Leicht veränd. Diss. Univ. Wuppertal, 2008.

À partir des années 1980, plusieurs théoriciens issus des études cinématographiques (Philippe Dubois, Raymond Bellour, Jean-Paul Fargier) ont assigné à la vidéo des coordonnées identitaires fixes, afin notamment d'en souligner la différence essentielle par rapport au cinéma. Partant d'une critique de ces auteurs, le travail proposé entend réenvisager les rapports entre le cinéma et la vidéo en évitant par principe tout cloisonnement identitaire fondé sur une différenciation technologique. Afin de rendre à la vidéo son hétérogénéité, et de mettre en lumière certains rapprochements avec le cinéma, ce travail se concentre sur les discours attachés aux usages de l'électronique dans des films distribués en salles d'exploitation. À partir d'un corpus d’œuvres déterminé, courant principalement sur deux décennies, il s'agit de dégager et d'analyser plusieurs « idées de vidéo » (sur le modèle de l' « idée de la photographie » de François Brunet), tantôt induites par les critiques, tantôt par les cinéastes ou encore par les films eux-mêmes. Prenant pour modèle méthodologique l’archéologie foucaldienne, cette investigation a pour objectif de repenser les termes d’une histoire des rapports entre cinéma et vidéo, avant tout focalisée sur les discours, en refusant toute idée de progrès continu. L’une des exigences de ce travail est, en effet, de réinscrire la « discontinuité » et la « dispersion » (deux opérateurs chers à Foucault) au cœur de la description historique. / Since the Eighties, several film scholars (Philippe Dubois, Raymond Bellour, Jean-Paul Fargier) have assigned fixed identity to video in order to emphasize its fundamental difference with cinema. We intend to reconsider the relations between cinema and video in a way which would avoid these ontological dictinctions based on technology. This thesis would like to give its heterogeneity back to video and bring to light some analogies with cinema by examining texts about electronic uses in theatrical released movies. The purpose is to identify and analyze several « ideas of video » (on the model of François Brunet's « idea of photography »), drawing on three ranges of objects : press reviews, filmmakers statements and movies themselves. Building on Michel Foucault's archeology, this investigation aims to re-think a history of the relations of cinema with video focused on discourses. One of our requirements is to challenge the idea of historical continuous progess and use two Foucaldian models instead : « discontinuity » and « dispersion ».

Made available in DSpace on 2016-12-08T16:59:51Z (GMT). No. of bitstreams: 1 Daniel.pdf: 1707681 bytes, checksum: 4b5e04b9b409690da3ffc27cc2b8065a (MD5) Previous issue date: 2011-12-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the films Man with a movie camera (1929), by Dziga Vertov, and Tokyo-Ga (1985), by Wim Wenders, in their relation to temporality and historicity of the time they were made. At the same time, historical and aesthetic aspects are addressed through historical categories as regime of historicity , proposed by François Hartog, horizon of expectation and space of experience , by Reinhart Koselleck, which are important concepts to understand that the way past, present and future are articulated helps explain certain aspects of a particular temporality. Modernity and postmodernity, memory and forgetting, time acceleration, and sacralization of the past are some of the topics involved in this study, that also highlights similarities and tensions between cinema and history in relation to concepts like truth, legitimacy, production of meaning and representation / Esta dissertação analisa os filmes Um homem com uma câmera (1929), de Dziga Vertov, e Tokyo-Ga (1985), de Wim Wenders, em sua relação com a temporalidade e a historicidade da época em que foram realizados. São abordados paralelamente aspectos históricos e estéticos, sendo utilizadas categorias históricas como regime de historicidade , proposta por François Hartog, horizonte de expectativa e espaço de experiência , de Reinhart Koselleck, conceitos importantes para se compreender que a forma como passado, presente e futuro são articulados ajuda a explicar certos aspectos de uma dada temporalidade. Modernidade e pós-modernidade, memória e esquecimento, aceleração temporal, sacralização do passado são alguns dos tópicos que permeiam esta pesquisa, que também sublinha aproximações e tensões entre cinema e história no que se refere a conceitos como verdade, legitimidade, produção de sentidos e representação

The purpose of this study is to create a deeper understanding on how brands today arepart of culture, creating meaning and effects, persuading customers through hidden messages and cultural communication codes. The starting point for my studies has been a European approach, with a German brand as empirical material. As a visual communicator it is especially important to critically understand how each element in an advertising campaigncreates meaning and therewith influences consumers unconsciously. My study has the ambition to research how luxury products are portrayed by examining visual markers for taste and exclusivity that indicate that the Jil Sander advertising campaign (2018) is directed towards members of a higher social strata. This has been done by using a qualitative visual image analysis based on social semiotics. Representation, taste, status and social milieus are the theoretical key terms in this study which are linked to my image analysis which shows that the characters are members of the same scene belonging tothe same social milieu, were they share social norms, dress codes, linguistic codes such assigns and symbols. All of them are visual markers of a higher social class, taste and capital.

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