Jean-Luc Godard and Jean-Pierre Gorin made in 1970 a “political film politically” about the Palestinian Revolution, Jusqu’à la victoire, which remained unfinished. Under the framework of their audio-visual research project, Sonimage, Godard edited the Palestinian footage with Anne-Marie Miéville. Working through the collapse of the revolutionary project, imaging the Palestinian resistance became a matter of the restitution of speech to the absent and to the dead Palestinians – to whom, as Godard laments self-critically in the film, they had not listened to. Godard’s and Miéville’s compass for action was reconfigured as “audiovisual journalism,” addressing the changing conditions in political engagement, challenging the mediatization of mediation prompted by the Leftist utopian belief in the emancipatory potential of the media. The hegemonic discourse circulating within Leftist intellectual culture abandoned the iconic referent of “The Revolution,” which became the fatal harbinger of totalitarianism. Since then, Third World subjects have been figured as terrorists or victims who are incapable of determining themselves politically, or to “develop” economically. Such a turn has given leeway to new models of engagement and emancipation that account for the real of reality, embedded in the non-discourse of rights or counter-memory, while beckoning for a politics of infinite restitution. Godard returned to the Palestine Question thirty years later in Notre musique, by stopping-over in post-war Sarajevo, a place where it became possible for Godard to host a gathering of the Trojan poets and storytellers of sorts. Reconciliation and rehabilitation are the reverse-shot of a world of violent ethnic strife evidencing the futility of the politization of forgiveness. By way of a montage, Godard vouches for the mobilization of the powers of the false in order to save the real. The beautiful becomes necessary to “cover” memories of catastrophe. The aesthetico-political task is the regulation of the distance between the viewer and the screen. The conditions are the belief in images, faith and the desire to see as our links to the world. Within the pervasiveness of the hyperreal and culture, which Godard equates to ruins, the exiles and vanquished call for the exception, which is art.

Jean-Luc Godard and Jean-Pierre Gorin made in 1970 a “political film politically” about the Palestinian Revolution, Jusqu’à la victoire, which remained unfinished. Under the framework of their audio-visual research project, Sonimage, Godard edited the Palestinian footage with Anne-Marie Miéville. Working through the collapse of the revolutionary project, imaging the Palestinian resistance became a matter of the restitution of speech to the absent and to the dead Palestinians – to whom, as Godard laments self-critically in the film, they had not listened to. Godard’s and Miéville’s compass for action was reconfigured as “audiovisual journalism,” addressing the changing conditions in political engagement, challenging the mediatization of mediation prompted by the Leftist utopian belief in the emancipatory potential of the media. The hegemonic discourse circulating within Leftist intellectual culture abandoned the iconic referent of “The Revolution,” which became the fatal harbinger of totalitarianism. Since then, Third World subjects have been figured as terrorists or victims who are incapable of determining themselves politically, or to “develop” economically. Such a turn has given leeway to new models of engagement and emancipation that account for the real of reality, embedded in the non-discourse of rights or counter-memory, while beckoning for a politics of infinite restitution. Godard returned to the Palestine Question thirty years later in Notre musique, by stopping-over in post-war Sarajevo, a place where it became possible for Godard to host a gathering of the Trojan poets and storytellers of sorts. Reconciliation and rehabilitation are the reverse-shot of a world of violent ethnic strife evidencing the futility of the politization of forgiveness. By way of a montage, Godard vouches for the mobilization of the powers of the false in order to save the real. The beautiful becomes necessary to “cover” memories of catastrophe. The aesthetico-political task is the regulation of the distance between the viewer and the screen. The conditions are the belief in images, faith and the desire to see as our links to the world. Within the pervasiveness of the hyperreal and culture, which Godard equates to ruins, the exiles and vanquished call for the exception, which is art.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Mediante la lectura de las revistas “Film Ideal” y “Nuestro Cine” y el testimonio de quienes fueron responsables o críticos de ambas, en esta tesis se determinan las características de las tendencias más significativas dentro de la crítica cinematográfica especializada en España durante la década de los 60.

Thesis (Master of Arts)--Miami University, Dept. of Mass Communication, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], iv, 63 p. Includes bibliographical references (p. 58-63).

No description available.

Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-04Bitstream added on 2014-06-13T19:32:23Z : No. of bitstreams: 1 weber_b_me_arafcl.pdf: 1458043 bytes, checksum: 57916e541c6e7cec9ba8335daf23710d (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / James Joyce configura-se como um dos autores mais importantes do século vinte, e suas técnicas inovadoras influenciaram diversos escritores e artistas por gerações. Contudo, apesar de seu evidente prestígio no campo literário e cultural, pouco são os trabalhos versando sobre suas adaptações para o cinema. A intenção do presente estudo é de analisar os implícitos sexuais marcados no conto Os Mortos de James Joyce e sua representação na adaptação cinematográfica de John Huston, de 1987. Será levado em conta, como abordagem teórica, as questões levantadas por Seymour Chatman e David Bordwell a respeito das relações existentes entre literatura e cinema, tais quais o narrador literário e cinematográfico. Segundo Chatman essas questões são de essencial importância para o estudo das relações entre os dois meios, porque possibilitam uma abordagem não baseada no biografismo. Também serão levados em consideração os trabalhos de Linda Hutcheon (Theory of adapatation, 2006) e de Robert Stam (Literature and film: a guide to the theory and practice of film adaptation, 2005) acerca da teoria da adaptação, teoria desenvolvida ao longo dos últimos trabalhos desses autores. O estudo, considerando tais argumentos, examinará um possível significado dessas relações sexuais implícitas no conto e em sua adaptação. Os Mortos compõe o último conto da coletânia intitulada Dubliners, de James Joyce, publicada em 1914 / James Joyce is one of the most important twentieth century authors, and his cutting edge techniques influenced many authors and artists from his and subsequent generations. However, in spite of his prominent prestige on literary and cultural grounds, few works study the adaptation of his texts to cinema. The objective of this study is to analyze implicit sexual relations in Joyce’s The Dead and in its representation in John Huston’s cinematographic adaptation, 1987. This work will consider, as theoretical approach, the issues raised by Seymour Chatman and David Bordwell about the relation between literature and films, such as the literary and the cinematographic narrator. According to Chatman (1990) this questions are fundamental for this type of study due to the fact that they allow an approach not based on pure author’s biography. This study will also take into account Linda Hutcheon’s Theory of adaptation (2006) and Robert Stam’s Literature and film: a guide to the theory and practice of film adaptation (2005) about the theory of adaptation, theory developed throughout these two author’s last works In addition to that, this study will consider one way of regarding these implicit sexual relations in the short story and in its adaptation to the cinema. The Dead is the last short story from the collection entitled Dubliners, by James Joyce, 1914

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Al día de hoy, sigue habiendo una deuda pendiente con todas aquellas directoras mujeres del siglo pasado que trabajaron por hacerle justicia y reivindicar la representación femenina en el imaginario del cine. Gracias a ellas es que hoy podemos si quiera hablar de una teoría fílmica feminista o de “cine de mujeres”. Por lo tanto, el presente trabajo de investigación tiene como objetivo principal mostrar cómo la construcción de la encarnación femenina en Réponse de femmes: Notre corps, notre sexe (1975), L'une chante, l'autre pas (1977), Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) y News From Home (1977) de Agnès Varda y Chantal Akerman, respectivamente, contribuyó de manera monumental a la reivindicación de la figura de la mujer en el cine de las décadas de los 60’s a los 80’s. Para poder llevar acabo esta investigación, se decidió trabajarla bajo el enfoque cualitativo y el paradigma interpretativo con la técnica de producción de datos de análisis de contenido. / To this day, there is still a pending debt with all the female directors of the last century who worked relentlessly to do justice and vindicate female representation in cinema’s imaginary. Is because of them that today we can even talk about a feminist film theory or “women's cinema”. Therefore, the present research work has, as its main objective, to show how the construction of the female incarnation in Réponse de femmes: Notre corps, notre sexe (1975), L'une chante, l'autre pas (1977), Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) and News From Home (1977) by Agnès Varda and Chantal Akerman, respectively, contributed, in a monumental way, to the vindication of the figure of women in cinema from the 1960s to the 1980s. In order to carry out this research, it was decided to develope it under the qualitative approach and the interpretive paradigm with the technique of content analysis in terms of data production. / Trabajo de investigación