Un film est une œuvre de collaboration qui se nourrit des différentes sensibilités des professionnels qui le font et qui épaulent, de manière plus ou moins significative, son auteur. Notre réflexion se situe au moment charnière de toute œuvre artistique, sa création. L’étude de la poétique du film, des processus de sa fabrication, permet d’en comprendre plus profondément les enjeux esthétiques. En abordant spécifiquement les relations de collaboration chez le réalisateur portugais Manoel de Oliveira, il s’agit d’enquêter sur la façon dont les rapports idéologiques, personnels et professionnels que le cinéaste noue avec quelques-uns de ses collaborateurs déterminent la conception de l’image, du montage, du choix des acteurs et du processus d’adaptation d’une œuvre littéraire. Les professionnels choisis sont l’acteur portugais Luis Miguel Cintra, la monteuse française Valérie Loiseleux, le directeur de la photographie suisse Renato Berta et la romancière portugaise Agustina Bessa-Luis. En analysant ces relations bilatérales, ce travail se demande comment la présence du collaborateur influence la conception de la mise en scène d’Oliveira et comment le fait d’être un interlocuteur privilégié du réalisateur portugais détermine la suite de la carrière de quelques-uns de ces collaborateurs. Sans mettre en doute le cinéma d’auteur, nous croyons néanmoins au cinéma de collaboration, un cinéma qui dit « nous » au lieu de « je », où le collaborateur est non seulement un témoin du faire cinématographique, mais aussi une surface sensible, une présence active et constamment mise à l’épreuve dans le processus de création qu’il intègre – et qui l’intègre. / A film is a collaboration work that feeds on the different sensibilities of the professionals who make it and contribute, more or less significantly, to its author. This study focuses on the key moment of every work of art, its creation. The study of the poetics of film – the making of film – allows for a more profound understanding of the aesthetic challenges involved. Specifically addressing the collaborative relationships of Portuguese filmmaker Manoel de Oliveira, involves inquiring how the ideological, personal and professional relationships the filmaker has with his collaborators determines his concepts of image, editing, his choice of actors and the process of adapting a literary work. The chosen professionals are Portuguese actor Luis Miguel Cintra, French editor Valerie Loiseleux, Swiss Cinematographer Renato Berta and Portuguese novelist Agustina Bessa-Luis. By analyzing these bilateral relationships, this study questions how the presence of the collaborators influences the concept of Oliveira’s scene setting, as well as how being a privileged interlocutor of the Portuguese filmmaker influences the careers of these collaborators. Without calling the author’s work into question, we believe in collaborative cinema, a cinema that says « us » instead of « me ». A cinema where the collaborator is not only a witness to the making of films, but also a sensitive surface and an active presence put to the test in the creation process which he integrates and integrates him.

Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11). The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about. Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.

Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11). The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about. Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.

Notre mémoire de recherche-création a pour point de départ deux conceptions sonores filmiques, auxquelles nous avons contribué en tant que monteur et concepteur sonores. Ces films – et leur bande sonore – ont, par leur forme, leur contenu, mais aussi par la dynamique ayant rythmé leur création, redéfini un aspect ou un autre de notre pratique. Ainsi, au moyen d'une auto-poïétique, nous explorons les différentes conditions de la création sonore mises en jeu, qu'elles soient d'ordre technique – le film Saint-Denys Garneau – ou d'ordre esthétique – le film Ma famille en 17 bobines. Dans chaque cas, nous cherchons aussi à explorer les problèmes poétiques et pratiques posés. Au creux de cette conjugaison de ces conditions émergent alors des outils de médiation, des relations humaines, des mouvements esthétiques et des postures d'écoute qui jettent un éclairage inédit sur notre pratique sonore. / This research-creation project finds its roots in two film sound designs to which I contributed as a sound editor or sound designer. These films – and their respective soundtracks –, by their form, their content, but also by the dynamics that pulsed their creation, have redefined certain aspects of my own sound work. In this study, by the means of an autopoietic analysis, I explore the creative conditions at play in the elaboration of my sound designs, as they answer to technical matters – the film Saint- Denys Garneau – or aesthetic matters – the film Ma famille en 17 bobines. In each case, I also seek to deepen poetic and practical problems. From deep in the combination of these conditions emerge mediation tools, human relations, aesthetic movements and modes of listening that shed new light on my sound practice.

Notre projet porte sur la relation entre la bande-annonce et le film qu’elle présente. Plus précisément, nous nous intéressons à la manière dont le remontage effectué par la bande-annonce amplifie le film. En premier lieu, nous avons effectué une analyse intertextuelle et esthétique de cinq bandes-annonces contemporaines en cernant le concept spécifique de chacun des exemples et en isolant ce que nous avons appelé des effets d’emphase, c’est-à-dire la mise en valeur de certaines qualités du film par l’entremise du montage du film-annonce. Nous avons ensuite exploré conceptuellement la logique transformante de la bande-annonce en considérant des pistes complémentaires : le montage attractif, la structure ouverte et l’évocation d’une mémoire virtuelle. / Our project focuses on the relationship between the trailer and the film it presents, specifically, how the re-editing of the trailer amplify the film. First, we conducted an intertextual and aesthetic analysis of five contemporary trailers by identifying the specific concept of each example and by isolating what we called the effects of emphasis, that is to say accentuation of certain qualities of the film through the editing of the trailer. We then explored conceptually the transforming logic of the trailer considering complementary ideas: attractive editing, open structure and the evocation of a virtual memory.

Universiẗat, Diss., 1999--Kassel.

Techn. University, Diss., 2000--Darmstadt.

[pt] Em 2011, Kenneth Goldsmith, poeta, artista e professor da Universidade da Pensilvânia, lançou o livro Uncreative Writing, que poderíamos traduzir como escrita não-criativa ou escrita recriativa , para designar o processo de trabalho que resulta em obras textuais cujos textos, porém, não foram originalmente escritos por seus autores, mas sim reescritos ou transcritos a partir de fontes – sem mudanças no texto original – ou editadas e rearranjadas por meio da descontextualização e recontextualização desses textos pré-existentes. A dissertação utiliza-se desse conceito, assim como o de gênio não-original , de Marjorie Perloff, e o de pós-produção , de Nicolas Bourriaud, para analisar a figura do escritor-apropriador e as consequências, na atualidade, dos procedimentos de seleção e deslocamento no que diz respeito à questão da autoria: trata-se de verificar como tais práticas operam a quebra de fronteiras entre as posições de leitor e autor. Pretende-se investigar também de que maneira as obras selecionadas como corpus propõe formas não tradicionais de construir escrita e leitura, e suas relações com as artes plásticas e as novas ferramentas tecnológicas. / [en] In 2011, the poet, artist and University of Pennsylvania teacher Kenneth Goldmisth launched the book Uncreative Writing, in which he designates the processes that leads to literary works where the text is not originally written by the author, but rewritten or transcript from pre-existant fonts – with no change in the original text – or edited and rearranged by descontextualization and recontextualization of these found texts. The dissertation makes use of this concept, as well as of unoriginal genius , by Marjorie Perloff, and post- -production , by Nicolas Bourriaud, to analyze the figure of the writerappropriator and the consequences, today, of the procedures of selection and displacement in relation to the ideia of authorship. The work verifies how those practices operate a fracture in the borders between the reader and the author positions. Also, the dissertation intends to investigate how the literary works on the selected corpus propose non-traditional ways of reading and writing, and how they relate to the plastic arts and the new technological tools.

This thesis treats the users experience about assembling a building in virtual reality and the implementation of an application for the purpose. The work studies how users experience that after they have assembled a building in virtual reality understand how a building should be assembled. To be able to study this an application was implemented where it is possible to build a simple garage in virtual reality. The application is build with moments in mind where a moment in a part of a building for example wall parts and trusses. The participants assemblies every moment separately and a moment is finished when all the moments parts is places and nailed. The application supports feedback as audio instructions and vibration in the controllers, this is crucial for easier learning. The result shows that most of the participants in the study experience that they have learned how a building should be assembled. The assembeling order of a building is that the users experience that they have learned most of. Tough that the participants doesn't feel that they would dare to assembly a building in real world after virtual reality. The virtual reality still feels like a game and is not sufficiently reliable. In the study it appears that see and do is better than the traditional see and learn. This adds a reason that it is possible to learn through virtual reality even still as today doens't feels safe enough. / Denna studie behandlar användarens upplevelse kring att montera en byggsats i virtuell verklighet och utveckladet av en applikation för ändamålet. Examensarbetet efterforskar hur användarna efter att ha fått montera en byggnad i virtuell verklighet upplever att de förstått hur en byggnad ska monteras. För att kunna efterforska detta utvecklades en applikation där det det är möjligt att bygga ett enklare garage i virtuell verklighet. Applikationen är byggd med moment i åtanke där ett moment är en del av en byggnad exempelvis syll, väggblock och takstolar. Deltagarna monterar varje moment för sig och ett moment är avklarat när momentets delar är utlagda och korrekt fästa. I applikationen kan användaren få återkoppling i form av ljudinstruktioner och vibrationer i kontrollerna vilket är avgörande för att lära sig lättare. Resultatet visar att flera deltagare anser att de i applikationen har lärt sig att bygga en byggsats i virtuell verklighet. Ordningen som delarna i en byggsats ska monteras i är det som användarna anser de lärt sig mest om. De anser dock inte att de förstått tillräckligt utifrån applikationen för att våga montera byggnaden i verkligheten. Virtuell verklighet upplevs fortfarande som ett spel och inte är nog tillförlitligt. Det framkommer i studien att det är bättre att se och göra istället för det traditionella se och lära. Detta lägger en grund till att det går att lära sig genom virtuell verklighet trots att det idag uppleves inte vara säkert nog.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Solon Ribeiroâs work with the frames of classical cinema inherited from his father articulates apparatus through another montage so that these images survive through constant variations made by his gestures in a minor cinema. The solo exhibitions O golpe do corte (2005), Quando o cinema se desfaz em fotograma (2009) and O cinema à meu playground (2013) are investigated following the development of his work over the course of time. The methodology used takes the body of workâs singularities into account to promote the encounter with the theories of important authors, turning them into intercessors in the construction of the discussion. Furthermore, a documental research was accomplished, which included conversations with the artist â Appendix A in the thesis â and the reunion and analysis of archive material regarding his exhibitions. Starting with apparatus theory on film (BAUDRY), the research moves to the concept of apparatus on Agambenâs and Flusserâs philosophy and dispositif on Deleuzeâs philosophy, expanding the understanding of cinema to the experiences on an expanded field (PARENTE). The elements of each work are examined to point out the processes and singularities of their configurations. The processual characteristics of the artistâs work is made evident by the repeated use of given frames and by the modification of some apparatuses already shown. The transformation from the classical montage (LEONE; MOURÃO) to the ones Ribeiro produces on space turns him closer to Aby Warburgâs philosophical and historic practice in his Atlas Mnemosyne (1924-1929). The heuristic montage (DIDI-HUBERMAN) found on framesâ time collision is related to Deleuzeâs time-image, since both comprise the development of thought through images, emphasizing the difference between the fatherâs affective and collector practice and the artistâs acts of dislocation which led to framesâ survival (DIDI-HUBERMAN). The changes on each workâs time and space point out to the improbable movements (DUBOIS) placed between the framesâ apparent fluidity and immobility (BELLOUR). Ribeiroâs cinema becoming-photography (FATORELLI) leads to reflection on cinema itself and to the making of a minor cinema (DELEUZE; GUATTARI) that asserts the possibility of other cinema created from the elements of hegemonic cinemaâs form (PARENTE). / O trabalho de Solon Ribeiro com os fotogramas do cinema clÃssico herdados de seu pai articula dispositivos atravÃs de outra montagem para que essas imagens sobrevivam por meio da constante variaÃÃo operada por seus gestos em um cinema menor. As exposiÃÃes individuais O golpe do corte (2005), Quando o cinema se desfaz em fotograma (2009) e O cinema à meu playground (2013) sÃo investigadas acompanhando os desdobramentos do trabalho no tempo. A metodologia empregada toma as singularidades do corpo da obra em questÃo ao tensionÃ-las com a teoria de importantes autores, tornando-os intercessores na tessitura da discussÃo. Ademais, foi realizada pesquisa documental, que inclui conversas com o artista â ApÃndice A da dissertaÃÃo â e reuniÃo e anÃlise de material de arquivo referente a suas exposiÃÃes. A partir da teoria do dispositivo no cinema (BAUDRY), a pesquisa passa aos conceitos de dispositivo na filosofia de Agamben e de Deleuze e de aparelho em Flusser, alargando a noÃÃo de cinema para as experiÃncias em campo expandido (PARENTE). Os elementos pertencentes a cada obra sÃo examinados e tÃm os processos e as singularidades de suas configuraÃÃes apontados. A caracterÃstica processual inerente ao trabalho do artista à evidenciada pela reiteraÃÃo no uso de determinados frames e pelo retorno ou modificaÃÃo de certos dispositivos jà apresentados. As transformaÃÃes da montagem cinematogrÃfica clÃssica (LEONE; MOURÃO) para as montagens operadas por Ribeiro no espaÃo o aproximam da prÃtica filosÃfico-histÃrica de Aby Warburg em seu Atlas Mnemosyne (1924-1929). A montagem heurÃstica (DIDI-HUBERMAN) no choque entre os tempos dos fotogramas à relacionada com a imagem-tempo deleuzeana, posto que ambas compreendem uma experimentaÃÃo que envolve a articulaÃÃo de um pensamento em imagens, ressaltando a diferenÃa entre a prÃtica afetivo-colecionista do pai e o deslocamento ensejador da sobrevivÃncias (DIDI-HUBERMAN) dos frames pelo artista. As modificaÃÃes no tempo e no espaÃo de cada obra apontam para movimentos improvÃveis (DUBOIS) que se colocam no interstÃcio entre a aparÃncia de fluidez e de imobilidade dos fotogramas (BELLOUR). O devir fotogrÃfico (FATORELLI) do cinema de Ribeiro leva à reflexÃo sobre a linguagem cinematogrÃfica, conduzindo-a a um cinema menor (DELEUZE; GUATTARI) ao afirmar a possibilidade da construÃÃo de um outro cinema engendrado a partir dos elementos da forma cinema (PARENTE) hegemÃnica.