Entre 1939 et 1973, le cinéma chilien a tenté au moins deux modèles de développement : dans les années quarante, on a essayé d’industrialiser l’activité cinématographique avec la création de studios, entre autres, tandis que dans les années soixante et soixante-dix, on a tenté de produire un cinéma artistique et révolutionnaire. Le passage d’un cinéma à un autre a eu lieu grâce à une transition de quinze ans lors de laquelle les cinéastes et individus liés au cinéma ont réinventé les concepts et les pratiques cinématographiques. La trajectoire que le cinéma chilien a tracé pendant ces années-là est le sujet de cette thèse, qui tente de comprendre et de considérer toute la complexité de ce parcours particulier, tendu entre plusieurs pôles, qu’il s’agissent de demandes, de besoins, de problèmes et de désirs, tant économiques, que politiques, artistiques, techniques et culturels. / Between 1939 and 1973 Chilean cinema attempted at least two models of development: during the 1940s it tried to industrialize cinematographic activity through, amongst other things, the creation of studios, while in the 1960s and 1970s the efforts were placed on the production of artistic and revolutionary cinema. The advancement from one cinema to the other took place thanks to a 15-year transition during which film-makers and people tied to cinema reinvented the cinematographic concepts and practices. The trajectory traced by Chilean cinema during those years is the theme of this thesis, whose focus seeks to understand and consider all the complexity of this particular process, tensioned by various poles, demands, necessities, problems and desires, as much economic as political, artistic, technical and cultural.

« Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. » / Ce mémoire, dont la motivation première est un désir personnel de réaliser des « films politiques », tente de redéfinir certains rapports entre cinéma et résistance en s’appuyant sur la démarche résistante d’Elia Suleiman. Si l’engagement cinématographique a souvent été associé à une approche idéologique propre au cinéma militant, qui consiste à « instrumentaliser » le cinéma à des fins révolutionnaires (pour s’opposer à un État, à un colonisateur ou à tout autre pouvoir spécifique), je me propose de montrer que la résistance de Suleiman consiste à remettre en question tous les discours dominants et toutes les formes de pouvoir possibles, y compris ceux et celles qui concernent le médium cinématographique lui-même. Ce que nous propose Suleiman est ainsi une résistance avec le cinéma et non dans le cinéma : c’est une médiation de la résistance plutôt qu’une représentation des révolutions. S’inscrivant dans la lignée théorique de Gilles Deleuze, de Michel Foucault, de Jacques Rancière et d’Edward Saïd, j'avance l’hypothèse qu’une résistance cinématographique se doit d’être active, c’est-à-dire capable d’inventer de nouvelles manières de voir et d’entendre (d’être et de penser) qui se démarquent de la logique répressive du pouvoir. En mettant en crise le discours idéologique, narratif et didactique du cinéma militant, je distingue trois champs de résistance possibles (politique, esthétique et éthique) qui seront en dernier lieu vérifiés et complétés par mon travail de création. / This work, a project originally motivated by a personal desire of making « political films », attempts to redefine certain links between cinema and resistance by leaning on the resistant approach of Elia Suleiman. If the engagement in cinema was mostly associated with the ideological approach of the militant cinema, that consists of using cinema as an « instrument » for revolutionary purposes (to oppose a government, a colonizer or any other particular power), I propose in this work to demonstrate that the resistance of Suleiman consists in questioning all kinds of dominant narratives and every possible form of power, including those that concern the medium of cinema itself. Therefore, Suleiman presents a resistance with the cinema and not in the cinema: It is a mediation of resistance rather than a representation of revolutions. Following the same theoretical line as Gilles Deleuze, Michel Foucault, Jacques Rancière and Edward Saïd, I put forward the hypothesis that cinematographic resistance must be active, in other words able to invent new ways of seeing and listening (being and thinking) that can be distinguished from the repressive logic of power. By questioning the ideological, narrative and didactic discourse of the militant cinema, I identify three possible fields of resistance (political, aesthetic, and ethic) that will ultimately be verified and completed by my work of creation.

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.

Chris Marker é um cineasta que realizou documentários políticos pouco convencionais ao longo de quase sessenta anos de carreira. Depois de uma militância ativa e inserida no coração de acontecimentos cruciais na França e na Europa, e de uma carreira literária como editor, ensaísta e romancista, natural que seus filmes, vistos isoladamente, provoquem as mais equivocadas interpretações. Esta pesquisa procura, através de um levantamento de seus filmes e escritos, dos debates que foram se travando sobre a vida nacional francesa e mundial, sempre retomando os fios dos acontecimentos decisivos do período do Front Populaire (1936), da ocupação da França pelos nazistas e das lutas de Resistência buscar uma interpretação para muitos dos aspectos aparentemente desconcertantes de sua filmografia. Ao longo dos capítulos a pesquisa aborda, a partir de documentação esparsa em textos, declarações, debates, frases de filmes, os elementos biográficos \"enigmáticos\" de que se tem conhecimento, dada a discrição do cineasta sobre a sua pessoa. Em seguida o momento crucial da entrada de Marker, com 16 anos, no liceu em Paris e turbulências do ano de 1936, na França, discorre sobre o Front Populaire. Depois foca o nascimento de uma corrente, da qual Chris Marker participa, influenciada pela filosofia personalista de Emmanuel Mounier; e depois sua passagem pela revista Esprit e posteriormente a sua integração nas lutas da Resistência. Seguindo os passos do futuro cineasta, aborda o impacto da Resistência na vida militante e a formação dos cineclubes no meio operário com a Associação Peuple et Culture. Toda esta trajetória é permeada por comentários e análises de cenas dos futuros documentários. Por fim a pesquisa, aborda a problemática do cinema militante, analisando L\'ambassade (1973), filme de solidariedade com a Unidade Popular chilena e contra o golpe de Pinochet e o curta sobre o editor François Maspero. Os últimos percalços de nosso percurso busca construir um debate sobre A. Medvedkine e V. Maiakóvsky e a profanação da arte moderna, procurando investigar como na obra de Chris Marker coincidem cinema militante, cinema experimental, cinema ensaio e cinema documentário. / Chris Marker is an intriguing filmmaker who produced unconventional political documentaries over almost sixty years. After an active militancy, and inserted in the heart of crucial events in France and Europe, and working on a literary career as an editor, essayist and novelist, it is natural that his films, viewed in isolation, could cause the most equivocal interpretations. This research seeks, through a detailed analyses of his films and writings, to work with the debates that were important on the French national and global life of his time. Always thinking about the decisive events of the Front Populaire in the period (1936), the occupation of France by the German Nazis and the participation of Marker in the struggles of the Resistance. All of this puzzeled elements seek an interpretation for many of the seemingly confusing aspects of his filmography. Throughout the chapters of this research, we seek to approach, with this documentation, texts, statements, debates, films phrases, the enigmatic biographical elements of his uncanny formation. Marker is known by the discretion about himself. Working on his years of youth and formation, we see that when aged 16, in high school in Paris and the 1936 year in France, discussing at length the Front Populaire, we seek to work about Chris Marker influence by the personalist philosophy of Emmanuel Mounier and then by Esprit and later in it\'s integration in the struggles of resistance. Following in the footsteps of the filmmaker, this work discusses the impact of this years in his militant life, including the training of workers film clubs. All this history is permeated by scenes and debates of his future documentaries. Finally, the research addresses the issue of militant cinema, analyzing L\'ambassade (1973), the solidarity with the Chilean Popular Unity and the struggle against the totalitarian latin american dictatorships, and a short film-portrait of the editor Maspero. We end our research with a debate on A. Medvedkine and V. Mayakovsky and the profanation of modern art, trying to investigate how the work of Chris Marker coincide with militant cinema, experimental cinema, film essay and documentary cinema.

En se concentrant sur une période courte et libératrice de l’histoire du Portugal contemporain, ce travail vise à établir ce que la révolution, pensée comme processus, événement et rupture, a provoqué dans la production cinématographique. L’aire chronologique correspond donc aux années de la Révolution portugaise de 1974-1975 puis ses soubresauts jusqu’en 1982.Pour saisir ce moment complexe et singulier, l’observation des liens entre cinéma et politique est proposée à travers les rapports de force existants entre le régime, les institutions et le monde du cinéma. L’existence d’un cinéma révolutionnaire, qui accompagne un processus de changement social et politique radical et se révolutionne lui-même, se perçoit à travers des conflits et des enjeux de pouvoir. De la remise en question du modèle de production – l’avènement d’un modèle coopérativiste – à la volonté de diffuser autrement les films, en passant par les problématiques soulevées par la politisation des pratiques artistiques, les cinéastes n’ont alors eu de cesse de pouvoir mettre en crise les modalités de création. L’analyse de plusieurs films particulièrement significatifs montre que la rencontre entre la révolution et le cinéma offre des potentialités créatives nombreuses : des saillies pamphlétaires manifestent les nécessités du processus, les usages du cinéma-direct semblent faire corps avec l’événement, et l’idée de film-révolution au cœur de Bon peuple portugais (Bom Povo Português, 1981) de Rui Simões incarne, au cinéma, la rupture ouverte par le fait politique.Ce travail est animé par une double ambition. D’abord, grâce aux témoignages des cinéastes et producteurs de l’époque, il s’agit de proposer de nouveaux éclairages sur un pan encore méconnu et sous-évalué de l’histoire du cinéma portugais. Ensuite, à la faveur de l’étude des rencontres pratiques et formelles entre un processus historique et l’esthétique, les voies explorées dans la thèse voudraient contribuer à enrichir une histoire du cinéma engagé. / Focusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema.

Esta pesquisa busca, tendo como eixo principal Chris Marker e o filme Le fond de lair est rouge, fazer uma retrospectiva histórica dos principais debates na experiência do cinema-militante francês. Com um caráter introdutório e a partir daí construir alguns apontamentos iniciais para uma interpretação crítica do filme. Através desta aventura político-cinematográfica comentar um fragmento do que se oculta atrás das barricadas da memória. / This research aims, having as an leit-motif Chris Marker and the film Le fond de l\'air est rouge, making a historical retrospective of the major debates on the experience of French militant cinema, introductory in nature and serving as first notes to a critical interpretation of the film. Through this cinematics and politics adventure it trys to make a comment on a fragment of what is hidden behind the barricades of memory.

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.

Esta pesquisa busca, tendo como eixo principal Chris Marker e o filme Le fond de lair est rouge, fazer uma retrospectiva histórica dos principais debates na experiência do cinema-militante francês. Com um caráter introdutório e a partir daí construir alguns apontamentos iniciais para uma interpretação crítica do filme. Através desta aventura político-cinematográfica comentar um fragmento do que se oculta atrás das barricadas da memória. / This research aims, having as an leit-motif Chris Marker and the film Le fond de l\'air est rouge, making a historical retrospective of the major debates on the experience of French militant cinema, introductory in nature and serving as first notes to a critical interpretation of the film. Through this cinematics and politics adventure it trys to make a comment on a fragment of what is hidden behind the barricades of memory.

Chris Marker é um cineasta que realizou documentários políticos pouco convencionais ao longo de quase sessenta anos de carreira. Depois de uma militância ativa e inserida no coração de acontecimentos cruciais na França e na Europa, e de uma carreira literária como editor, ensaísta e romancista, natural que seus filmes, vistos isoladamente, provoquem as mais equivocadas interpretações. Esta pesquisa procura, através de um levantamento de seus filmes e escritos, dos debates que foram se travando sobre a vida nacional francesa e mundial, sempre retomando os fios dos acontecimentos decisivos do período do Front Populaire (1936), da ocupação da França pelos nazistas e das lutas de Resistência buscar uma interpretação para muitos dos aspectos aparentemente desconcertantes de sua filmografia. Ao longo dos capítulos a pesquisa aborda, a partir de documentação esparsa em textos, declarações, debates, frases de filmes, os elementos biográficos \"enigmáticos\" de que se tem conhecimento, dada a discrição do cineasta sobre a sua pessoa. Em seguida o momento crucial da entrada de Marker, com 16 anos, no liceu em Paris e turbulências do ano de 1936, na França, discorre sobre o Front Populaire. Depois foca o nascimento de uma corrente, da qual Chris Marker participa, influenciada pela filosofia personalista de Emmanuel Mounier; e depois sua passagem pela revista Esprit e posteriormente a sua integração nas lutas da Resistência. Seguindo os passos do futuro cineasta, aborda o impacto da Resistência na vida militante e a formação dos cineclubes no meio operário com a Associação Peuple et Culture. Toda esta trajetória é permeada por comentários e análises de cenas dos futuros documentários. Por fim a pesquisa, aborda a problemática do cinema militante, analisando L\'ambassade (1973), filme de solidariedade com a Unidade Popular chilena e contra o golpe de Pinochet e o curta sobre o editor François Maspero. Os últimos percalços de nosso percurso busca construir um debate sobre A. Medvedkine e V. Maiakóvsky e a profanação da arte moderna, procurando investigar como na obra de Chris Marker coincidem cinema militante, cinema experimental, cinema ensaio e cinema documentário. / Chris Marker is an intriguing filmmaker who produced unconventional political documentaries over almost sixty years. After an active militancy, and inserted in the heart of crucial events in France and Europe, and working on a literary career as an editor, essayist and novelist, it is natural that his films, viewed in isolation, could cause the most equivocal interpretations. This research seeks, through a detailed analyses of his films and writings, to work with the debates that were important on the French national and global life of his time. Always thinking about the decisive events of the Front Populaire in the period (1936), the occupation of France by the German Nazis and the participation of Marker in the struggles of the Resistance. All of this puzzeled elements seek an interpretation for many of the seemingly confusing aspects of his filmography. Throughout the chapters of this research, we seek to approach, with this documentation, texts, statements, debates, films phrases, the enigmatic biographical elements of his uncanny formation. Marker is known by the discretion about himself. Working on his years of youth and formation, we see that when aged 16, in high school in Paris and the 1936 year in France, discussing at length the Front Populaire, we seek to work about Chris Marker influence by the personalist philosophy of Emmanuel Mounier and then by Esprit and later in it\'s integration in the struggles of resistance. Following in the footsteps of the filmmaker, this work discusses the impact of this years in his militant life, including the training of workers film clubs. All this history is permeated by scenes and debates of his future documentaries. Finally, the research addresses the issue of militant cinema, analyzing L\'ambassade (1973), the solidarity with the Chilean Popular Unity and the struggle against the totalitarian latin american dictatorships, and a short film-portrait of the editor Maspero. We end our research with a debate on A. Medvedkine and V. Mayakovsky and the profanation of modern art, trying to investigate how the work of Chris Marker coincide with militant cinema, experimental cinema, film essay and documentary cinema.

Ce mémoire portera sur le réemploi d’images dans le cinéma politique d’une manière générale dans un premier temps, puis plus spécifiquement dans l’oeuvre du cinéaste québécois Pierre Falardeau. Il s’agit donc d’abord de regarder comment, d’un point de vue historique, l’image fut réemployée dans le cinéma documentaire classique. Il sera ensuite question de la réutilisation de l’image à des fins politiques dans le cinéma expérimental à travers une analyse du found footage film. Dans un deuxième temps, nous verrons le réemploi d’images dans le cinéma militant, engagé politiquement (voire révolutionnaire) dans le cinéma d’Amérique latine (Santiago Alvarez, Fernando Solanas et Octavio Getino) et en France (Guy Debord, Chris Marker et Jean-Luc Godard). Par la suite, nous verrons comment Pierre Falardeau recyclera des images principalement dans trois de ses documentaires : Pea Soup, Speak White et Le temps des bouffons. Nous allons voir où il se situe dans les différentes traditions de réemploi d’images que nous avons vu précédemment et comment il se rapprochait et se distinguait de ses prédécesseurs. / This thesis is concerned with the reuse of images in political cinema in general and, specifically, in the work of Quebec filmmaker Pierre Falardeau. We will first see how, from a historical point of view, archival images have been recycled in traditional documentary and then how they were used or reused for political purposes in found footage experimental films. We will then discuss the use of found footage in militant or revolutionary cinema both in Latin America (Santiago Alvarez, Fernando Solanas and Octavio Getino) and France (Guy Debord, Chris Marker and Jean-Luc Godard). We will then analyse Pierre Falardeau’s reuse of images in three of his documentaries: Pea Soup, Speak White and Le temps des bouffons. We will try and see how Falardeau fits within this tradition of the found footage film and the distinctive features of this aspect of his work.