Zugl.: Zürich, Univ., Diss, 2009

Cette thèse propose une approche historique et culturelle du Festival de Cannes, en mettant l'accent sur son rôle, contrasté, dans la promotion du cinéma en France de 1946 à 1972. Quelle(s) image(s) ses organisateurs entendent-ils donner du cinéma et quelle image contribue à en construire la publicisation de la manifestation dans les différents médias de l'époque (télévision, actualités cinématographiques et presse spécialisée) ? Il s'agit donc de savoir comment été perçu le cinéma après la Seconde Guerre mondiale par l'intermédiaire du Festival de Cannes, d'évaluer comment le Festival a cherché à modifier en France ou a modifié dans les faits (ce qui n'est pas forcément la même chose) l'image, le statut, les fonctions du cinéma et le rapport au cinéma, national ou international, et de voir comment les médias abordent l’actualité cinématographique. Les recherches, essentiellement faites à partir de fonds d’archives – celles de l’Association du Festival de Cannes, de la télévision et de la presse spécialisée –, ont permis de comprendre les différents aspects de la manifestation et de saisir les relations qu'entretiennent les différentes institutions en charge de l’événement avec le cinéma.1946, année de la première édition du Festival, est le point de départ de ses recherches. 1972, année où le Comité d’Organisation devient le seul décisionnaire des films sélectionnés, les clôture. Entre ces deux dates, 25 éditions où les pays participants choisissaient eux-mêmes les films envoyés sur la croisette. 25 années où le contexte socio-politique mondial s’invite sur la scène cannoise mettant à l’épreuve les ambitions artistiques mais aussi les intérêts économiques et diplomatiques des organisateurs du Festival de Cannes ; 25 années dont les médias sont, partiellement et/ou différemment selon les sources, les reflets privilégiés. / This thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections.

La fibre de maïs est la partie aérienne de la plante excluant le grain. Elle est parfois appelée résidu de maïs parce que les producteurs de grandes cultures la laissent généralement au champ. La fibre sèche peut servir comme litière ou combustible, mais le climat froid et humide à l’automne au Québec limite considérablement la récolte de résidus secs (teneur en eau < 15%). Un échantillonnage de plants de maïs de 2008 à 2010 a montré que les rendements de fibre variaient entre 6,2 et 8,0 tonnes de matière sèche (MS) par hectare pour un site dans une zone de 2300-2500 UTM (unités thermiques maïs) alors qu'ils variaient entre 7,7 et 10,5 t MS ha-1 pour deux sites dans la zone de 2900-3100 UTM. Des essais de récolte à grande échelle au champ en Montérégie (Québec) ont eu lieu aux printemps 2009, 2010 et 2011. Les rendements de fibres au printemps étaient en moyenne 63% (6,6 t MS ha-1) des rendements de l’automne précédent. Toujours en référence aux rendements d'automne, l'utilisation d'une faucheuse, d'un râteau et d'une presse ronde ou rectangulaire permettait de collecter de 47 à 50% des résidus à une teneur en eau moyenne de 9,0%. L'utilisation d'un broyeur-andaineur réduisait l'efficacité de collection (45%), mais offrait une capacité de récolte (5,2 ha h-1) nettement supérieure aux opérations de fauche et râtelage (2,3 et 2,0 ha h-1). Une remorque autochargeuse utilisée en 2010 et 2011 générait moins de pertes de résidus (6%) qu'une presse à balles rondes (15%). Le coût de récolte était de 29,04 à 34,30 $ t-1 MS selon les équipements utilisés. Les coûts d’entreposage étaient moindres pour les grosses balles carrées ($29,87 t-1 MS) que pour les balles rondes ($59,44 t-1 MS) et les fibres hachées ($71,85 t-1 MS). La capacité d'absorption des résidus de maïs récoltés (2,8) était plus élevée que la ripe de bois (1,8) et le bran de scie (2,1). Les résidus de maïs avaient une énergie calorifique variant entre 16,86 et 17,64 MJ kg-1 et une teneur en cendre entre 4,80 et 7,31%. Les résultats de ces expériences pourront servir de référence quant à la récolte et l'utilisation des résidus de maïs. / Corn stover is the aerial part of the plant excluding grain, sometimes called MOG (material other than grain). Stover is generally a crop residue because most grain growers leave it on the ground after grain harvest. Dry corn stover can be used as bedding material or as a solid fuel on the farm. However, the cold and wet climate prevailing in Eastern Canada considerably limits the harvest of dry corn stover (moisture content < 15%) in the fall. Standing corn plants were sampled in fall 2008 to 2010 in order to determine the potential stover yields. For a site located in a 2300-2500 CHU (crop heat unit) zone, stover yields varied from 6.2 to 8.0 tonnes of dry matter (DM) per hectare. Yields ranging from 7.7 to 10.5 t DM ha-1 were measured for two other sites located in the 2900-3100 CHU zone. Large scale field harvest trials were done in spring from 2009 to 2011. The available stover yield in the spring averaged 63% (6.6 t DM ha-1) of the stover yield in the previous fall. Based on fall yields, 47 to 50% of the stover was collected using haymaking equipment. The average moisture content was 9.0%. Collection efficiency was reduced to 45% with a flail windrower but a gain in productivity was measured (5.2 ha h-1) compared to mowing and raking operations (2.3 and 2.0 ha h-1). Harvest losses from a self-loading wagon were smaller (6%) than from a round baler (15%). The cost of field operations varied between $29.04 and $34.30 t-1 DM depending on the harvest sequence. Storage cost was as high as $71.85 t-1 DM for bulk material harvested with the self-loading wagon. Large square and round bale storage cost was estimated at $29.87 t-1 DM and $59.44 t-1 DM, respectively. Corn stover had a higher absorption index (2.8) than wood shavings (1.8) and saw dust (2.1) used at the farm. The calorific energy of corn stover ranged from 16.86 to 17.64 MJ kg-1 while the ash content varied between 4.80 and 7.31%. Results should allow effective planning of cost and operations related to dry corn stover harvested in the spring.

Thesis (doctoral) - Universität, Zürich, 2008/09. / Includes bibliographical references and register.

O Cannes Lions Festival é o mais célebre festival mundial de publicidade, responsável por ditar tendências de mercado e consagrar profissionais e agências ganhadores de seus prêmios, os Leões. A área Films, para a qual se inscrevem as peças de audiovisual publicitário, é a fundadora do Festival e, até hoje, uma das mais cobiçadas. Ocorre, entretanto, que não há critérios publicizados ou concretos de avaliação das peças publicitárias e escolha das vencedoras, apenas um júri internacional de profissionais renomados com a orientação de premiar as propagandas mais criativas, ainda que tampouco seja estabelecido o que configura tal critério. Esta dissertação argumenta em direção a uma identidade de qualidade criativa reconhecida nos filmes vencedores do Festival, tendo como objetivo mapear e classificar as mudanças e permanências nas escolhas criativas das peças premiadas na área Films do Cannes Lions Festival entre 2002 e 2011, propondo uma visão do que é gerado pelo mercado e respaldado pela premiação. O principal critério adotado para distinguir as peças foi o relativo aos caminhos criativos escolhidos, definidos como de transgressão e/ou de ambiguidade, conceitos de Umberto Eco (1991 e 2001). O aporte teórico referente ao audiovisual é proveniente dos estudos de Jacques Aumont (1996) e Graeme Turner (1997), bem como o aprofundamento da pesquisa em publicidade se deu a partir das visões de Bigal (1999), Barreto (1982) e Domingos (2003). A submissão quantitativa de uma grande amostra de 131 comerciais vencedores a uma classificação com variáveis concernentes a audiovisual, criatividade e narrativa permitiu contabilizar os índices com maior e menor importância e constância na década e realizar cruzamentos a fim de perceber as tendências e relações entre as escolhas criativas para o audiovisual publicitário premiado ao longo do período. / The Cannes Lions Festival is the most prestigious international advertising festival, responsible for setting market trends and bringing fame to professionals and agencies that receive its Lions awards. The Films area, for which are subscribed the audiovisual ads, originated the festival and still is one of the most desired. On the other hand, there are no public or concrete criteria for the advertising pieces evaluation and selection, there is only a international jury featuring well-known professionals with the sole orientation to chose the most creative pieces, even if the definition of that criteria is not established. This dissertation argues in the aim to find an identity of the creative quality recognized in the films awarded in the festival, having as main objective to map and classify the changes and permanencies regarding creative choices among the prized pieces in the Films area of the Cannes Lions Festival from 2002 to 2011 proposing a vision about what is generated by the market and appreciated by the event. The main criteria adopted to distinguish the pieces was related to creative paths chosen, defined as transgression and/or ambiguity, concepts from Umberto Eco (1991 e 2001). The theoretical background regarding the audiovisual is due to the studies of Jacques Aumont (1996) and Graeme Turner (1997), as the depth of this research when it comes to publicity is deserved to the Bigal (1999), Barreto (1982) and Domingos (2003). The quantitative submission of a numerous sample of 131 winner commercials to a variable classification concerning audiovisual, creativity and narrative enable the counting of the index with most and least importance and consistency in the decade, as well as the crossing of data in order to realize past and upcoming trends and the relations between the creative choices for the audiovisual advertising awarded during this period.

A tese buscou encontrar padrões em peças digitais consideradas relevantes aos profissionais atuantes no mercado publicitário. Em prisma conceitual, reproblematizou as terminologias publicidade, propaganda e marketing na contemporaneidade, de forma a recomendar jurisdições às suas adoções no ambiente web. Já em linhas metodológicas desenvolveu um conjunto de procedimentos para encontro dessas peças com base nos seguintes critérios: repositório, relevância, acessibilidade e perenidade. O universo de construção da amostra foi composto por sete premiações publicitárias distintas geograficamente (região, país e mundo), em foco (híbridas e online) e em ciclo de carreira (profissionais e estudantes). A observação de tais eventos apontou para utilização do Festival Mundial de Criatividade de Cannes como estudo de caso. A análise das doze peças agraciadas como Grand Prix na categoria Cyber Lions no período de 2009 a 2014 desvelou cinco padrões principais: anunciantes de grande porte, utilização de vídeos, possibilidade de participação das audiências, repercussões editoriais e narrativas/contações de estórias. / The present thesis sought to identify patterns in digital pieces that were considered to be relevant to the publicity system. In a conceptual scope, the study re-problematized the terms publicity, advertising and marketing in contemporary times so to recommend jurisdictions to their usages within the web environment. Regarding methodology, a set of procedures were developed to address these pieces based on the following criteria: repository, relevance, accessibility and continuity. The universe of sample construction was composed by seven advertising awards that were distinct in their geography (region, country and world), focus (hybrid and online) and career cycle (professionals and students). By observing these events, the Cannes Lion International Festival of Creativity was indicated as the case study. The twelve pieces awarded as Grand Prix in the Cyber Lions category between 2009 and 2014 were analyzed and five patterns emerged: large advertisers, use of videos, possibility for audience participation, editorial repercussions, and storytelling/narratives.

A tese buscou encontrar padrões em peças digitais consideradas relevantes aos profissionais atuantes no mercado publicitário. Em prisma conceitual, reproblematizou as terminologias publicidade, propaganda e marketing na contemporaneidade, de forma a recomendar jurisdições às suas adoções no ambiente web. Já em linhas metodológicas desenvolveu um conjunto de procedimentos para encontro dessas peças com base nos seguintes critérios: repositório, relevância, acessibilidade e perenidade. O universo de construção da amostra foi composto por sete premiações publicitárias distintas geograficamente (região, país e mundo), em foco (híbridas e online) e em ciclo de carreira (profissionais e estudantes). A observação de tais eventos apontou para utilização do Festival Mundial de Criatividade de Cannes como estudo de caso. A análise das doze peças agraciadas como Grand Prix na categoria Cyber Lions no período de 2009 a 2014 desvelou cinco padrões principais: anunciantes de grande porte, utilização de vídeos, possibilidade de participação das audiências, repercussões editoriais e narrativas/contações de estórias. / The present thesis sought to identify patterns in digital pieces that were considered to be relevant to the publicity system. In a conceptual scope, the study re-problematized the terms publicity, advertising and marketing in contemporary times so to recommend jurisdictions to their usages within the web environment. Regarding methodology, a set of procedures were developed to address these pieces based on the following criteria: repository, relevance, accessibility and continuity. The universe of sample construction was composed by seven advertising awards that were distinct in their geography (region, country and world), focus (hybrid and online) and career cycle (professionals and students). By observing these events, the Cannes Lion International Festival of Creativity was indicated as the case study. The twelve pieces awarded as Grand Prix in the Cyber Lions category between 2009 and 2014 were analyzed and five patterns emerged: large advertisers, use of videos, possibility for audience participation, editorial repercussions, and storytelling/narratives.

O Cannes Lions Festival é o mais célebre festival mundial de publicidade, responsável por ditar tendências de mercado e consagrar profissionais e agências ganhadores de seus prêmios, os Leões. A área Films, para a qual se inscrevem as peças de audiovisual publicitário, é a fundadora do Festival e, até hoje, uma das mais cobiçadas. Ocorre, entretanto, que não há critérios publicizados ou concretos de avaliação das peças publicitárias e escolha das vencedoras, apenas um júri internacional de profissionais renomados com a orientação de premiar as propagandas mais criativas, ainda que tampouco seja estabelecido o que configura tal critério. Esta dissertação argumenta em direção a uma identidade de qualidade criativa reconhecida nos filmes vencedores do Festival, tendo como objetivo mapear e classificar as mudanças e permanências nas escolhas criativas das peças premiadas na área Films do Cannes Lions Festival entre 2002 e 2011, propondo uma visão do que é gerado pelo mercado e respaldado pela premiação. O principal critério adotado para distinguir as peças foi o relativo aos caminhos criativos escolhidos, definidos como de transgressão e/ou de ambiguidade, conceitos de Umberto Eco (1991 e 2001). O aporte teórico referente ao audiovisual é proveniente dos estudos de Jacques Aumont (1996) e Graeme Turner (1997), bem como o aprofundamento da pesquisa em publicidade se deu a partir das visões de Bigal (1999), Barreto (1982) e Domingos (2003). A submissão quantitativa de uma grande amostra de 131 comerciais vencedores a uma classificação com variáveis concernentes a audiovisual, criatividade e narrativa permitiu contabilizar os índices com maior e menor importância e constância na década e realizar cruzamentos a fim de perceber as tendências e relações entre as escolhas criativas para o audiovisual publicitário premiado ao longo do período. / The Cannes Lions Festival is the most prestigious international advertising festival, responsible for setting market trends and bringing fame to professionals and agencies that receive its Lions awards. The Films area, for which are subscribed the audiovisual ads, originated the festival and still is one of the most desired. On the other hand, there are no public or concrete criteria for the advertising pieces evaluation and selection, there is only a international jury featuring well-known professionals with the sole orientation to chose the most creative pieces, even if the definition of that criteria is not established. This dissertation argues in the aim to find an identity of the creative quality recognized in the films awarded in the festival, having as main objective to map and classify the changes and permanencies regarding creative choices among the prized pieces in the Films area of the Cannes Lions Festival from 2002 to 2011 proposing a vision about what is generated by the market and appreciated by the event. The main criteria adopted to distinguish the pieces was related to creative paths chosen, defined as transgression and/or ambiguity, concepts from Umberto Eco (1991 e 2001). The theoretical background regarding the audiovisual is due to the studies of Jacques Aumont (1996) and Graeme Turner (1997), as the depth of this research when it comes to publicity is deserved to the Bigal (1999), Barreto (1982) and Domingos (2003). The quantitative submission of a numerous sample of 131 winner commercials to a variable classification concerning audiovisual, creativity and narrative enable the counting of the index with most and least importance and consistency in the decade, as well as the crossing of data in order to realize past and upcoming trends and the relations between the creative choices for the audiovisual advertising awarded during this period.

A tese buscou encontrar padrões em peças digitais consideradas relevantes aos profissionais atuantes no mercado publicitário. Em prisma conceitual, reproblematizou as terminologias publicidade, propaganda e marketing na contemporaneidade, de forma a recomendar jurisdições às suas adoções no ambiente web. Já em linhas metodológicas desenvolveu um conjunto de procedimentos para encontro dessas peças com base nos seguintes critérios: repositório, relevância, acessibilidade e perenidade. O universo de construção da amostra foi composto por sete premiações publicitárias distintas geograficamente (região, país e mundo), em foco (híbridas e online) e em ciclo de carreira (profissionais e estudantes). A observação de tais eventos apontou para utilização do Festival Mundial de Criatividade de Cannes como estudo de caso. A análise das doze peças agraciadas como Grand Prix na categoria Cyber Lions no período de 2009 a 2014 desvelou cinco padrões principais: anunciantes de grande porte, utilização de vídeos, possibilidade de participação das audiências, repercussões editoriais e narrativas/contações de estórias. / The present thesis sought to identify patterns in digital pieces that were considered to be relevant to the publicity system. In a conceptual scope, the study re-problematized the terms publicity, advertising and marketing in contemporary times so to recommend jurisdictions to their usages within the web environment. Regarding methodology, a set of procedures were developed to address these pieces based on the following criteria: repository, relevance, accessibility and continuity. The universe of sample construction was composed by seven advertising awards that were distinct in their geography (region, country and world), focus (hybrid and online) and career cycle (professionals and students). By observing these events, the Cannes Lion International Festival of Creativity was indicated as the case study. The twelve pieces awarded as Grand Prix in the Cyber Lions category between 2009 and 2014 were analyzed and five patterns emerged: large advertisers, use of videos, possibility for audience participation, editorial repercussions, and storytelling/narratives.

O Cannes Lions Festival é o mais célebre festival mundial de publicidade, responsável por ditar tendências de mercado e consagrar profissionais e agências ganhadores de seus prêmios, os Leões. A área Films, para a qual se inscrevem as peças de audiovisual publicitário, é a fundadora do Festival e, até hoje, uma das mais cobiçadas. Ocorre, entretanto, que não há critérios publicizados ou concretos de avaliação das peças publicitárias e escolha das vencedoras, apenas um júri internacional de profissionais renomados com a orientação de premiar as propagandas mais criativas, ainda que tampouco seja estabelecido o que configura tal critério. Esta dissertação argumenta em direção a uma identidade de qualidade criativa reconhecida nos filmes vencedores do Festival, tendo como objetivo mapear e classificar as mudanças e permanências nas escolhas criativas das peças premiadas na área Films do Cannes Lions Festival entre 2002 e 2011, propondo uma visão do que é gerado pelo mercado e respaldado pela premiação. O principal critério adotado para distinguir as peças foi o relativo aos caminhos criativos escolhidos, definidos como de transgressão e/ou de ambiguidade, conceitos de Umberto Eco (1991 e 2001). O aporte teórico referente ao audiovisual é proveniente dos estudos de Jacques Aumont (1996) e Graeme Turner (1997), bem como o aprofundamento da pesquisa em publicidade se deu a partir das visões de Bigal (1999), Barreto (1982) e Domingos (2003). A submissão quantitativa de uma grande amostra de 131 comerciais vencedores a uma classificação com variáveis concernentes a audiovisual, criatividade e narrativa permitiu contabilizar os índices com maior e menor importância e constância na década e realizar cruzamentos a fim de perceber as tendências e relações entre as escolhas criativas para o audiovisual publicitário premiado ao longo do período. / The Cannes Lions Festival is the most prestigious international advertising festival, responsible for setting market trends and bringing fame to professionals and agencies that receive its Lions awards. The Films area, for which are subscribed the audiovisual ads, originated the festival and still is one of the most desired. On the other hand, there are no public or concrete criteria for the advertising pieces evaluation and selection, there is only a international jury featuring well-known professionals with the sole orientation to chose the most creative pieces, even if the definition of that criteria is not established. This dissertation argues in the aim to find an identity of the creative quality recognized in the films awarded in the festival, having as main objective to map and classify the changes and permanencies regarding creative choices among the prized pieces in the Films area of the Cannes Lions Festival from 2002 to 2011 proposing a vision about what is generated by the market and appreciated by the event. The main criteria adopted to distinguish the pieces was related to creative paths chosen, defined as transgression and/or ambiguity, concepts from Umberto Eco (1991 e 2001). The theoretical background regarding the audiovisual is due to the studies of Jacques Aumont (1996) and Graeme Turner (1997), as the depth of this research when it comes to publicity is deserved to the Bigal (1999), Barreto (1982) and Domingos (2003). The quantitative submission of a numerous sample of 131 winner commercials to a variable classification concerning audiovisual, creativity and narrative enable the counting of the index with most and least importance and consistency in the decade, as well as the crossing of data in order to realize past and upcoming trends and the relations between the creative choices for the audiovisual advertising awarded during this period.