Le présent travail se consacre à une étude génétique de l’œuvre de Jean Eustache (1938-1981), saisie dans ses accomplissements comme dans ses projets et esquisses inachevés. En se fondant sur des archives jusqu’alors inexploitées (Cinémathèque française, Inathèque, IMEC et collections personnelles), en recueillant des témoignages inédits (producteurs, chefs opérateurs, assistants, acteurs, collaborateurs, amis et famille du cinéaste), en analysant aussi bien des scénarios, notes d’intention ou dossiers de production que les films eux-mêmes, notre recherche restitue l’ensemble du parcours créatif de Jean Eustache, dans ses tours et détours. Analyse de création, la méthode consiste à retracer de la façon la plus documentée possible la démarche qui a permis l’éclosion d’une œuvre. Comment s’articulent constance de l’entreprise autobiographique et diversité des conditions de production ? Qui amène le cinéaste à réaliser le manifeste inédit Numéro zéro (1971) ? Comment La Maman et la putain (1973) et Mes petites amoureuses (1974) sont-ils presque simultanément élaborés ? Comment l’idée des essais expérimentaux, Une sale histoire (1977) ou Les Photos d’Alix (1980), est-elle née ? Comment créer de façon aussi personnelle dans le cadre du cinéma d’auteur et dans celui de la Télévision publique ? Telles sont quelques-unes des questions factuelles auxquelles ce Doctorat répond, qui permettent d’éclairer les choix esthétiques propres à Jean Eustache. / The dissertation conducts a genetic study of Jean Eustache’s work (1938-1981) as seen through his completed films as well as unfinished projects and drafts. In being based on archives, so far undeveloped (Cinémathèque française, Inathèque, IMEC and personal collections), carrying out interviews with his former producers, directors of photography, assistants, actors, collaborators, friends, or family, and in analyzing not only his movies but also his film scripts, director’s memos or production files, the dissertation reconstructs Eustache’s whole creative journey with its twists and turns. As analysis of creation, the method seeks to trace in the most documented manner possible the process that gave rise to Eustache’s œuvre. How are connected his everlasting autobiographical undertaking and the various conditions of productions? What has leaded him to produce the filmic manifesto Number Zero (1971)? How are The Mother and the Whore (1973) and My Little Loves (1974) produced almost simultaneously? How was born the idea for experimental film essays such as A Dirty Story (1977) or Alix’s Photos (1980)? How one can create originally within both the author cinema and Public Television? This doctoral study replies to these factual questions, which enable to clarify Jean Eustache’s aesthetic and cinematic specific choices.

The aim of the present thesis is to study radical criticism of psychiatry in public discussion in Sweden between 1968 and 1973. Although it was not the first time psychiatry had been challenged, the debate during these years displayed an unprecedented intensity. What is mental illness – a myth, an etiquette, an illusion? Is psychiatry a means of social control? Such were the questions raised at the time. In my thesis, I study the contexts as well as the arguments of these discussions. To this end, a great variety of sources have been consulted: books, newspapers, magazines, films etc. In part, the Swedish debate on psychiatry ran parallel to international discussions on the topic, which have been regarded as a manifestation of anti-psychiatry. This standpoint is often associated with psychiatrists such as R. D. Laing, David Cooper and Thomas Szasz. In my thesis, I challenge the concept of anti-psychiatry, arguing that other concepts are better suited to capture the diversity of the debate in all its nuances. Thus, I make use of radical and reformatory criticism – concepts which have been suggested by the sociologist Tommy Svensson – while also seeking to develop them further. In addition to the international perspective, the psychiatry debate must also be interpreted in its specifically Swedish context. One aspect of this is the Swedish tradition of Government Official Reports: psychiatry had been subject to many investigations prior to the debate in the 1960s and 1970s, and others would follow in its wake. Another characteristic feature of the Swedish debate is two events that formed very suitable targets for critique: Sociopatutredningen and Mentalhälsokampanjen. These events seemed to confirm the most farreaching concerns of the radical critics, namely that psychiatry is a means of social control.

La ricerca ricostruisce le vicende della scena italiana tra gli anni '70 e gli anni '80 e, più nello specifico, il fenomeno del teatro di gruppo, di quelle formazioni cioè che hanno sperimentato con più profondità la questione di un'azione comunitaria attraverso lo strumento del teatro. La ricostruzione di questo fenomeno, svolta all'interno di una premessa più generale sull'emersione di una tensione comunitaria in molte delle più importanti esperienze del teatro del Novecento, è stata effettuata attraverso l'analisi della vicenda artistica e sociale di uno dei più interessanti gruppi teatrali piemontesi: il Teatro del Magopovero di Asti, oggi Casa degli Alfieri. Si tratta di una esperienza, sorta negli anni Settanta nell'ambito del teatro di base, che più di altre ha saputo coniugare al proprio interno la tensione comunitaria, sul duplice versante del lavoro di gruppo e dell'azione sociale. La ricostruzione dell'evoluzione di questo gruppo ha permesso di rileggere le vicende della scena italiana e di mettere a fuoco come la tensione etica alla base di questi gruppi sia stata in grado negli anni di evolversi e tradursi in una dimensione estetica, mantenendo sempre alta l'attenzione al radicamento territoriale, culturale e sociale dei propri esisti artistici. / The research goes trough the Italian scene in - between the 70's and the 80's, in particular it focuses on the group's theatre: teams who experimented deeply a community action with a theatre instrument. The study takes as example the “Teatro del Magopovero”, now “Casa degli Alfieri”, one of the most interesting theatre groups of Piedmont, as a significant occurrence of the artistic and social phenomena of the theatre of the last century which aims to the ensemble . This group was founded in the 70's as a community-based theatre: it's an interesting instance of group /team working and social action. The evolution of the team building of this group shows the changes in the Italian history and stresses out how the strong ethic goal of this groups has been able to change in a aesthetic element, keeping high attention to the cultural and social network with the community in their performances.

This study is about the artist Monica Sjoo’s (1938-2005) painting God giving birth (1968) that was accused of being blasphemous and obscene in the early 1970s. God giving birth could have had much in common with Niki de Saint-Phalle’s She – a cathedral (1966), both works suggesting a mother goddess image. The main difference however can be found in the fact that Monica Sjoo’s painting had connection to the women’s movement in the 1970s. Monica Sjoo’s artwork responded to other feminist artwork of that period. Among several feminist artists during the period about 1968-1985, an iconography was in use that focused on vulvar imagery, experience of childbirth and goddess images. In particulary the mother goddess was embraced. The female body in art was re-sacred and invested with meaning connected with women’s cycles of birth-death and rebirth and the earth as a mother goddess.

This thesis will examine the conceptual strategies articulated by a corpus of six works created within the first seven years of Colombian conceptual artist Antonio Caro’s career (1970-1976.) The works—Cabeza de Lleras (1970) [Head of Lleras], Aqui no cabe el arte (1972) [Art Does Not Fit Here], Manuel Quintín Lame información y variación visual (1972) [Manuel Quintín Lame, Information and Visual Variation], El imperialismo es un tigre de papel (1973) [Imperialism is a Paper Tiger], Colombia—Marlboro (1973-1975), and Colombia—Coca-Cola (1976)—despite stressing dematerialization, displaying simple designs, and communicating concise messages addressing political and cultural issues that are tied to a historical and geographic specificity, have been repeated until acquiring an iconic status. As a crucial tactic that is central to Caro’s work, this thesis will analyze both the advantages and disadvantages inherent in the strategy of repetition and how these have altered or enhanced the meaning of the works through time. Furthermore, five out of the six works in question employ text in a very particular way that results from Caro’s keen awareness of the visual potential of words. Likewise, they display anti-conventionalisms particularly with regards to the implementation of informal procedures (i.e. photocopying, posters, art actions, etc…) and the utilization of precarious materials (i.e. salt) that are often charged with historical meanings; the inherent short-lived nature of the materials used by Caro also points to the ephemeral quality of his production and to the rejection of the notion of art as a commodity. Finally, the works enact institutional critique on two fronts: they criticize the art institution from within, while simultaneously denouncing the politics of the state apparatus and the hegemonic values imposed by the dominant sectors of society. All in all, the salient features present in these six works point to Caro’s commitment to his environment while also contributing to the development of contemporary Colombian art. / text

This thesis aims to provide a history of African American working class and Leftist activism in Atlanta, Georgia during the early 1970s. It places a series of wildcat strikes within the context of political and social transition, and charges unequal economic conditions and a racially charged discriminatory environment as primary causes. The legacies of both the Civil Rights Movement and the New Left are identified as key contributing factors to this wave of labor unrest. One path taken by former Civil Right activists was to focus on poor peoples’ movements, and one course taken by the 1960s-era New Left activists was to join forces with the working class in an attempt to build a New Communist movement. In Atlanta, these two forces converged and generated a notable force against some of city’s most prominent employers.

This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.

This dissertation seeks to develop a more comprehensive understanding of the political pressure group the Committee on the Present Danger (CPD), which formed in 1976. The group's establishment, attainment of credibility, and influence in critical national security debates during the late 1970s has not yet been given sufficient attention. The Committee on the Present Danger has often been interpreted as a disingenuous propaganda group that dishonestly compiled an alarmist message to deceive politicians and journalists of the threat posed by the Soviet Union. However, the dissertation argues that the Committee's alarmism was genuine. The fact that CPD board members themselves became so fearful of the Soviet threat is the most striking aspect of the group's first four years of operation, and is the primary focus of this study. An examination of the group's formation and activities from 1976 to 1980 permits a more sophisticated appreciation of the group's goals, the promotion of its views, and the effects of its campaign on national security debates during this period. The dissertation adopts a chronological approach that recognises the creeping alarmism of the CPD over these years: warning of the dangers of détente gave way to prophesising an imminent Soviet invasion of Western Europe. Keeping the CPD as the focus of study in this period permits one to argue that the Committee's members, as a private citizens' group without government oversight and a shared worst-case methodology for assessing national security risks, sincerely came to believe in the veracity of their analysis of imminent Soviet military expansion. Committee experts generated and publicised a number of metrics that purported to demonstrate a military imbalance between the Soviet Union and the United States. Over time, and seemingly confirmed by alleged Soviet global aggression, the Committee came to believe that their worst-case estimates reflected reality.

Barbora Skálová Whose side are you on? Radical Left in postwar Finland - on the phenomenon of Marxism-Leninism outside the Eastern Bloc Abstract The dissertation aims to explore the phenomenon of a radical left movement - Taistoists - which at the turn of the 60s and 70s for a short period of time dominated the student and cultural circles in Finland. The dissertation strives to shed light on the reasons for the uprise of the - in European context unique - pro-Soviet, Marxist-Leninist and "anti-anti- establishment" youth movement, and on its influence on home and foreign policy of Finland in terms of so-called Finlandization. The work also puts the movement into the Czechoslovakian context, mainly in relation to the 1968 Warsaw Pact invasion. The dissertation discusses the theoretical anticapitalistic background of the movement and compares it to the theoretical background and political practice of coeval New Left movements in Europe and the USA. The experience of the members of the movement has been elaborated in the oral history part based on personal interviews. The oral history chapter aims to offer an explanation and a broader perspective of the taistolaiset phenomenon presented by direct witnesses and participants of the movement.

The thesis "Reflecting the media of the 1970s and the 1980s - in-house periodicals published by Czechoslovak television and Czechoslovak radio" disserts on the content of the quarterlies Televizní tvorba (Television production) and Rozhlasová práce (Radio production). The magazines which were published within two main - in that time already institutionalized - mass media were major tools serving to the KSČ, the communist party in former Czechoslovakia. Through them it was accomplishing its ideological, or more precisely propagandistic performance targeted to both, the citizens of the socialist state and abroad. Within this platform the thesis inspects the topics handled by then TV and radio employees, the following output of the discussions and their conclusions. The qualitative analysis of the two periodicals includes an introduction summarizing the historical facts that illustrate the situation of the end of the 1960's and the beginning of the 1970's. In addition, a list of periodicals published by Czechoslovak television and Czechoslovak radio for its internal use has been attached.