<p dir="ltr">In this thesis, we prove the rationality results for the ratio of the critical values of certain <i>L</i>-functions, which appear in the constant term of Eisenstein series associated with the exceptional group <i>G</i>_<em>2</em> over a totally imaginary field. Our methodology builds upon the works of Harder and Raghuram, who established rationality results for special values of Rankin-Selberg <i>L</i>-functions for<i> </i><i>GL</i>_<em>n</em><i>× GL</i>_<em>n'</em> by studying the rank-one Eisenstein cohomology of the ambient group <i>GL</i>_n+n' over a totally real field, as well as its generalization by Raghuram [35] for the case over a totally imaginary field.</p><p dir="ltr">The <i>L</i>-functions in this thesis were constructed using the Langlands-Shahidi method for <i>G</i>_<em>2</em> over a totally imaginary field, attached to maximal parabolic subgroups. This is the first instance of applying the Harder-Raghuram method to an exceptional group, and the first case involving more than one function appearing in the constant term. Our results demonstrate the relationship between the rationality of different <i>L</i>-functions appearing in the constant term, allowing one to prove the rationality of one <i>L</i>-function based on the known rationality result of another <i>L</i>-functions.</p>

This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Minha dissertação se divide em três partes. A primeira é dedicada à trajetória de Alexander Kluge na televisão, no cinema e em sua incursão por outras formas midiáticas, de modo a verificar o percurso que tornou possível o projeto estético de \"Notícias da Antiguidade Ideológica\" (2008). A segunda é uma contextualização de \"Notícias da Antiguidade Ideológica\" (2008), que parte das anotações de Eisenstein, escritas entre 1927 e 1929, sobre filmar O Capital de Marx segundo a lógica de Ulysses, de James Joyce, e é concluída com uma análise de como Kluge se aproximou de tais ideias do diretor russo. A terceira parte é composta por quatro análises de entrevistas apresentadas em \"Notícias da Antiguidade Ideológica\" (2008) - com Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt e Jean-Luc Godard - que evidenciam como Kluge usa exemplos do processo tradutório para reivindicar uma leitura mais poética de O Capital de Karl Marx. / My dissertation is divided in three parts. The first one is dedicated to the trajectory of Alexander Kluge in television and cinema and his incursion into other media, in order to verify the path that made the aesthetic project \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) possible. I devote the second part of my dissertation to contextualizing \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\", that moves from the annotations of Eisenstein about filming Das Kapital according to the logic of Joyces\'s Ulysses, written between 1927 and 1929, concluding with an analysis of how Kluge approached such ideas from the Russian director. The third part is composed of four analyses of interviews belonging to \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) - with Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt and Jean-Luc Godard - that show how Kluge uses examples of the translation process to claim a more poetic reading of Das Kapital by Marx

Minha dissertação se divide em três partes. A primeira é dedicada à trajetória de Alexander Kluge na televisão, no cinema e em sua incursão por outras formas midiáticas, de modo a verificar o percurso que tornou possível o projeto estético de \"Notícias da Antiguidade Ideológica\" (2008). A segunda é uma contextualização de \"Notícias da Antiguidade Ideológica\" (2008), que parte das anotações de Eisenstein, escritas entre 1927 e 1929, sobre filmar O Capital de Marx segundo a lógica de Ulysses, de James Joyce, e é concluída com uma análise de como Kluge se aproximou de tais ideias do diretor russo. A terceira parte é composta por quatro análises de entrevistas apresentadas em \"Notícias da Antiguidade Ideológica\" (2008) - com Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt e Jean-Luc Godard - que evidenciam como Kluge usa exemplos do processo tradutório para reivindicar uma leitura mais poética de O Capital de Karl Marx. / My dissertation is divided in three parts. The first one is dedicated to the trajectory of Alexander Kluge in television and cinema and his incursion into other media, in order to verify the path that made the aesthetic project \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) possible. I devote the second part of my dissertation to contextualizing \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\", that moves from the annotations of Eisenstein about filming Das Kapital according to the logic of Joyces\'s Ulysses, written between 1927 and 1929, concluding with an analysis of how Kluge approached such ideas from the Russian director. The third part is composed of four analyses of interviews belonging to \"News from Ideological Antiquity - Marx/Eisenstein/Das Kapital\" (2008) - with Galina Antoschewskaja, Peter Sloterdjik, Oskar Negt and Jean-Luc Godard - that show how Kluge uses examples of the translation process to claim a more poetic reading of Das Kapital by Marx

<p>The digital evolution in the film industry has opened possibilities that was only to blockbusters before the digital age. I am talking about mass-scenes. Huge scenes with hordes of people often in huge battlefields. This was earlier in film history an extremly costly undertaking for the filmindustry and was a major reason why the large studio systems in Hollywood collapsed in the 60s. Now we can enjoy large scale battles created with CGI without costly extras, costumes and props. It’s all made with the computer and with ’blue screen’ technology. Is it possible to track the mass-scene back to some sort of origin or at least to who that defined the mass-scene ? If we look closer at mass-scenes used in contemporary movies then a clear pattern often emerges. These scenes can often be traced back to especially two propaganda films from the late 30s. Triumph des Willens by Leni Riefenstahl and Alexander Nevsky by Sergei M. Eisenstein. Of course there are others, but these two stands out from the others regarding mass-scenes. My opinion is that these two classic propaganda films have defined the mass-scenes as we have come to see and understand them in many comtemporary films from Star Wars to Lord Of The Rings.</p><p>In this thesis I will try to explore the usage of mass-scenes in comtemporary films and hopefully uncover the strong intertextual ties to Triumph des Willens and Alexander Nevsky.</p><p>I will also attempt to define the mass-scene and it’s usage in contemporary film.</p>

The digital evolution in the film industry has opened possibilities that was only to blockbusters before the digital age. I am talking about mass-scenes. Huge scenes with hordes of people often in huge battlefields. This was earlier in film history an extremly costly undertaking for the filmindustry and was a major reason why the large studio systems in Hollywood collapsed in the 60s. Now we can enjoy large scale battles created with CGI without costly extras, costumes and props. It’s all made with the computer and with ’blue screen’ technology. Is it possible to track the mass-scene back to some sort of origin or at least to who that defined the mass-scene ? If we look closer at mass-scenes used in contemporary movies then a clear pattern often emerges. These scenes can often be traced back to especially two propaganda films from the late 30s. Triumph des Willens by Leni Riefenstahl and Alexander Nevsky by Sergei M. Eisenstein. Of course there are others, but these two stands out from the others regarding mass-scenes. My opinion is that these two classic propaganda films have defined the mass-scenes as we have come to see and understand them in many comtemporary films from Star Wars to Lord Of The Rings. In this thesis I will try to explore the usage of mass-scenes in comtemporary films and hopefully uncover the strong intertextual ties to Triumph des Willens and Alexander Nevsky. I will also attempt to define the mass-scene and it’s usage in contemporary film.

Most previous studies of Soviet montage cinema have concentrated on its aesthetic and technical aspects; however, montage cinema was essentially a rhetoric rather than an aesthetic of cinema. This thesis presents a comparative study of the leading montage film-makers – Kuleshov, Pudovkin, Eisenstein and Vertov – comparing and contrasting the differing methods by which they used cinema to exert a rhetorical effect on the spectator for the purposes of political propaganda. The definitions of propaganda in general use in the study of Soviet montage cinema are too narrowly restrictive and a more nuanced definition is clearly needed. Furthermore, the role of the spectator in constituting the rhetorical effectivity of a montage film has been neglected; a psychoanalytic model of the way in which the filmic text can trigger a change in the spectator’s psyche is required. Moreover, the ideology of the Soviet montage films is generally assumed to exist only in their content, whereas in classical cinema ideology also operates at the level of the enunciation of the filmic text itself. The extent to which this is also true for Soviet montage cinema should be investigated. I have analysed the interaction between montage films and their spectators from multiple perspectives, using several distinct but complementary theoretical approaches, including recent theories of propaganda, a psychoanalytic model of rhetoric, Lacanian psychoanalysis and the theory of the system of the suture, and Peircean semiotics. These different theoretical approaches, while having distinct conceptual bases, work together to build a new and consistent picture of montage cinema as a propaganda medium and as a form of political rhetoric. I have been able to classify the films of Kuleshov, Eisenstein and Pudovkin as transactive, vertical agitation propaganda and the films of Vertov as transactive, horizontal agitation propaganda. Furthermore, I show that montage cinema embeds ideology in the enunciation of its filmic text, but differs from classical cinema in trying to subvert the suturing process. I conclude that Vertov at least partly created a non-representational cinematography and that he could be regarded as being at least as much a Suprematist film-maker as a Constructivist one.

This research project explores the creative and critical functions of editing in art, film and writing. The written component analyses the histories and discourses of 'cutting and splicing' to examine their various roles in processes of signification. The artistic practice uses more speculative and open-ended methods to explore the social 'languages' that inform our inter-subjective experiences. This project argues that editing is a creative methodology for making meaning, because it allows existing symbolic systems to be appropriated, revised and rewritten. By emphasising the operations of spacing, questioning and play, it also identifies editing as an essential tool for critically engaging with the potentials of art and theory.

Title from first page of PDF document. Includes bibliographical references (p. 20-22).