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Cette thèse explore les masculinités comme un terrain pluridisciplinaire pour penser les rapportsde pouvoir. A partir d’un rapprochement entre les films musicaux et les mélodrames réalisés parJacques Demy et Vincente Minnelli, ce travail examine les performances masculines dans lecontexte de l’après-guerre. Cette période de transformations sociales voit l’avènementd’une culture filmique transatlantique qui interroge et remet en cause les normes liées au genreet à la sexualité. Articulant approches esthétique et actorale, l’étude de la mise en scène met aujour la production de discours genrés ambivalents, historicisés en fonction des spécificités socio-culturelles propres aux cadres de production hollywoodien et français. Le film musical et lemélodrame, dans leur esthétique camp, se révèlent des lieux de négociations identitaires où seconstruit un rapport inédit au politique. On montre ici que les deux cinéastes, réunis par leur stylemélodramatique analogue, imaginent et rêvent des modèles de masculinités alternatives fondéessur des valeurs empathiques. Devant la caméra, la vulnérabilité, les émotions et les grandssentiments deviennent des armes politiques pour refonder et réinventer la communauté. / This thesis explores masculinities as a multidisciplinary field for thinking power relations. By connecting musical films and melodramas by Jacques Demy and Vincente Minnelli, this work examines male performances in the post-war context. This period of social transformations has given rise to the emergence of a transatlantic film culture that questions and challenges normsrelated to gender and sexuality. Articulating aesthetic and cultural studies approaches, the study of mise en scène brings to light the production of ambivalent gendered discourses, historicized according to the specific socio-cultural aspect of Hollywood and French film production environments. Musical films and melodramas, through their camp aesthetics, reveal themselvesas spaces of identity negotiation where an unprecedented rapport with politics is constructed. Both filmmakers, united by their similar melodramatic style, imagine and dream about models of alternative masculinities based on empathic values. In front of the camera, vulnerability, emotions and strong feelings become political weapons to refound and reinvent the community.

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Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-09-28T14:33:52Z No. of bitstreams: 1 DissDVMB.pdf: 2728788 bytes, checksum: eafaa9a80b790125f509cdcd84f1ddd2 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T17:53:28Z (GMT) No. of bitstreams: 1 DissDVMB.pdf: 2728788 bytes, checksum: eafaa9a80b790125f509cdcd84f1ddd2 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T17:53:34Z (GMT) No. of bitstreams: 1 DissDVMB.pdf: 2728788 bytes, checksum: eafaa9a80b790125f509cdcd84f1ddd2 (MD5) / Made available in DSpace on 2016-10-04T17:53:41Z (GMT). No. of bitstreams: 1 DissDVMB.pdf: 2728788 bytes, checksum: eafaa9a80b790125f509cdcd84f1ddd2 (MD5) Previous issue date: 2015-08-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / This work presents the results of a survey on narrative features found on contemporary Venezuelan documentary, specifically, the feature and medium length (over 30 minutes) films released in Venezuelan theaters between 2005 and 2013. We go through the work of several film critics who have written about Venezuelan documentary from the 1960s to the 1990s. In the critical review of this framework, we distinguished paradigmatic moments of documentary activity in the country, which unfold in particular forms and practices of representation. These paradigms, practices and forms dialogue with our contemporary corpus and allow us to identify three sets of films: one of leftist and militant documentaries; another, of works revolving a nationalist-populist paradigm; and finally, one we call of "ideological diversity", which moves away from the representation of Venezuelan working classes and the popular culture. The thesis describes ideological, aesthetic, narrative and thematic peculiarities of these three groups of films, and produces a film analysis of three titles, each of them belonging to one of these groups. / Esta dissertação apresenta os resultados de uma pesquisa sobre as características narrativas do documentário venezuelano contemporâneo, especificamente, dos filmes em longa e média metragem lançados em salas de cinema venezuelanas entre 2005 e 2013. Partimos da obra de vários críticos que escreveram sobre o documentário venezuelano das décadas de 1960 a 1990. Na revisão crítica deste referencial, distinguimos momentos paradigmáticos da atividade documentária no país os quais se desdobram em práticas de representação e formas de representação particulares. Estes paradigmas, práticas e formas de representação dialogam com nosso corpus contemporâneo e nos levam a identificar três grupos de filmes nele: um conjunto de documentários de corte político-militante de esquerda; um conjunto de obras em torno de um paradigma nacionalista-populista e um terceiro conjunto que chamamos de “diversificação ideológica”, que representa o distanciamento da representação das classes populares e da cultura popular da Venezuela. O trabalho descreve particularidades ideológicas, narrativas, temáticas e estéticas destes três grupos de filmes, e faz uma análise fílmica de três obras pertencentes a cada um deles.

[pt] A partir do olhar sobre dois filmes de Patricio Guzmán realizados no Chile após o fim da ditadura de Pinochet (1973-1990) - Chile, memória obstinada (1997) e Nostalgia da Luz (2010) -, discute-se como ele desenvolve uma narrativa mais pessoal – sua guinada subjetiva e reflexiva sobre a história -, considerando, com particular atenção, a memória de seu país. Seus filmes expõem - o gesto arqueológico - não somente narrativas como que soterradas na memória dos entrevistados, que foram omitidas para as novas gerações, mas também a construção de atos corporais de memória e objetos comemorativos. Murais antigos e coloridos são descobertos por trás de grossas camadas de tinta monocrômica, da mesma forma que vestígios humanos e ruínas na árida paisagem do deserto de Atacama, deixando reemergir experiências e versões dos sofrimentos de vidas que, embora tendo ficado no passado, ainda estão fortemente presentes. Ao descrever e discutir detalhes de importantes sequências desses dois filmes, procura-se mostrar como eles obstinadamente resistem e, de forma meditativa, revertem o esquecimento e a ocultação que a história oficial tem sustentado. / [en] Focusing mainly on two films by Patricio Guzmán, produced in Chile after the end of the Pinochet dictatorship (1973-1990) - Chile, obstinate memory (1997) and Nostalgia for the Light (2010), we comment on how he develops a personal and subjective narrative with a particular attention to the memory of his country s and people s past. His films bring out - and that is what we call the archeological gesture - not only narratives which are buried in the memories of the interviewees and had been kept untold (out of reach particularly of the new generation), but also objects like old vivid mural pictures covered up by a non-descriptive coat of paint, as well as remains and ruins of the arid landscape of the Atacama desert, letting reemerge experiences and versions of the past, though still strongly present, lives of suffering. It was mainly when we describe in detail and attentively comment on important sequences of these two films that we succeeded in showing how they obstinately resist and revert the forgetting and obliteration of the accommodating official story.

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Mémoire en recherche-création. Co-direction. / Basé sur une approche singulière, personnelle et interdisciplinaire, le présent mémoire de recherche-création interroge l’évolution des représentations cinématographiques associées aux femmes noires, largement répandues dans le cinéma américain, français et antillais. Cette étude-essai s’appuie plus particulièrement sur les liens que maintiennent les mythes respectifs de la Strong Black Woman dans un contexte nord-américain et celui de la femme Potomitan antillaise, en retraçant : leur historicité commune bien que géographiquement éparse, les valeurs de résilience et de sacrifice qu’elles partagent, mais aussi les limites sous-jacentes que révèlent l’utilisation de ces deux figures au cinéma. Pour comprendre l'ampleur de l'influence cinématographique et sociétale de ces mythes, il est essentiel d'examiner non seulement les contextes postcoloniaux dont ils sont issus et dans lesquels ils ont évolué, mais aussi les théories féministes qui prennent en compte, ou non, la dimension raciale de ces questions. Il faut également considérer la persistance des stéréotypes qui associent ces femmes et les personnages qu'elles interprètent à l'écran à des conceptions figées et racistes. Rythmée par le dialogue qu’entretiennent les deux composantes de ce mémoire-création, alliant une étude scientifique basée sur une méthodologie comparative à la réalisation d’un court-métrage de fiction, cette réflexion apporte une critique quant au rôle que jouent de telles représentations audiovisuelles dans la construction identitaire et la perception sociale de ces femmes et des communautés afro-descendantes auxquelles elles appartiennent. Ce faisant, il s’agit ici de révéler les lacunes palpables qui animent les récits cinématographiques qui en sont faits, ainsi que leur manque prégnant de subtilité et d’inclusivité. En outre, nous suggérons d'examiner des films qui adoptent une approche moderne de ces concepts. / Based on a unique, personal, and interdisciplinary approach, this present research-creation thesis examines the evolution of cinematic representations associated with Black women, widely prevalent in American, French, and French Caribbean cinema. This study-essay relies specifically on the links between the myths of the Strong Black Woman in a North American context and that of the Potomitan woman in the Caribbean, tracing their common historicity despite being geographically opposed, the values of resilience and sacrifice they share, as well as the underlying limitations revealed by using these two figures in cinema. In order to grasp the extent of the cinematic and societal influence of these myths, it is essential to consider not only the postcolonial contexts from which they originate and within which they have evolved but also the feminist theories that take into account, or not, the racial dimension of these issues. Additionally, it is necessary to consider the persistence of stereotypes that associate these women and the fictional characters they embody on screen with fixed and racist conceptions. Structured by the dialogue between the two components of this research-creation, combining a scientific study based on a comparative methodology with the making of a fictional short film, this reflection provides a critique of the role played by such audiovisual representations in the construction of identity and social perception of these women and the Afro-descendant communities to which they belong, revealing the tangible shortcomings that animate the cinematic narratives surrounding them, as well as their lack of subtlety and inclusivity. Furthermore, we suggest examining films that advise a modern approach to these concepts.

La Guerre Froide domine l'histoire de la seconde moitié du vingtième siècle, et sa conclusion demeure source de débats aujourd'hui, le triomphalisme des conservateurs étant souvent remis en cause par les tensions avec la Russie. Au cœur du conflit se trouvait la perception pour les Américains d'une menace basée sur l'idéologie et la puissance militaire de l'Union soviétique. Mais cette « image de l'ennemi » resta fondée sur de nombreuses erreurs d'interprétation des données disponibles. En fait, l'étude des dernières années de la Guerre Froide révèle que cette image déformée des capacités et des motivations de l'ennemi a acquis des fonctions internes au paysage politique américain. Le débat public, souvent dominé par les personnalités anticommunistes, montre que la perception du conflit par les Américains dépendit longtemps de représentations ancrées dans l'imaginaire collectif. Or, l'arrivée au pouvoir de Mikhaïl Gorbatchev en 1985 va rapidement permettre de remettre en question ces représentations. Entre 1984 et 1989, la volonté de Ronald Reagan, puis de Mikhaïl Gorbatchev, d'apaiser les tensions à la source de la Guerre Froide, va donc signifier une déconstruction de l'image de l'ennemi et une ré-humanisation progressive des Soviétiques. En cinq ans, l'Union soviétique cessera d'être un « empire du mal » pour devenir « juste une autre grande puissance ». En étudiant cette évolution, on peut discerner l'origine et les fonctions de l'image de l'ennemi, et donc voir comment la perception des ennemis peut être influencée ou instrumentalisée. La fin de la Guerre Froide nous renseigne ainsi sur la construction de nos ennemis d'aujourd'hui. / The Cold War looms large over the history of the second half of the 20th century, and its conclusion remains a source of debates to this day, while renewed tensions with Russia may lead us to question the triumphalism of hawks after the collapse of the Soviet Union.At the heart of the conflict was the perception by Americans of a threat based on the ideology and the military power of the Soviet Union. But this « enemy image » was based on many faulty interpretations of the available data.In fact, the study of the last years of the Cold War reveals that this twisted image of the capabilities and intentions of the enemy had acquired internal functions of its own on the American political scene. The public debate, often dominated by anticommunist figures, shows that the perception of the conflict by Americans long rested on preconceptions deeply embedded in the collective imagination. However, the rise to power of Mikhail Gorbachev in 1985 would lead to a thaw in the Cold War : the enemy image was deconstructed and the Soviets progressively became more human in the eyes of Americans. In five years, the Soviet Union ceased being an « evil empire » to become « just another great power ». By studying this evolution, one can determine the origins and functions of the enemy image, et thus understand how the perception of enemies can be influenced or used. The end of the Cold War thus allows us to better understand the construction of today's enemies.