Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-12-15T14:37:08Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertação catalogação 2.pdf: 5341781 bytes, checksum: f9713e9d6e453efce7ed74f5bd1492f1 (MD5) / Made available in DSpace on 2016-12-15T14:37:08Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertação catalogação 2.pdf: 5341781 bytes, checksum: f9713e9d6e453efce7ed74f5bd1492f1 (MD5) Previous issue date: 2016-06-30 / Este trabalho realiza um estudo estilístico da obra do cineasta franco-polonês Roman Polanski a partir de recorrências encontradas na encenação – e entendendo-se a encenação como a relação estabelecida entre corpos e espaços nas imagens de um filme. Partindo-se de uma análise que identifica a penetração do real na cena ficcional polanskiana, o estudo atravessa as questões presentes no posicionamento dos corpos no espaço até alcançar a encenação do próprio corpo enquanto matéria expressiva. / This paper makes a stylistic study of the oeuvre of the French-Polish filmmaker Roman Polanski from recurrences founded in staging – and understanding the staging as the relation between bodies and spaces in the images of a film. Starting with an analysis that identifies the penetration of reality in the Polanski’s scene, the study permeates the questions presents in the placement of the bodies in the space to reach the staging of the own body as an expressive subject.

Filmmaker Roman Polanski declares in his autobiography that he was greatly influenced by renowned neuropsychologist Richard L. Gregory (1923-2010), whose work, Polanski claims, gave scientific confirmation to many of his own beliefs regarding the nature of perception. Gregory was a strong advocate for what is referred to as the ‘indirect’ theory of perception, a theoretical model that stresses the agency of cognition, specifically hypothesisation, in the act of perceiving. This analysis of Polanski’s cinema is guided by an exploration of perceptual psychology, with special attention paid to how the theory of indirect perception differs from competing, and often more intuitive, models of perception. The two main focuses of this thesis are: a) to identify the ways in which Polanski’s cinematography is actively informed by neuropsychological research on perception, and b) to discuss the various ways in which the key philosophical implications of the theory of indirect perception find expression in his cinema. My analysis will focus primarily on two (unofficial) ‘trilogies’, what I refer to as the ‘Apartment Trilogy’ of Repulsion (1965), Rosemary’s Baby (1968), and The Tenant (1976), and the ‘Investigation Trilogy’ of Chinatown (1974), Frantic (1988) and The Ninth Gate (1999). Also included are minor case studies of Knife in the Water (1962), Death and the Maiden (1994), and The Ghost (2010). This thesis hopes to demonstrate the manner in which Polanski’s cinematic engagement with perceptual psychology evolves over his career, from more psychologically intimate explorations of the perceptual mechanism via portrayals of schizophrenia in his earlier films, to more distant studies of highly proficient perceiving bodies who are nevertheless confronted with serious challenges to their perceptual (and epistemological) frameworks.

Uppsatsen analyserar och jämför hur den psykologiska skräcken och hur de suggestiva effekterna framställs i Ira Levins roman Rosemarys baby och Roman Polanskis filmatisering. Syftet med analysen är att söka svar på just denna fråga. Uppsatsen metoder utgår från närläsning, som är en noggrann och djupgående läsning utav verket, samt adaptionsteori, som är en metod som skapar förståelse för vilka likheter och skillnader som skapas när en roman överförs till film. Analysen visar att filmatiseringens berättande har många likheter med romanen då få scener plockats bort. Analysen visar också att mycket av den psykologiska skräck som existerar i romanen även framställs i filmatiseringen genom ljud, musik och visuella bilder. Trots likheterna mellan roman och film finns det även skillnader, då analysen visar att Polanskis version innehåller större symbolik som kan kopplas till katolicismen och kan således också ses som en tydligare kritik mot den tidens normer och samhällsfrågor.

For my project I shall be writing a feature length screenplay in the horror genre. The screenplay will be entitled

The thesis deals with gender analysis in films studying metamorphoses of archetypes in film Bitter Moon directed by Roman Polanski. The methodical and theoretical sections of the thesis analyse the influence of archetype changes of film characters in gender roles. The thesis identifies and analyses mainly woman film characters appearing in some classical feminist texts, feminist film theoretical and critical articles, in some psychoanalytical works, in dramatheraphy and film science. The sources mentioned above became primary resource materials for our archetypal research. The analysis of each of the film character is focused on the most distinctive archetype with respect to its metamorphosy. Apart from the archetype research the thesis is marginaly concerned with problems linked to the female ideal and her sexuality usually portrayed in an unalterable way, and archetypal patterns are in such a way transmitted to audiences through femininity and masculinity in the context of gender roles. Keywords: archetype, Roman Polanski, Laura Mulvey, Annis Pratt, cinematic archetypal coherence, feminist film criticism, film narrative analysis, archetypal masculinity, archetypal femininity.

This essay traces two trends in current philosophical and theological debates concerning forgiveness. One, advocated by Vladimir Jankélévitch and Jacques Derrida, I label “impossible” forgiveness. The second, advanced by John Milbank and L. Gregory Jones, I label “communal” forgiveness. I explore and critically examine each of these positions in the first two sections of the thesis. In the last section of the thesis I examine a recent conversation amongst religious ethicists against the background of the theoretical conversations described in the first half of the essay. Bringing the theoretical conversation together with the religious ethicists’ conversation, I argue that whether or not we embrace forgiveness depends in large part in what tradition, religious or secular, we place ourselves.

La notion de l'absurde a pris dans la pensée et le langage courant un très grand nombre de significations, parfois très éloignées les unes par rapport aux autres. Il est arrivé à au moins deux reprises que le terme « absurde » soit entendu dans le sens d'un courant : dans la philosophie absurde théorisée par Albert Camus en 1942, et dans le Théâtre de l'absurde (Beckett, Ionesco, etc.), qui lui a connu son apogée dans les années cinquante. Ces deux mouvements pourraient être envisagés comme l'expression d'un seul et même courant, l'absurde, qui prend ses racines dans une Europe ébranlée par les horreurs de la guerre et l'affaissement de la religion chrétienne. Pour les contemporains, l'hostilité et le désordre de l'univers, de même que la solitude irrémédiable de l'individu apparaissent comme des vérités à la fois douloureuses et difficile à ignorer. Roman Polanski (1933-), cinéaste à la fois prolifique et éclectique, ouvre à l'absurde de nouveaux horizons, ceux du septième art. L'analyse de son oeuvre (et des éléments autobiographiques qui la sous-tendent parfois) met à jour d'indéniables parentés avec les figures-clés de l'absurde que sont Camus, Kafka, Nietzsche et les dramaturges européens de l'après-guerre. Ces parentés se repèrent tout autant dans les thématiques récurrentes de ses films que dans leurs obsessions formelles. / The idea of absurd has taken a huge amount of different meanings in thought and current speech. Some of these meanings may present important differences with others. There is at least two occurrences where the word “absurd” has been understood as a current: first, in the philosophie absurde, theorized by Albert Camus in 1942, and second, in the Theater of the Absurd (Beckett, Ionesco and others), who had his hours of glory during the 1950s. These two movements can be seen as two branches of a single current, the Absurd, who has its roots in Europe after World War II. The horrors of the conflict and the loss of faith in Christianity pushed the intellectuals and artists of this period to become very sensitive to ideas such as hostility (of men, of world...) and loneliness. Roman Polanski (1933-), film director well-known for the eclecticism of his work, showed very notable acquaintances with Absurd in many of his movies. The analysis of his art (and of the autobiographical elements that sometimes appear in it) proves a clear relation with important figures of the Absurd current, such as Camus, Kafka, Nietzsche, and European playwrights of the post-war era. This relation can be observed in themes as well as in the mise en scène of Polanski's films.

Roman Polanski est un cinéaste franco-polonais considéré comme fugitif par Interpol depuis 1978. En 1977, lors d’un procès pour viol, le réalisateur de 44 ans plaide coupable pour relations sexuelles illégales avec une fille de 13 ans. À sa sortie de prison, par crainte que le juge ne revienne sur sa décision de remise en liberté, Roman Polanski fuit les États-Unis pour se réfugier en France. Le réalisateur poursuivra une carrière à succès dans l’univers du septième art. À ce jour, douze femmes l’accusent de violences à caractère sexuel. Ce mémoire de maîtrise est une analyse qualitative réalisée à partir de la méthode de cadrage sur le déploiement des discours de la controverse associée à Roman Polanski dans la presse française. Les cadres relevés sont les suivants : la culture du viol (1), l’artiste et son œuvre (2), la Justice (3) et la complaisance (4). Nous avons rassemblé un échantillon de 100 articles de presse publiés entre 2002 et 2020 dans trois quotidiens: Libération, Le Monde et Le Figaro. L’analyse est réalisée à partir d’un cadre théorique issu des études féministes, plus particulièrement selon les perspectives du féminisme radical et matérialiste. L’objectif de la recherche est d’illustrer et de comprendre comment s’articulent les discours associés à la controverse Roman Polanski dans la presse en France, et à plus grande échelle dans la société française. / Roman Polanski is a French-Polish filmmaker who has been considered a fugitive by Interpol since 1978. In 1977, during a trial for rape, the 44-year-old director plead guilty to illegal sexual relations with a 13-year-old girl. Upon his release from prison, fearing that the judge would reverse his decision to release him, Roman Polanski fled the United States to take refuge in France. The director would go on to pursue a successful career in the world of cinema. To date, twelve women have accused him of committing acts of sexual violence. This dissertation is a qualitative analysis carried out using the framing method on the deployment of the discourses of the controversy associated with Roman Polanski in the French press. The analytical frames identified are: rape culture (1), the artist and his work (2), Justice (3) and complacency (4). We collected a sample of 100 press articles published between 2002 and 2020 in three daily French newspapers: Libération, Le Monde and Le Figaro. The analysis is carried out from a theoretical framework derived from feminist studies, more specifically from the perspectives of radical and materialist feminism. The objective of this research is to illustrate and to understand how the rhetoric associated with the Roman Polanski controversy are articulated in the media in France, as well as on a larger scale in French society.