Made available in DSpace on 2016-04-27T16:32:41Z (GMT). No. of bitstreams: 1 Ive Braga.pdf: 1016550 bytes, checksum: 12e4b0f7af563439ecc30ea29a21f2a3 (MD5) Previous issue date: 2012-09-10 / The following research analises the individual formation s process during its trajectory in the institutions. In order to do that, were taking in consideration as sources of information and analized excerpts of five films made by the french director François Truffaut, namely: The Four Hundred Blows (1959), Antoine and Colette (1962), Stolen Kisses (1968), Bed and Board (1970), Love on the Run (1979). They portray the story of Antoine Doinel autobiographical character who stars these series of films lived among different institutions: Family, school, reformatory, prison, army and other groups responsible for his socialization. With the purpose of exploring the formation of the individual in its objectivation in the work of art, the theoretical framework adopted to build this study is The Critical Theory of Society, using, mainly, the concepts of individual, family, society, formation and so-called formation developed by Theodor W. Adorno and Max Horkheimer. The society objectvated in the work of art has allowed the investigation to find that the individual cannot exist in the society accordind to its self-determination. The formation by means of institutions is permeated by impoverished experiencies based in punishing and coercive methods that aim the standardization to the stablished order and social control, enforcing deep marks in the individual who has little alternatives to resist to the rules formerly determined by the suprastructure. Such appropriation of the individual in the social relationships of domination reproduces the characteristics of culture in the managed society: the so-called formation. The refusal of Antoine Doinel in adhering to the forms established by society reflects a negative relationship with the existing reality, poiting to the possibility of overcoming it / A presente pesquisa analisa o processo de formação do indivíduo durante sua trajetória nas instituições. Para tanto, foram tomadas como fonte de informações e analisadas passagens de cinco filmes realizados pelo diretor de cinema francês François Truffaut, a saber: Os Incompreendidos (1959), Antoine e Colette (1962), Beijos Proibidos (1968), Domicílio Conjugal (1970), Amor em Fuga (1979). Tais filmes retratam a história de Antoine Doinel personagem autobiográfico protagonista desta série de filmes vivida em diferentes instituições: família, escola, reformatório, prisão, exército e demais grupos responsáveis por sua socialização. Com o intuito de explorar a formação do indivíduo em sua objetivação na obra de arte, o referencial teórico adotado para elaboração deste estudo é a Teoria Crítica da Sociedade, utilizando-se, principalmente, os conceitos de indivíduo, família, sociedade, formação, pseudoformação desenvolvidos por Theodor W. Adorno e Max Horkheimer. A sociedade objetivada na obra de arte permitiu à investigação constatar que o indivíduo não pode existir de acordo com sua autodeterminação. A formação por meio de instituições é permeada por experiências empobrecidas baseadas em métodos punitivos e coercitivos que visam a padronização à ordem estabelecida e o controle social; impingindo marcas profundas no indivíduo que pouco dispõe de alternativas para resistir à regras determinadas de antemão pela supraestrutura. Tal apropriação do indivíduo das relações sociais de dominação reproduz as características da cultura na sociedade administrada: a pseudoformação. A recusa de Antoine Doinel em aderir às formas estabelecidas da sociedade reflete uma relação negativa com a realidade existente, apontando para a possibilidade de superação dessa realidade

Comment peut-on transformer un Je réel en œuvre ? À quoi peut-on reconnaître dans une œuvre l’identité de ce Je et de l’auteur ? Dans cette recherche, nous voudrions tenter d’explorer un espace autobiographique dans le domaine cinématographique, à partir de la présence d’un double filmique du cinéaste, d’un autre moi dont l’identité se construit et se prolonge de film en film.Dans le cinéma français, nous pouvons relever trois types de double filmique : l’« Orphée-poète » de Jean Cocteau, l’« Antoine Doinel » de François Truffaut, et cet « ancien militant de la génération 68 » de Romain Goupil. Au travers de ces figures de l’image de soi, les trois cinéastes, dont les univers filmiques se différencient radicalement les uns des autres, parviennent à se raconter eux-mêmes au-delà de toute référence biographique.Afin de mettre en lumière certaines caractéristiques de l’expression du Je, nous voudrions étudier les diverses facettes du regard porté sur soi : nous y verrons ce regard croisé avec un moi-autre, qui nous mènera jusqu’au regard impossible sur sa propre mort. Tous ces regards seront aussi étudiés au travers des diverses modalités de la façon dont nous entendons la voix du cinéaste. Le regard de l’auteur se dédouble sans cesse dans une inlassable dialectique entre le moi réel et un autre moi. De ce dédoublement du regard résulte d’ailleurs une forme de polyphonie. Si nous parvenons à reconnaître une œuvre comme autobiographique, c’est du fait de ce dédoublement du regard et de la voix, qui s’opère à l’intérieur de l’œuvre elle-même. / In which way does a cineaste transforme his or her reel self into works? How can we recognize this self-image in the films? This study concerns the autobiographical expression in the films of sevral french cineastes, such as Jean Cocteau, François Truffaut, and Romain Goupil, those who intended constantly to create their own cinematic double all over their works. We will see the distinctive character of self-expression films through the various aspects of cineastes’ introspective gaze : those toward his « another self », toward his own death, etc. These gazes might be also examined in relations with the various ways that we can hear the polyphonic voices of cineastes.