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Cette recherche se propose d'examiner la figure du héros américain de cinéma, en tant que figure héroïque et pas seulement en tant que personnage principal. Refusant le motif d'un Âge d'or du héros (qui correspondrait au cinéma classique hollywoodien) suivi d'une décadence anti-héroïque (que serait le nouvel Hollywood des années 70), nous avons voulu traiter, au-delà des héros eux-mêmes, de l'héroïsme qui leur était associé, notamment dans un genre considéré comme le vivier par excellence des nouveaux Hercules : le film d'Action.Cet héroïsme nous est apparu comme critique, c'est-à-dire en crise - autrement dit, les héros vivent leur héroïsme sur un mode conflictuel, qui se traduit notamment dans la mise en image de corporéités impossibles, où le corps est poussé vers des états limites. Nous avons ainsi travaillé cette notion d'héroïsme en creux, en cherchant à définir son ailleurs ; à cet égard,c'est le nerd, figure stéréotypée prégnante dans la culture américaine, qui s'est imposée. Ce contre-héroïsme du nerd n'est pas seulement un contre-modèle, mais aussi un terme nécessaire dans l'équation héroïque. Les super-héros qui peuplent aujourd'hui les écrans de cinéma forment à priori une image sublimée de l'héroïsme au cinéma, mais réaffirment, par le jeu des identités doubles, l'intrinsèque fragilité d'un héroïsme qui ne peut émerger qu'à la condition d'intégrer son contraire. / This research aims to examine the figure of the american hero in cinema, understood as aheroic figure and not just a main character. By waving aside the idea of a Golden Age for thehero (which could be embodied by classic Hollywood characters) followed by a decadent era(the new Hollywood), we wish to focus - beyond the heroes themselves - on their heroism,especially in a genre considered as the ideal context for harvesting new Herculeses: the actionfilm. Heroism is revealed as being critical, meaning in crisis - in other words, heroes live theirheroism on a conflictual mode, which results in images showing impossible corporeities,where the body is pushed to borderline states. We have thus treated this concept of heroismby searching for its opposites; in this framework, the stereotypical figure of the nerd,dominant in the American culture, imposed itself. The nerd presents a counter-heroism that isnot only a reversed model, but also a necessary term in the heroic equation. The super-heroesthat we see nowadays on movie screens seem to present a sublime image of heroism in thecinema, but thanks to the interplay of their dual identity, they also reaffirm the inner fragilityof heroism, which can only emerge when it accepts its contrary.

Violence can be handled in a variety of ways across a wide variety of film genres and specific grasps of genres. The goal of this thesis is to explore the different functions of violence in films and then show how different is the acceptance of violence by Western film critics, ie journalists, in the same genre with similar motivations of the main characters, but with a slightly different approach of these characters to the use of violence. In the theoretical part I will describe the terms of review, criticism, film and at the same time the function of violence in films across genres. The practical part will then show how the concept of violence and its function may differ even within one larger genre, although the motivations of the main characters may sometimes be similar. Certain parallels as well as differences in the use and function of violence will be discussed on the example of selected scenes from two action film series Ip Man and Rambo. Subsequently, the reactions to the manifestations of violence by film critics will be analyzed and in the end it will be assessed whether the critics reacted to the processing of violence at all, how they reacted to it and what generally follows from the critics' approach to various possibilities on depicting violence. The partial goal of the thesis will...

<p>The purpose of the thesis was to analyse three action films; Collateral Damage from 2002; Clear and Present Danger from 1994; and Scarface from 1983, in order to see how Colombians are represented in these movies.The action genre comprises of different stereotypes where the hero and the villain are represented in conjunction to each other. The analysis is about the way the films content and form are used to uphold the representation of Colombians, but also the villain and the hero more generally.</p><p>Critical Discourse Analysis was used, as main method, and the concepts of denotation and connotation guided the analysis. . The main conclusion is that the three movies reproduced an already established collective stereotype of Latin Americans, stereotype that includes both Colombia and Colombians.</p> / <p>Syftet med uppsatsen var att analysera tre actionfilmer: Collateral Damage från 2002; Clear and Present Danger från 1994; och Scarface från 1983 för att se hur Colombianer representeras i filmerna. Actiongenren består av olika stereotyper där främst actionhjälten och skurken ställs i relation till varandra. Analysen gick ut på att se på vilket sätt filmernas innehåll och form användes för att framhäva främst representationen av colombianerna, men även skurken och hjälten.</p><p>Som metod användes en kritisk diskursanalys där begreppen denotation och konnotation var vägledande.</p><p>Analysen visade att filmerna reproducerade en redan etablerad kollektiv stereotyp bild av latinamerikaner, som inkluderar både Colombia och colombianer.</p>

The purpose of the thesis was to analyse three action films; Collateral Damage from 2002; Clear and Present Danger from 1994; and Scarface from 1983, in order to see how Colombians are represented in these movies.The action genre comprises of different stereotypes where the hero and the villain are represented in conjunction to each other. The analysis is about the way the films content and form are used to uphold the representation of Colombians, but also the villain and the hero more generally. Critical Discourse Analysis was used, as main method, and the concepts of denotation and connotation guided the analysis. . The main conclusion is that the three movies reproduced an already established collective stereotype of Latin Americans, stereotype that includes both Colombia and Colombians. / Syftet med uppsatsen var att analysera tre actionfilmer: Collateral Damage från 2002; Clear and Present Danger från 1994; och Scarface från 1983 för att se hur Colombianer representeras i filmerna. Actiongenren består av olika stereotyper där främst actionhjälten och skurken ställs i relation till varandra. Analysen gick ut på att se på vilket sätt filmernas innehåll och form användes för att framhäva främst representationen av colombianerna, men även skurken och hjälten. Som metod användes en kritisk diskursanalys där begreppen denotation och konnotation var vägledande. Analysen visade att filmerna reproducerade en redan etablerad kollektiv stereotyp bild av latinamerikaner, som inkluderar både Colombia och colombianer.

While it is very common for supermodels to make the occasional foray into cinematic performance, and some of them manage to turn these forays into full-time careers in acting, it is very rare that supermodel-actors are afforded any academic attention. This thesis seeks to change this through a case study of two supermodel-actors: Devon Aoki and Abbey Lee. Using a methodology that combines extratextual contextualization with close analysis of image and film materials, and grounded in a perspective that centers the body, it analyzes Aoki and Lee’s careers as they cross over from one form of stardom to another. The focus of the analysis lies in the way that the bodily capital which is the basis of their modelling work also informs their acting personas as they are shaped through their on-screen work, publicity and reception. Furthermore, the thesis applies the concept of niche stardom, adapted from Diane Negra, to illustrate how Aoki and Lee inhabit a stardom which is specific to certain audiences with specific values and tastes. The analysis finds that there is a significant overlap between Aoki and Lee’s modelling and acting personas, and that this overlap is channeled through the representations of their bodies which, are the sites of heterogeneous discourses of gender, sexuality and race.

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