Cette thèse porte sur les documentaires qui, en Espagne, se situent à mi-chemin entre l’engagement militant et le désengagement politique. Notre recherche s’est orientée vers des films minoritaires susceptibles de prendre le contrepied des représentations timides des problématiques sociales, autrement dit d’en proposer une lecture politique. Ces productions, en s’approchant au plus près du militantisme, interrogent le discours et l’action des pouvoirs en place (politiques et économiques) et en même temps donnent à voir des alternatives, qu’elles appartiennent à un passé lointain ou très récent. Portmán, a la sombra de Roberto (Miguel Martí, 2001), El efecto Iguazú (Pere Joan Ventura, 2002), 200 km. (Discusión14, 2003), La mano invisible (Isadora Guardia, 2004), Veinte años no es nada (Joaquín Jordà, 2004), El astillero (Disculpen las molestias) (Alejandro Zapico, 2007), Flores de luna (Juan Vicente Córdoba, 2009), 15M Libre te quiero (Basilio Martín Patino, 2011), ces films, bien qu’ils partagent de nombreux points communs avec la critique sociale ne se concentrent pas sur des destins individuels, mais sur des projets collectifs. Par ailleurs, ils ne se contentent pas d’un constat, ils exercent une fonction de dénonciation. Leur but étant de transformer la conscience du spectateur, ils agissent. / This thesis is about documentaries which, in Spain, are in a half-way between militant commitment and political disengagement. Our research focused on minority movies likely to take the opposite view of the feeble representations of social problematics, and thus, to propose a political interpretation. These productions, by coming closer to militancy, question the speech and the action of in place authorities (political and economical) and, at the mean time, show alternatives that belong to a distant or very recent past. Portmán, a la sombra de Roberto (Miguel Martí, 2001), El efecto Iguazú (Pere Joan Ventura, 2002), 200 km. (Discusión14, 2003), La mano invisible (Isadora Guardia, 2004), Veinte años no es nada (Joaquín Jordà, 2004), El astillero (Disculpen las molestias) (Alejandro Zapico, 2007), Flores de luna (Juan Vicente Córdoba, 2009), 15M Libre te quiero (Basilio Martín Patino, 2011), although these movies share a lot of things in common with social criticism, they do not focus on individual fates, but rather on collective projects. Moreover, beyond describing facts, they act as whistleblowers in order to modify the viewer’s consciousness.

Le problématique de cette thèse concerne l’industrie cinématographique son impact sur la la société post-révolutionnaire iranienne, en étudiant le rôle du cinéma dans les changements intervenus depuis 1979 en Iran comme ailleurs. Cette thèse présente trois pôles différenciés du cinéma iranien, celui du cinéma officiel, celui du cinéma en exil et enfin le cinéma alternatif, contribuant à construire l’identité du cinéma iranien dans son ensemble. La thèse permettra de questionner le statut de l’image animée et l’iconographie dans l’islam chiite, son rôle dans un cinéma pré-révolutionnaire. Puis, la thèse analyse des événements clés : la révolution de 1979, le phénomène de l’islamisation massive de la société et la foction du cinéma dans ce contexte, l’impact de la guerre Iran-Irak, le rôle du marché noir, la construction d’une nouvelle identité grâce aussi à un cinéma iranien considéré comme « cinéma islamique », l’évolution de tous les autres services audiovisuels, y compris l’IRIB (la télévision iranienne) et des institutions comme le Centre Artistique et la Maison du cinéma. On assiste à une triangulation focalisée sur deux périodes historiques importantes post-révolutionnaire : la période réformiste de Khatami (1997-2005) et celle ultra-conservatrice d’Ahmadinejad (2005-2013), en traitant l’impact des deux périodes sur l’industrie cinématographique grâce à une étude thématique et comparative des productions filmiques de chaque époque. Cette recherche est nourrie par une enquête de terrain en appoint et des entretiens avec certains réalisateurs de cette période. La question du social devient peu à peu un thème majeur dans les thématiques de fiction traités de manière souvent critiques par le cinéma iranien. Il s’agit aussi de comprendre la part d’autonomie acquise des artistes iraniens pour mener à bien leurs projets cinématographiques, dans le cadre d’une politique culturelle d’Etat autoritaire.Dans la deuxième partie au cinéma en exil, cette thèse aborde différentes pratiques culturelles depuis la révolution de 1979 de cinéastes, d’acteurs etc…dans l’immigration. Il s’agit d’étudier ici des éléments comme la nostalgie, l’intégration, la langue et les contraintes économiques pesant sur les productions cinématographiques en exil. Dans la dernière partie, cette thèse s'interroge sur la circulation des films avec l’émergence de nouvelles technologies, le rôle des réseaux sociaux et leurs impacts sur la société iranienne après 2009. Il s’agit de comprendre l’évolution de l'industrie cinématographique dans un contexte aujourd’hui de globalisation des médias en s’interrogeant sur la fonction des médias iraniens en exil, des nouvelles chaînes paraboliques et du rôle marché des festivals internationaux, permettant aujourd’hui de donner une visibilité nouvelle au cinéma iranien. / The problematic of this thesis based on cinema industry and how it’s influence on Iranian post-revolutionary society by studying the status of cinema industry in all changes that taken place since 1979 in Iranlike anywhere else. This research presents three different branches of Iranian cinema which generate the Iranian cinema identity in general by; Official cinema, Exilic cinema & Alternative cinema. This thesis will question the status of animated image and iconography in Shiite Islam and it’s role in prerevolutionary cinema. Then, the thesis analyzes the key events such as the 1979revolution, massive Islamisation of society and cinema segments, th impact of Iran-Iraq war, the black market, new identity of Iranian cinema “Islamic cinema”, the evolution of different sector of audio-visual services like IRIB (Iranian TV broadcast), Artistic Centre, House of Cinema. The triangulation focused on two important political period post-revolutionary; reformist Khatami (1997-2005) and Ultra-conservative Ahmadinejad (2005-2013) and the impacts of these periods on evolution of Iranian film industry with the comparative film analysing (one of each period) and nourishing by interview with filmmakers. The social issue is gradually becoming a major topic in the feature film which are ooften criticized by Iranian cinema. Also to understand the autonomy acquired by the artists to carry out their cinematographic project under an authoritarian state cultural policy. In the second part due to Cinema in exile, this thesis deals with various cultural practice since the 1979 of filmmakers, actors etc… It is also study elements such as nostologia, integration, language economic constraints on film productions in exile. The last part focusing on film circulation with the emergence of new technologies, the role of social networks and their impact on Iranian society after 2009. Also, the evolution of social media in the context of globalization of media by questioning the function of Iranian media in exile, satellite channels and the role of international film festivals market, allow us today to give a new visibility to Iranian cinema.

Esta tese analisa as representações estéticas e ideológicas na prática do documentário no Nuevo Cine Latinoamericano (NCL) a partir dos discursos dos cineastas Geraldo Sarno (Brasil), Raymundo Gleyzer (Argentina) e Santiago Álvarez (Cuba), entre os anos de 1964 e 1974. Para isso, estabelecemos paralelos entre a prática das realizações destes cineastas e os ideais e posições teóricas defendidos nos manifestos cinematográficos produzidos nestes países; bem como examinamos as vozes da produção discursiva que, neste período, enunciavam o cinema como instrumento de transformação social na América Latina. Além disso, investigou-se o processo de produção (da filmagem à exibição), elemento-chave para se entender o cinema social, militante e revolucionário dessa época, já que estes cineastas atuavam via de regra fora do circuito comercial de exibição. Por fim, indagamos em que medida o documentário se constituiu enquanto narrativa histórica. Em suma, a pesquisa almejou aprofundar os estudos sobre a produção documental no Nuevo Cine Latinoamericano, buscando interações entre teoria e prática, cinema e história e os significados dessas produções documentais para esse momento histórico, político e cultural da América Latina. / This tesis analyzes the aesthetic and ideological representations in the practice of documentary in the New Latin American Cinema (NCL) from the speeches Raymundo Gleyzer (Argentina), Geraldo Sarno (Brazil) and Santiago Álvarez (Cuba), between the years 1964 and 1974. For this, we established parallels between the practice of the achievements of these filmmakers and theoretical positions espoused in manifestos film produced in these countries, as well as examined the voices of discursive production, which, in this period, enunciated the cinema as a tool of social transformation in Latin America. Furthermore, we investigated the process of production (filming to distribution), a key element for understanding the political cinema of that time, as these filmmakers acted as a rule outside the commercial circuit display. Finally, we inquired how the documentary can be a historical narrative. In short, this research purposed to deepen the studies of the documentary in the New Latin American Cinema, seeking interactions between theory and practice, film and history and the meanings of these documentary productions for this moment in history, politics and culture in Latin America

Esta tese analisa as representações estéticas e ideológicas na prática do documentário no Nuevo Cine Latinoamericano (NCL) a partir dos discursos dos cineastas Geraldo Sarno (Brasil), Raymundo Gleyzer (Argentina) e Santiago Álvarez (Cuba), entre os anos de 1964 e 1974. Para isso, estabelecemos paralelos entre a prática das realizações destes cineastas e os ideais e posições teóricas defendidos nos manifestos cinematográficos produzidos nestes países; bem como examinamos as vozes da produção discursiva que, neste período, enunciavam o cinema como instrumento de transformação social na América Latina. Além disso, investigou-se o processo de produção (da filmagem à exibição), elemento-chave para se entender o cinema social, militante e revolucionário dessa época, já que estes cineastas atuavam via de regra fora do circuito comercial de exibição. Por fim, indagamos em que medida o documentário se constituiu enquanto narrativa histórica. Em suma, a pesquisa almejou aprofundar os estudos sobre a produção documental no Nuevo Cine Latinoamericano, buscando interações entre teoria e prática, cinema e história e os significados dessas produções documentais para esse momento histórico, político e cultural da América Latina. / This tesis analyzes the aesthetic and ideological representations in the practice of documentary in the New Latin American Cinema (NCL) from the speeches Raymundo Gleyzer (Argentina), Geraldo Sarno (Brazil) and Santiago Álvarez (Cuba), between the years 1964 and 1974. For this, we established parallels between the practice of the achievements of these filmmakers and theoretical positions espoused in manifestos film produced in these countries, as well as examined the voices of discursive production, which, in this period, enunciated the cinema as a tool of social transformation in Latin America. Furthermore, we investigated the process of production (filming to distribution), a key element for understanding the political cinema of that time, as these filmmakers acted as a rule outside the commercial circuit display. Finally, we inquired how the documentary can be a historical narrative. In short, this research purposed to deepen the studies of the documentary in the New Latin American Cinema, seeking interactions between theory and practice, film and history and the meanings of these documentary productions for this moment in history, politics and culture in Latin America

El cinema comercial independent de baix pressupost elaborat amb els elements industrials i artístics del sector cinematogràfic del propi país és viable, sostenible i exportable. Aquest ha sigut el cas d’El Lute, Crimen en familia i altres pel•lícules que Cunillés ha produït. Estudiar els mecanismes de finançament, fabricació i venda d’aquest tipus de producció ens permetrà extrapolar-ho, generalitzar-ho i explicar-ho als actuals i futurs decisors audiovisuals. En el cas de Cunillés, el trobem gestionant sales cinematogràfiques, distribuint o coproduint pel•lícules, o implicant-se en operacions corporatives per millorar les condicions del sector. Ha calgut introduir el context històric, sota l’etiqueta de “cinema de transició”, estudiar la persona i els orígens temàtics per acabar construint un mètode que el propi productor ha abandonat per dedicar-se únicament a l’explotació dels seus drets audiovisuals. Altres productors continuen emprant aquest model amb èxit, però els paràmetres han canviat i Cunillés no vol tornar a navegar. / Commercial, independent low-budget filmmaking produced with industrial and artistic elements of the film sector in one’s own country is viable, sustainable and exportable. It’s the case of El Lute, Crimen en familia and other films that Cunillés has produced. Studying the financing, manufacturing and sales of this kind of production will allow us to extrapolate, generalize and explain it to current and future film decision-makers. Cunillés can be found managing cinemas, distributing or producing films, or getting involved in corporative operations to improve the sector’s conditions. It’s been necessary to introduce the historical context under the label “transition filmmaking”, and study the person and his thematic origins in order to devise a method that the producer himself has abandoned to work solely on the exploitation of film rights. Other producers still use this method successfully, but the parameters have changed and Cunillés doesn’t want to navigate again.