Thesis--Columbia University. / Includes bibliographical references (leaves 287-291). Also issued in print.

Thesis--Columbia University. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 287-291).

Reproduction de : Thèse de doctorat : Langues et littératures françaises : Paris 8 : 2007. Reproduction de : Thèse de doctorat : ? : Université de Pékin : 2007. / Thèse soutenue en co-tutelle. La version électronique de la thèse comporte quelques différences de mise en page par rapport à l'originale imprimée. Titre provenant de l'écran-titre. Bibliogr. p. 337-350. Filmogr. p. 354-355.

Thesis (Ph. D.)--University of Michigan, 1973. / Typescript. Filmography: leaves 188-189. Includes bibliographical references (leaves 190-194). Also issued in print.

Thesis (Ph. D.)--University of Michigan, 1973. / Typescript. Filmography: leaves 188-189. Includes bibliographical references (leaves 190-194).

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Hormis son dernier film en date, Resnais a toujours refusé d’adapter des romans tout en ne travaillant, durant de nombreuses années, qu’avec des écrivains avant tout romanciers. Premier de ses films à avoir été écrit par un dramaturge de formation, Providence (1977) met pourtant en scène un vieil écrivain malade et alcoolique en train d’imaginer les scènes tour à tour horrifiques et comiques d’un ultime roman dont les héros ne sont autres que ses proches. Ce paradoxe fonde le présent essai, centré sur un film d’une rare exactitude en matière de création littéraire et dont la structure en diptyque met à nu les rapports de la fiction et du réel. Réhabilitant la notion de « cinéma littéraire » tout en faisant éclater le cadre trop réducteur de l’adaptation et en posant le récit et non le spectacle comme enjeu majeur chez Resnais, cette étude explore les liens plus intimes existant entre les livres et les films. Permettant de revenir sur des romanciers fondamentaux de la modernité tels que Melville, Proust et Faulkner, la machine cinématographique de Resnais trouve peut-être dans leurs textes son meilleur usage. Et c’est ainsi que, employé dans toute son active spécularité, Providence révèle les profondes affinités qu’entretiennent l’écriture et le suicide. Tourmenté par celui de son épouse qu’il pose au centre d’une histoire où les vieillards, changés en loups-garous, sont parqués dans les stades d’extermination d’un état de terreur, du fond de son manoir nocturne de Providence, le grantécrivain et pathétique démiurge s’escrime à nous faire peur avec sa propre agonie : c’est peut-être ce qui fait de lui le plus véridique de tous les auteurs abymés au cinéma. / AApart from his latest film Resnais has always been reluctant about the adaptation of novels despite working for many years exclusively with writers who were mainly novelists. However, Providence (1977), his first film ever to have been written by a professional playwright, stages an elderlywriter, sick and alcoholic, in the course of imagining scenes, alternating between the horrific and the comic, of an ultimate novel the heroes of which are none other than his own next of kin. This paradox constitutes the core of the present essay which is centered around a film of rare precision regarding the literary creation, and its diptycal structure provides a deep insight into the links of fiction and reality. By rehabilitating the notion of “literary cinema”, while bursting the far too limiting frame of adaptation, and while presenting the storytelling rather than the showing as Resnais’ major engagement, the present analysis explores the more intimate relations between books and films. While enabling the return to fundamental novelists of modernity such as Melville, Proust and Faulkner, Resnais’ cinematographic machine may find in their texts its most efficient use. Through its active mise en abyme Providence reveals the profound affinities between writing novels and committing suicide. Tormented by his wife’s suicide which he places in the centre of a story where the elderly, transformed into werewolves, are locked in the extermination stages of a state of terror, at the heart of his nocturnal manor in Providence, the grantécrivain and pathetic demiurge is struggling to frighten us with his own agony. This probably makes him the most truthful of all abymed writers in cinema.

Made available in DSpace on 2016-04-26T18:15:34Z (GMT). No. of bitstreams: 1 A multiplicidade pela sintaxe cinematografica.pdf: 2463609 bytes, checksum: 4c0b40e3077b1eaa2d0ac2dd5a214ea7 (MD5) Previous issue date: 2006-05-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of study of this research is the multiplicity at the semiotic process in Smoking and No Smoking, aiming to deep in the narrative and esthetics questions of these Alain Resnais movies. At the same time they structure themselves on a new way of narrative, these two twin works point out to the dissolution of the esthetics barriers determined by the formats, incorporating to them different languages, esthetics, genres and works. The movies come from the same situation to develop twelve different and independent stories, carnivaling the characters sense, sequence and dialogs. To this narrative complexity, add esthetics elements from the XIX century scenery to the games, from the theater to the hipertextual applicative. This diversity of elements points out to a multiplicity produced at the building of sense in the narrative and esthetics sphere. The notion of multiplicity is assumed at the same time as being an integrant of the object of study and of the analysis methodology carried out. In this sense, the multiplicity concept suggested by Ítalo Calvino is taken into account, on the literature field, in the search of a theoretical deep at the contemporary thinking. This way is made possible through Mikhail Bakhtin s concepts of polyphony, dialogism and carnivalesque and to Gilles Deluze and Feliz Guattari s notions of rhizome, moving forward to the dialogic relations among movie, theater, scenery, digital means, information architecture and games. Finally, the approach between the multiplicity applied in Smoking and No Smoking and the concept of rhizome is carried out, making evident that multiplicity is essential in the building of sense process at Resnais works / A presente pesquisa tem como objeto de estudo a multiplicidade nos processos de construção de sentido em Smoking e No Smoking, visando um aprofundamento sobre as questões narrativas e estéticas destes filmes de Alain Resnais. Ao mesmo tempo em que se estruturam sobre uma a forma da narrativa permutativa, estas duas obras gêmeas apontam para a dissolução das barreiras estéticas determinadas pelos formatos, incorporando diferentes linguagens, estéticas, gêneros e obras. Os filmes partem da mesma situação para desenvolver doze histórias diferentes e autônomas, carnavalizando o sentido dos personagens, seqüências e diálogos. A esta complexidade narrativa, somam-se elementos estéticos intertextuais que vão dos panoramas do século XIX aos games, do teatro aos aplicativos hipertextuais. A diversidade de elementos aponta para a multiplicidade operada nos processos de construção de sentido nos âmbitos estético e narrativo. A noção de multiplicidade é assumida ao mesmo tempo como integrante do objeto de estudo e da metodologia das análises realizadas. Para isso, parte-se do conceito de multiplicidade proposto por Ítalo Calvino, no campo da literatura, em busca de um aprofundamento teórico no pensamento contemporâneo. Este percurso é viabilizado metodologicamente pelos conceitos de polifonia, dialogismo e carnavalesco de Mikhail Bakhtin e pela noção de rizoma de Gilles Deluze e Feliz Guattari, avançando rumo às relações dialógicas entre cinema, teatro, panorama, meios digitais, arquitetura da informação e games. Por fim, é realizada a aproximação entre a multiplicidade implicada em Smoking e No Smoking e o conceito de rizoma, evidenciado a multiplicidade como elemento fundamental nos processos de construção de sentido das obras de Resnais

Ce projet propose une étude comparée de deux cinéastes essentiels, dont l'œuvre montre un fort rapport à l'onirisme et à l'imaginaire : Alain Resnais et Federico Fellini. Ayant commencé à la même époque (après la Seconde Guerre mondiale), ils ont traversé plusieurs périodes en parallèle. Nombre d'aspects les rapprochent, malgré leurs différences de styles et de cultures. Alain Resnais porte un regard sur l'histoire contemporaine, mais travaille également sur la vision subjective, la mémoire individuelle, et divers états de conscience. Fellini porte un regard acerbe sur la bourgeoise italienne, et propose simultanément un vagabondage dans les consciences et l'inconscient marqué par le merveilleux et l'onirique. Les deux cinéastes refusent de limiter la réalité « au constat purement objectif d'un monde scientifiquement analysable » pour montrer une « autre réalité », qu'il s'agit ici de questionner à l'aide de différentes théories (psychanalytiques, littéraires, philosophiques…). / This project proposes a comparative study between two essential film directors: Alain Resnais and Federico Fellini. Their work shows a strong relation with the oneiric and the imaginary. They began in the same period (after the Second World War) and they shared the same historical experiences in two different countries. Despite a difference of style and culture, a lot of aspects approach them. Alain Resnais focuses on contemporary history, but he works also on the subjective vision, individual memory, and different states of consciousness. Fellini focuses on the Italian bourgeoisie and he proposes simultaneously a kind of vagrancy in the conscious and in the unconscious, always marked by the oneiric. The two film directors refuse to limit the reality «to an objective analysis of a world scientifically analyzable». They want to show an «other reality». We want to interrogate this reality with the help of different theories (psychoanalytic, literary, philosophical…).

This dissertation is a rhetorical study of the critical reception of the French film Hiroshima mon amour (1959; dir.: Alain Resnais; screenplay: Marguerite Duras). My main argument is that the themes of love and technology followed a dialectical progression in the critical reception of Hiroshima mon amour. They were important and politically charged in the first essays on the film at the turn of the Sixties. But they lost momentum and became more neutral due to the academization of Film Studies and to the rise of semiology that privileged linguistic abstractions. The return of the themes of love and technology in the Eighties signals the search for renewed forms of commitment. However, this commitment "through abstraction" is also predicated on forgetting. In fact, a different understanding of commitment does not allow remembering that Hiroshima mon amour was also a protest against the first French atomic test in Algeria and its colonial implications. My dissertation examines the limits of what can be said through different paradigms of criticism and commitment through the careful study of the rhetorical situation of each critical act. Jacques Derrida's twin concepts of aimance and of the peut-être guide my research. I examine how we can think Hiroshima mon amour on the background of the paradoxical communities that invented new forms of political participation in postwar France. The early debate on the representation of "mad love" in Resnais' film signaled a concern for the way in which modern technology undermined the binary oppositions between war/peace, civilian/military, and friend/enemy. The paradoxical communities that originated from this realization opened to rhetorical articulations that united people with no communal party membership. Derrida's politics of aimance carries on this reflection on the peut-être by targeting the traditional view that envisions the political as limited to the public sphere and tend to exclude women. By contrast, Hiroshima mon amour empowered women because it tapped into the dark territories of the private in order to show that modern technology had colonized the intimate and daily life. Hence, women critics could acquire a strong political voice from the oppression of the private.