl nos proporcionam um conteúdo rico em possibilidades interpretativas ainda pouco exploradas pela teoria do Design ou à luz da semiótica peirceana. A filmografia em questão inaugura tendências que influenciaram a cultura imagética contemporânea e a produção cinematográfica ocidental do século XX. / [en] This thesis now presented brings the investigation about the imagery representation of content in the films of Leni Riefenstahl throughout the course of Peircean signical categories. Applying Semiotic from Peircean extraction, the sign issue was investigated, which serves as a bridge between the historical observation and the premise that nazistic conceptual content is represented aesthetically on films of Leni Riefenstahl. By identifying within the filmography by Leni Riefenstahl the film before her collaboration with Hitler, and of films from the period covered by her relationship with the National Socialist Party and with prominent figures of Nazism, follows the note of each one of these cases in particular. Seeking contextualization of her films, was verified the trajectory of Leni Riefenstahl in articulation with the film, cultural and political context of Germany from the years before the Nazi era and the Nazi period until the end of World War II. We seek to articulate elements within the field of Design with related areas, such as the cinema, that can contribute to a new perspective of theoretical research in this field. Riefenstahl s films give us content rich in interpretive possibilities still little explored by the theory of the Design or in the light of the Peircean semiotics. The Filmography in question inaugurates trends that influenced the contemporary imagery and culture to Western film production of the 20th century. / [de] Diese Doktorarbeit untersucht den Inhalt die Bilder-Darstellung in den
Filmen von Leni Riefenstahl Nach der Peirces Zeichenkategorien. Durch diese
Semiotik Peirceanischen Extraktion Grundlage untersuchen wir die Frage mit
der Marke fungiert als Brucke zwischen der historischen Beobachtung und die
Pramisse, die der konzeptionellen Inhalts Nazi in Filmen von Leni Riefenstahl
asthetisch dargestellt. Die Ermittlung, Leni Riefenstahl Filmographie, der Film,
der seine Zusammenarbeit mit Hitler vorausgeht und die Filme, die sich uber
ihre Beziehung, sowohl die Nationalsozialistische Partei mit prominenten
Persönlichkeiten des Nationalsozialismus, insbesondere die Beobachtung von
jedem dieser Falle folgt. Kontextualisierung von ihren Filmen suchen, prufen
wir die Flugbahn des Leni Riefenstahl in Artikulation mit den Film, kulturellen
Kontext und Deutschland Politiker seit den Jahren vor der Zeit des
Nationalsozialismus, als auch der NS-Zeit bis zum Ende des zweiten Weltkriegs.
Wir versuchen, Elemente der Bereich Design in verwandten Bereichen, wie z.
B. Kino, artikulieren, die zu einer neuen Perspektive der theoretischen
Forschung auf diesem Gebiet beitragen können. Riefenstahl Filme geben uns
einen Inhalt reich an interpretative Möglichkeiten durch die Theorie des Design
oder im Lichte der semiotischen Peirceanischen noch wenig erforscht. Dem
betreffenden Filmographie weiht die Trends, die zeitgenössische Bildsprache
und Kultur zur westlichen Filmproduktion des 20. Jahrhunderts beeinflusst.
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L’artiste à la caméra : hybridité et transversalité artistiques (1962-2015) / The Artist with a movie camera : artistic hybridity and interdisciplinarity (1962-2015)Delaporte, Marie-Laure 07 December 2016 (has links)
A partir des années 1960, le lien entre pratiques filmiques et artistiques s’accentue. Les artistes plasticiens et performeurs utilisent désormais la caméra non seulement pour enregistrer leur discipline mais pour la transformer et la révéler. Le film d’artiste devient un moyen de dialoguer avec les autres pratiques artistiques et de créer des formes d’hybridité et de transversalité au sein de la création. Cette thèse a pour but de démontrer que l’artiste à la caméra est une catégorie à part entière qui dépasse l’aspect documentaire de l’enregistrement filmique de l’oeuvre. Il renouvelle l’image du corps à travers l’objectif de la caméra, oscillant entre présentation et représentation chez Carolee Schneemann, Yvonne Rainer et Bruce Nauman. Le film d’artiste parvient également à dépasser la spécificité des médiums en exaltant sculpture et installation, en créant des formes et des espaces de l’entre-deux, en déplaçant le visiteur comme le font Robert Smihtson ou Anthony McCall, en révélant des aspects invisibles. Enfin, il s’agit de comprendre comment le film peut devenir un modèle de pensée et de réflexion pour les autres arts mais aussi pour le médium de l’exposition qui se voit récitée selon de nouveaux principes temporels et spatiaux. L’artiste à la caméra franchit ainsi les frontières de la danse et de l’opéra, met en jeu le corps et la perception du visiteur face à la redéfinition des écrans et des conditions d’exposition telles les oeuvres de Matthew Barney, Bill Viola ou Pierre Huyghe. / Since the 1960’s the link between filmic and artistic practices has intensified. From now on artists and performers use the movie camera not only to record their practice but to transform and reveal it. Artist’s film becomes a way to discuss with the other arts and to create hybrid and transversal shapes. This dissertation aims to demonstrate that the artist with a movie camera, is a category in its own way, which goes beyond the documentary of recording the piece. It renews the body’s image through the camera’s eye, between presentation and representation with the pieces of Carolee Schneemann, Yvonne Rainer and Bruce Nauman. The artist’s film achieves to go beyond the medium’s specificity by glorifying sculpture and installation, by creating shapes and spaces of in-between, moving the visitor as did Robert Smithson or Anthony McCall, by revealing invisible aspects. We would like to understand how film can become a model of thinking for the other arts as well as for the medium of exhibition which reactivated according to new temporal and spatial principles. The artist with a movie camera goes beyond the thresholds of dance and opera, challenges the body and the perception of the visitor facing the definition of the screens et de exhibition’s condition like the ones of the pieces made by Matthew Barney, Bill Viola or Pierre Huyghe.
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[en] PROJECT TO THE NATION ON PAGES CINEARTE: THE CONSTRUCTION OF THE PICTURE BOOK LIGHT / [pt] PROJETO À NAÇÃO EM PÁGINAS DE CINEARTE: A CONSTRUÇÃO DO LIVRO DE IMAGENS LUMINOSASRENATA SOARES DA COSTA SANTOS 18 January 2011 (has links)
[pt] O presente trabalho versa sobre o debate acerca do desenvolvimento do
projeto de cinema educativo brasileiro a partir de sua difusão na revista Cinearte
entre os anos de 1926 e 1932. O tema e objeto são estudados no contexto de
renovação da idéias pedagógicas na Primeira República, fruto do movimento da
Escola Nova e do Manifesto dos Pioneiros da Educação e é sustentado pelo pilar
das características peculiares à modernidade, fio que permeia todo o escrito,
desenhando um panorama das sensibilidades e novas experiências vigentes na
sociedade. Ao folhear sete anos de publicação semanal da revista averiguamos
que, além de inventariar a história do cinema e da educação, Cinearte responde
uma das principais questões que permeou nossa pesquisa, ou seja, a hipótese de
que o projeto de cinema educativo encontrou na Revista Cinearte um importante
fórum de discussão, o que ajudou no fortalecimento de sua elaboração e difusão
no Brasil. Observamos a contribuição de Cinearte para a propagação das idéias
que circundavam as discussões pedagógicas de sua época, facilitando o diálogo
entre os intelectuais e o poder político. Buscamos compreender as estreitas
relações estabelecidas entre aqueles que escreviam em Cinearte, os demais
intelectuais da época que debatiam o tema cinema educativo e os integrantes do
governo. Acreditamos que, a convergência dessas relações, moveu a implantação
de políticas que favoreciam o cinema educativo com uma legislação voltada para
o tema. / [en] This paper deals with the debate about the development of the Brazilian
educational film project from its diffusion in the magazine Cinearte between the
years 1926 and 1932. The subject and object are studied in the context of renewal
of the pedagogical ideas in the First Republic, the fruit of the New School
movement and the Manifesto of the Pioneers of Education and supported by the
pillar of the characteristics peculiar to modernity, thread that permeates all the
writing, drawing a picture sensitivities of existing and new experiences in society.
Leafing through seven years of weekly publication of the magazine We checked
that, in addition to record the history of cinema and education, Cinearte answers
one of the main issues that has permeated our research, namely the hypothesis that
the design of educational cinema found in the Journal Cinearte an important
forum for discussion, which helped strengthen its elaboration and diffusion in
Brazil. We note the contribution of Cinearte for propagation of ideas that
surrounded the pedagogical discussions of his time, facilitating the dialogue
between intellectuals and political power. We seek to understand the close
relations established between those who wrote in Cinearte, other intellectuals of
the time debating the issue educational cinema and members of government. We
believe that the convergence of these relations, he moved the implementation of
policies that favored the educational film with a law-oriented theme.
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[en] THE BARBARITY AS ART: TRENDS OF LITERATURE AND CONTEMPORARY BRAZILIAN MOVIES / [pt] A BARBÁRIE COMO ARTE: TENDÊNCIAS DA LITERATURA E DO CINEMA BRASILEIRO CONTEMPORÂNEORAPHAEL MARTINS DA SILVA 06 October 2005 (has links)
[pt] O propósito desta dissertação é refletir acerca das
relações existentes
entre literatura e cinema no que toca a representação do
fenômeno da
violência nas obras literárias e suas respectivas versões
cinematográficas. Para isso foram utilizados três livros que
apresentam a violência enfocada por diversos prismas. São
eles:
Estação Carandiru de Drauzio Varella, Cidade de Deus de
Paulo Lins
e O Invasor de Marçal Aquino. O exame feito por teóricos
sobre a
linha tênue que hoje divide ficção de realidade também foi
abordado
como um dos pontos de desenvolvimento da dissertação. O
binômio
violência/cultura que parece uma atual tendência na
literatura
contemporânea, ganhou espaço incisivo nesta análise. / [en] The intention of this dissertation is to reflect concerning
the existing
relations between literature and movies in which it touches
the
representation of the phenomenon of the violence in the
literary
compositions and its respective cinematographic versions.
For this,
three books had been used that present the violence focused
for
diverse prisms. They are: Estação Carandiru by Drauzio
Varella,
Cidade de Deus by Paulo Lins and O Invasor by Marçal
Aquino. The
examination made by theoreticians on the tenuous line that
today
divides reality from fiction was also boarded as one of the
points of
the dissertation development. The binominal
violence/culture that
seems one current trend in contemporary literature, gained
incisive
space in this analysis.
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