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Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film. / This Master’s thesis deals with the animation of still images in Miranda July’s 2005 film, Me and You and Everyone we Know. More specifically, it analyses the artistic practices of Christine Jeperson, a video artist who is the main character of the film. This study focuses on the materials utilized by the artist-protagonist and looks at her particular use of photography: her video works all revolve around amateur photographs, clichés, banal images, that she animates via the remediation of video and "narrativization" ("mise en récit"). These two principles of animation, that give time and motion to the still images she uses, also produce a displacement of value by turning these images into art and, by the same token, open a specific space i.e. the aesthetic experience of the spectator, for it is in his or her imaginary, in the end, that this animation is produced. Thus, in this study, I wish to look at these “details” within the films — the video works of Christine — whilst seeking to show the relations they entertain with other elements of the film, with Miranda July’s body of works, as well as with other moments in art history that relate to this animation apparatus, in order to historicize the practices of Christine / July. This Master’s Thesis wishes to illuminate a specific kind of contemporary visual practice, at the intersection of photography, video and film.

Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film. / This Master’s thesis deals with the animation of still images in Miranda July’s 2005 film, Me and You and Everyone we Know. More specifically, it analyses the artistic practices of Christine Jeperson, a video artist who is the main character of the film. This study focuses on the materials utilized by the artist-protagonist and looks at her particular use of photography: her video works all revolve around amateur photographs, clichés, banal images, that she animates via the remediation of video and "narrativization" ("mise en récit"). These two principles of animation, that give time and motion to the still images she uses, also produce a displacement of value by turning these images into art and, by the same token, open a specific space i.e. the aesthetic experience of the spectator, for it is in his or her imaginary, in the end, that this animation is produced. Thus, in this study, I wish to look at these “details” within the films — the video works of Christine — whilst seeking to show the relations they entertain with other elements of the film, with Miranda July’s body of works, as well as with other moments in art history that relate to this animation apparatus, in order to historicize the practices of Christine / July. This Master’s Thesis wishes to illuminate a specific kind of contemporary visual practice, at the intersection of photography, video and film.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-05-23T17:41:07Z No. of bitstreams: 1 DIS_MARIA_EUGENIA_BONOCORE_MORAIS_COMPLETO.pdf: 551767 bytes, checksum: 4ae563929a3ba79002106cc1e23383a7 (MD5) / Made available in DSpace on 2017-05-23T17:41:07Z (GMT). No. of bitstreams: 1 DIS_MARIA_EUGENIA_BONOCORE_MORAIS_COMPLETO.pdf: 551767 bytes, checksum: 4ae563929a3ba79002106cc1e23383a7 (MD5) Previous issue date: 2017-01-20 / Gender technologies are, according to Lauretis (1994), cultural and discursive constructions and they are not a priori in relation to the subject. Though, they cannot also be considered as fixed categories and given by culture. It is precisely within the discursive and cultural character of the gender technologies that such technologies are never considered ready, but always in construction within culture. Gender technologies have direct relation to the sexual representation of sexualities and to what Foucault (2012a) calls mechanism of sexuality, as its ramifications (the regulation of the bodies and the interpellation, for example), and make the subversion of the identity possible. For the keeping of such technologies, the reiteration within culture and discourse is constantly necessary, and for that the theory of gender performativity, as postulated by Butler (2015a) accounts for the complex process of ?maintaining the gender? of a certain individual. Such process consists of a series of cultural and discursive acts performed, up to a certain point, intentionally, by the subject as a product of gender technologies. These acts are regulated by what Althusser (1980) names ?ideological State apparatuses? and they seem to be in consensus with the current norm. To Rich (2010) this norm is called heteronormativity and is always compulsory, its work is to regulate bodies, identities and genders, however this regulation collects its price by the obliteration of certain existences. This paper proposes a queer reading of The first bad man, a novel by the north-american writer Miranda July, to discuss the way the character Cheryl Glickman?s gender is constructed and deconstructed along the narrative and if the novel contemplates only the binary expressions of gender (male and female), or if July sees other gender identities, although marginal, possible. / Tecnologias de g?nero s?o para Lauretis (1994) vistas como constru??es culturais e discursivas que n?o est?o a priori em rela??o ao sujeito; por?m, tampouco podem ser consideradas como categorias fixas e dadas pela cultura. O car?ter discursivo e cultural das tecnologias de g?nero ? que faz com que tais tecnologias nunca se encontrem prontas, mas em constante constru??o na cultura. As tecnologias de g?nero t?m rela??o direta com as representa??es das sexualidades e com o que Foucault (2012a) denomina dispositivo da sexualidade, assim como seus desdobramentos (a regula??o dos corpos e a interpela??o, por exemplo), e fazem a identidade pass?vel de subvers?o. Para que tais tecnologias sejam mantidas, ? necess?rio que sejam reiteradas a todo o momento na cultura e no discurso, para isso a teoria da performatividade de g?nero, como postulada por Butler (2015a), dar? conta de elucidar o complexo processo de ?manter o g?nero? de um determinado sujeito. Tal processo consiste em uma s?rie de atos culturais e discursivos realizados, at? certa medida intencionalmente, pelo sujeito enquanto um produto das tecnologias de g?nero. Estes atos s?o regulados pelo que Althusser (1980) denomina ?aparelhos ideol?gicos do Estado? e parecem estar em consenso com uma norma vigente. Para Rich (2010), essa norma s? ? poss?vel enquanto heteronormatividade, e esta ? sempre compuls?ria. Seu trabalho ? o de regular os corpos, as identidades e os g?neros. No entanto, essa regula??o cobra o pre?o do apagamento de certas exist?ncias. Este trabalho prop?e uma leitura queer de O primeiro homem mau, romance da autora estadunidense Miranda July, para discutir de que maneira o g?nero da personagem Cheryl Glickman, a protagonista do romance, ? constru?do e desconstru?do ao longo da narrativa e se o romance d? conta apenas das express?es de g?nero bin?rias (masculino e feminino), ou se July v? como poss?vel outras identidades de g?nero, embora marginais.

Le présent mémoire propose de croiser les démarches de deux auteures et artistes contemporaines, Sophie Calle et Miranda July, dont les quatre œuvres à l’étude – Douleur exquise (2003), Aveugles (2011), Rachel, Monique (2012) de Calle et Il vous choisit (2013) de July – se fondent sur des expériences en amont de l’écriture qui mobilisent le corps même des auteures, les engagent dans une action concrète et, bien souvent, dans des interactions avec autrui. Cet art de la contrainte, cet art action qui devient le sédiment de leurs écrits s’inscrit dans la filiation hypothétique des théories du philosophe pragmatique John Dewey et de celles de l’artiste Allan Kaprow – l’un des premiers à réfléchir l’art de la performance. L’écriture intermédiale qu’elles pratiquent – ce jeu de relations entre différents médias au sein même de l’œuvre – permet à la fois de réactiver la valeur performative de l’expérience qui a impulsé la création littéraire et d’embrayer une expérience de lecture qui devient elle-même performative. Exemplaires d’une esthétique relationnelle, polyphoniques dans les voix qui s’expriment, les quatre ouvrages du corpus donnent à sentir le bruissement d’une communauté. Il s’agit d’une littérature interdisciplinaire et intersubjective, mais surtout performative dans son questionnement incessant sur le pouvoir de l’art pour transformer la vie. / This master’s thesis proposes to establish a dialogue between the practices of two contemporary writers and artists, Sophie Calle and Miranda July. The four studied pieces of work – Calle’s Douleur exquise (2003), Aveugles (2011) and Rachel, Monique (2012) and July’s Il vous choisit (2013) – are based on concrete experiences occurring beforehand, prior to the act of writing itself. Those experiences mobilize the body of the writers engaging them in a real action and often in interactions with other people. This form of action art becomes the foundations of their writing and could be linked to the theories of pragmatic philosopher John Dewey and artist Allan Kaprow – one of the first to develop a reflexion on performance art. The intermedial writing that Calle and July practice as a game of relations between different medias in the same work allows both artists to revive the performative value of the experience. It impulses the writing and initiates a reading experience which itself becomes performative. Exemplary of a relational aesthetic, polyphonic in the voices that are expressed, the studied body of work reveals glimpses of community to feel and experiment. It is a literature that is interdisciplinary and intersubjective but primarily performative in its constant questioning of art’s capacity to transform life.