[ES] Esta tesis estudia el cortometraje pionero del cine hablado español El Orador (1928) de Ramón Gómez de la Serna, dentro de la industria primigenia del cine sonoro a través del productor Feliciano Manuel Vitores y la Hispano de Forest Fonofilms. La incógnita que se abre sobre esta obra de arte "desconocida" ha llevado a buscar los pormenores de la cinta y su resonancia viva con el presente. La tesis ha comprendido un análisis del discurso fílmico revisando las condiciones y casuísticas que rodearon el texto, el contexto y su performance posterior, analizando la obra El Orador a través de la literatura del autor, en su vinculación política-social, tecnológica y cinematográfica con la España de los años 20 del s. XX. Este trabajo sitúa la genealogía de la conferencia dramatizada en el año 1928, demostrando cómo El Orador es la primera performance cinematográfica documentada en nuestro país. La tesis marca un punto de partida desde El Orador hasta la actualidad trazando una línea de puntos discontinua que abarca casi cien años, configurando un mosaico tipológico de "especies de oralidad" que, en palabras de Miguel Molina Alarcón, continúa la estela heredada de la conferencia como género artístico. El estudio verifica la herencia, supervivencia y rastros singulares de la metaoratoria ramoniana en los artistas escénicos de posvanguardia. El trabajo se estructura en cinco capítulos. El primero describe aspectos generales del autor relacionados con su corto y biografía. El segundo aborda el texto de El Orador, con ensayos afines a la estética de su discurso, su trayectoria de conferenciante, la novela Cinelandia y los guiones que ideó para cine. El tercero aborda la confección del film y su historia dentro de la industria del cine paleosonoro, en su conexión con los demás cortos de la empresa Cinefón rodados por F. M Vitores. El cuarto capítulo narra la presentación del film como performance y su resonancia con las artes escénicas actuales, proponiendo un collage de artistas oradores. En el último presento el proyecto de cine ensayo R. cinco aproximaciones al cortometraje. Los anexos contienen varias compilaciones; imágenes del Archivo Vitores, recopilación de textos inéditos sobre cine escritos por el artista, y sus bocetos manuscritos sobre cine. El tipo de investigación ha sido mixta: constatativa, comparativa y de enlace, esto es, se ha confirmado la hipótesis de partida a través de nuevos datos obtenidos y se ha configurado a partir del material principal una propuesta creativa personal, aplicando la corriente práctica de arte-investigación. Los resultados logrados han sido, por un lado situar El Orador en su marco temporal superando su visión anecdótica y revalorizándola. La presunción del papel histórico de El Orador ha confirmado ser positiva, demostrando ser un hito de su tiempo y del nuestro. El trabajo ha permitido interpretar la nueva oralidad en el arte contemporáneo desde las características humorísticas que prefiguró el escritor, abordando la actual escena performativa. Finalmente la realización de la película experimental R. ha supuesto un diálogo entre tiempos cinematográficos distintos y una propuesta de creación híbrida inspirada por la misma libertad de Ramón. La claves críticas y estéticas que se encuentran en la película permiten observarla hoy como un modelo ejemplar de posicionamiento político, intelectual y creativo. / [CA] Aquesta tesi estudia el curtmetratge pioner del cinema parlat espanyol El Orador [L'Orador] (1928) de Ramón Gómez de la Serna, dins de la indústria primigènia del cinema sonor a través del productor Feliciano Manuel Vitores i la Hispano de Forest Fonofilms. La incògnita que s'obre sobre aquesta obra d'art "desconeguda" ha portat a buscar els detalls de la cinta i la seua ressonància viva amb el present. La tesi ha comprés una anàlisi del discurs fílmic revisant les condicions i casuístiques que van envoltar el text, el context i el seu performance posterior, analitzant l'obra El Orador [L'Orador] mitjançant la literatura de l'autor, en la seua vinculació políticasocial, tecnològica i cinematogràfica amb l'Espanya dels anys vint del s. XX. Aquest treball situa la genealogia de la conferència dramatitzada l'any 1928, demostrant com El Orador [L'Orador] és la primera performance cinematogràfica documentada al nostre país. La tesi marca un punt de partida des de El Orador [L'Orador] fins a l'actualitat traçant una línia de punts discontínua que abasta quasi cent anys, configurant un mosaic tipològic de "espècies d'oralitat" que, en paraules de Miguel Molina Alarcón, continua el deixant heretat de la conferència com a gènere artístic. L'estudi verifica l'herència, supervivència i rastres singulars de la metaoratoria ramoniana en els artistes escènics de postavantguarda. El treball s'estructura en cinc capítols. El primer descriu aspectes generals de l'autor relacionats amb el seu curt i biografia. El segon aborda el text de El Orador [L'Orador], amb assajos afins a l'estètica del seu discurs, la seua trajectòria de conferenciant, la novel·la Cinelandia i els guions que va idear per a cinema. El tercer aborda la confecció del film i la seua història dins de la indústria del cinema paleosonor, en la seua connexió amb els altres curts de l'empresa Cinefón rodats per F. M Vitores. El quart capítol narra la presentació del film com performance i la seua ressonància amb les arts escèniques actuals, proposant un collage d'artistes oradors. En l'últim presentem el projecte de cinema assaig R. cinc aproximacions al curtmetratge. Els annexos contenen diverses compilacions; imatges de l'Arxiu Vitores, recopilació de textos inèdits sobre cinema escrits per l'artista, i els seus esbossos manuscrits sobre cinema. El tipus d'investigació ha sigut mixta: constatativa, comparativa i d'enllaç, això és, s'ha confirmat la hipòtesi de partida mitjançant les noves dades obtingudes i s'ha configurat a partir del material principal una proposta creativa personal, aplicant la corrent pràctica d'art-investigació. Els resultats reeixits han sigut, d'una banda situar El Orador [L'Orador] en el seu marc temporal superant la seua visió anecdòtica i revaloritzant-la. La presumpció del paper històric de El Orador [L'Orador] ha confirmat ser positiva, demostrant ser una fita del seu temps i del nostre. El treball ha permés interpretar la nova oralitat en l'art contemporani des de les característiques humorístiques que va prefigurar l'escriptor, abordant l'actual escena performativa. Finalment, la realització de la película experimental R. ha suposat un diàleg entre temps cinematogràfics diferents i una proposta de creació híbrida inspirada per la mateixa llibertat de Ramón. Les claus crítiques i estètiques que es troben en la película permeten observar-la hui com un model exemplar de posicionament polític, intelectual i artístic. / [EN] This thesis explores the pioneering short film of Spanish spoken cinema, El Orador (1928), by Ramón Gómez de la Serna, in the context of the nascent international sound cinema industry through producer Feliciano Manuel Vitores and Hispano Forest Fonofilms. The enigmas surrounding this "unknown" work of art led to a study of every detail about the film, and its resonance with the present. The thesis involved an analysis of the filmic discourse, reviewing the environmental factors surrounding the text, its context and subsequent performance; studying the piece through the author’s literary works and through its socio-political, technological and filmographical ties to Spain in the 1920s. This paper sets the genealogy of the performative conference in Spain in 1928, showing El Orador as the first ever film performance documented in our country. The thesis begins its journey with El Orador through the present day, drawing an intermittent timeline that spans almost a hundred years, crafting a typological mosaic of “oral species” that, in the words of Miguel Molina, continues the legacy of the conference as an artistic genre. This study verifies the heritage and endurance of the ramonian meta-oratory among avant-garde performing artists from the 1950s onward. The thesis is structured in five chapters. The first describes geneal aspects of the author related to his short film and biography. The second focuses on the film’s script, compiling ramonian essays with a similar aesthetic, as well as Ramon’s own trajectory as a lecturer, including a study of the novel Cinelandia and other scenarios he planned. The third chapter covers the creation of the film and its history within the paleosonic film industry and its connection with other short films by F. M Vitores for Cinefón. The four chapter narrates the film’s presentation as performance and its resonance in the current performing arts and a collage of contemporary oral artists. The last chapter details project R. five studies of short film feature by the author. The annexes contain several compilations, on the one hand a selection from the Archive Vitores, and on the other Ramon’s writing about film, images of Ramón's manuscripts, brought together for the first time. The type of research has been mixed: factual, comparative and pursuing links, meaning the initial hypotheses has been confirmed through new data uncovered, and a personal creative proposal has been configured from the main material and applying the practical current movement of art-research. The results achieved include, first and foremost, setting El Orador in its proper place in time, going beyond its anecdotal role and reclaiming its true importance. The assumption of El Orador’s historic contribution has proven to be correct, revealing it as a milestone piece of its time and ours. The study allowed an interpretation of the new oral trend in contemporary art from the use of humor so characteristic of the writer. Finally, the experimental film R. allowed a dialogue between different film eras and a proposal of a type of hybrid creation inspired by Ramon’s own freedom. The key critical and aesthetic points found in the film allow us to view it as an exemplary model in its political, intellectual and creative positioning. / Grueso Hierro, A. (2021). El film El Orador (1928) de Ramón Gómez de la Serna: texto, contexto y performance del discurso. Proyecto de cine ensayo R.(1928-2018) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/171483 / TESIS

ABSTRACT This licentiate thesis is a study of the curriculum of the school subject Swedish from a socio-cultural perspective. The aim of the study is to obtain insights into how pupils in the seventh grade of the Swedish secondary school system read films, and further to investigate how the education in Swedish can manage and make the most of various approaches to film. The survey was conducted in a class which I teach myself, and the empirical data consists primarily of oral and written statements by the pupils, concerning the films they have seen. Furthermore the social context around the reception of the films has been mapped. As part of the empirical data there is also a record of a discussion in the classroom concerning filmmaking. With the reception model of Kathleen McCormick as a point of departure, the filmic repertoires of the pupils are analyzed, described and interpreted as they stand out within the framework of the study. The general repertoires of the pupils are also dealt with to some extent. The representations and non-representations of the readings are further discussed in a social semiotic perspective. The research shows that the pupils bring rich experiences of fiction from television as well as film to school. The research also indicates that there is a potential for specific learning processes in the reading of film, since the reception of film entails a possibility to widen the general and filmic repertoires as well as to be conscious of them. The most important potential for learning is in the meeting with films that create a tension between the general repertoires of the reader and the film itself, since the film in those cases stands for something hitherto unknown for the reader. The pupils in my survey do not, however, primarily watch film in order to obtain new experiences, or to learn something; they watch film as a means to feel and share experiences with others in order to strengthen their sense of belonging to a group. One exception appears to be films that the pupils interpret as based on reality, since there is a tendency among the pupils to be more openminded for clashes between their own repertoires and the repertoires in films when it comes to fiction anchored in reality. The true challenge of the teaching is to attract the pupils to develop conscious relationships to films that imply a tension between repertoires. The reasons for these tensions have furthermore to be investigated. When it comes to films based on reality, the study makes it clear that the population of pupils represents a diverse set of attitudes towards the films; some pupils read the films as pure facts, while others read them in a more reflective way, comparing the mediated images of reality in the actual films with other types of experiences. The teaching of Swedish with the intention to take care of the reception of film among school children must be conducted in an awareness of the fact that not all pupils are representing their readings in a way that makes it possible to create meeting places around them within the educational framework. In my view, the education in Swedish for the secondary school must in a more active way open up for the possibility for the pupils to acquire strategies for a conscious handling of their film readings, as well as access to a language by which they can make their representations. The fact that not all pupils are aware of how film can mediate constructions of reality makes it important to take care of the children’s readings in such a way that makes them aware of the semiotic resources of the cinematic medium. This is one reason why one should allow them make their own films. It is also important to use a diversity of semiotic resources when pupils are representing their readings in order to underline the plurality of interpretations and filmic repertoires. Finally, I discuss the results of my research in relation to the new curriculum of Swedish education as it is presented in the syllabus “Lgr 11” which will take effect as from the autumn semester of 2011. In my analysis I find that the space for work of the kind I have conducted in the classroom will be diminished due to the new curriculum. There are, however, still possibilities and a learning potential for a teaching in Swedish that in an active way will take care of film experiences, as well as other kinds of textual experiences.

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Montréal. / Le film Punch-Drunk Love, réalisé en 2002 par Paul Thomas Anderson, présente une approche formelle hors du commun et expose, de manière flagrante, le travail énonciatif du film. L’énonciation filmique qui est sienne pousse le spectateur à se distancer de l’oeuvre et l’incite à se questionner sur la signification des codes mis en place. Ce dernier est également stimulé à remettre en question ses propres attentes ainsi qu’à s’interroger sur son plaisir spectatoriel. Nous proposons, dans le cadre de ce mémoire, de faire l’analyse de l’énonciation filmique du film à travers l’approche abstraite de Christian Metz. Grâce à sa théorie, qui affiche la préséance du film sur l’auteur en matière de signification des codes, nous mettrons en évidence l’idée que les constructions énonciatives fortes reprennent à leur compte l’histoire racontée par le film. L’énonciation réfléchit et redouble le film. Avec une telle approche, le film expose son rapport fusionnel entre le fond et la forme. L’énonciation, vue sous cet oeil, devient l’alter ego du film. / In Punch-Drunk Love (2002), Paul Thomas Anderson applies a unique creative process that reveals the very inner workings of enunciation in the film. His filmic approach functions to distance the spectator from the film and, to various degrees, challenges the spectator to question the codes that create an aesthetic of illusion. Drawing on Christian Metz’s abstract approach to enunciation, this thesis proposes to analyse the filmic enunciation of Anderson’s film. By means of this theoretical approach, we become aware that the enunciation of the film stimulates the spectator into realizing that the implied meaning of the enunciation is one that can be understood within its own self. The “who” and the “what” are no longer questions that are answered from the “outside”. The “who” is the film and the “what” resides in it. What we are observing is the self–reflexive nature of enunciation.

Le chemin pour circonscrire le rapport intime qu’ont des adolescents à leur milieu de vie via le paysage est relaté par ce texte intitulé «Paysages d’adolescents du Québec, saisons en regards filmiques». Ce travail de recherche documente ce qui de la nature ou des indices de traces sociales composent leurs images vidéographiques tournées en automne et en hiver, et ce faisant, contribue à l’exploration des valeurs qu’ils accordent au territoire. Les conclusions de cette recherche révèlent d’une part, la présence d’une oscillation entre des éléments de la nature et de la communauté dans les images filmiques et que la maison serait le vecteur principal de l’ancrage au territoire; elle est le théâtre où se développent, à petites échelles, les sensibilités paysagères des adolescents. La méthodologie qui a été développée pour arriver à ces résultats reposait sur des projets dans des écoles secondaires de la Montérégie et du Bas-Saint-Laurent dans le cadre desquels des adolescents ont filmé leur milieu puis évalué et décrit leurs images. Les analyses effectuées à l’aide d’observations récurrentes et thématiques successives ont permis de cibler plusieurs dimensions de l’interface paysagère entre l’adolescent et le territoire. / «Paysages d’adolescents du Québec, saisons en regards filmiques» chronicles the journey to define the intimate relationship between adolescents and their environment. This study documents the natural and social elements of images filmed over the course of two seasons: fall and winter. Our text thereby contributes to the exploration of adolescents’ environmental values. On one hand, our research finds an oscillation between nature and society in the filmed images. It also shows the home—the platform upon which adolescents’ landscape awareness develops on a smaller scale—as the driving force behind the establishment of roots. The methodology used to achieve these results was drawn from projects in Montérégie and Bas-Saint-Laurent high schools in which adolescents filmed their environment and then evaluated and described the images captured. The analyses of recurring observations and successive themes allowed us to target the many dimensions of the adolescent’s relationship with their landscape.

Le film Punch-Drunk Love, réalisé en 2002 par Paul Thomas Anderson, présente une approche formelle hors du commun et expose, de manière flagrante, le travail énonciatif du film. L’énonciation filmique qui est sienne pousse le spectateur à se distancer de l’oeuvre et l’incite à se questionner sur la signification des codes mis en place. Ce dernier est également stimulé à remettre en question ses propres attentes ainsi qu’à s’interroger sur son plaisir spectatoriel. Nous proposons, dans le cadre de ce mémoire, de faire l’analyse de l’énonciation filmique du film à travers l’approche abstraite de Christian Metz. Grâce à sa théorie, qui affiche la préséance du film sur l’auteur en matière de signification des codes, nous mettrons en évidence l’idée que les constructions énonciatives fortes reprennent à leur compte l’histoire racontée par le film. L’énonciation réfléchit et redouble le film. Avec une telle approche, le film expose son rapport fusionnel entre le fond et la forme. L’énonciation, vue sous cet oeil, devient l’alter ego du film. / In Punch-Drunk Love (2002), Paul Thomas Anderson applies a unique creative process that reveals the very inner workings of enunciation in the film. His filmic approach functions to distance the spectator from the film and, to various degrees, challenges the spectator to question the codes that create an aesthetic of illusion. Drawing on Christian Metz’s abstract approach to enunciation, this thesis proposes to analyse the filmic enunciation of Anderson’s film. By means of this theoretical approach, we become aware that the enunciation of the film stimulates the spectator into realizing that the implied meaning of the enunciation is one that can be understood within its own self. The “who” and the “what” are no longer questions that are answered from the “outside”. The “who” is the film and the “what” resides in it. What we are observing is the self–reflexive nature of enunciation. / Pour
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Montréal.

Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

Made available in DSpace on 2016-06-02T19:03:59Z (GMT). No. of bitstreams: 1 6447.pdf: 5392666 bytes, checksum: 6368d9dd4f5d4af844fe595173c0dbe2 (MD5) Previous issue date: 2014-08-27 / Financiadora de Estudos e Projetos / The television is the medium of information and entertainment most utilized by Brazilians. Despite its great reach, this vehicle, which should be an instrument to promote social inclusion, often causes the opposite effect. The manner some television programs are produced, in particular movies and series, combined with the lack of prior knowledge about certain subjects and contexts, trigger some viewers not to appreciate or enjoy enough of the programming, which may lead to a possible dissatisfaction in the audience. Cultural and educational matters may also accentuate the viewer's discontentment during a television session. New technologies such as the Interactive Digital TV (IDTV) allow the enrichment of television media with additional contents that may provide greater fruition of the narratives. This PhD project benefits from the flexibility and interactivity offered by the IDTV to propose a solution of accessibility based on the offer of additional specific contents, here denominated interactive Additional Multimedia Content (AMC-i). The AMC-i are extra information associated with the television media that may be offered to the main program considering different aspects, such as whether the offer: is synchronous or asynchronous, on demand or compulsory, with or without pausing the original program, by combining one or more media formats, among others. Through case studies, groups of spectators with distinct profiles, in different scenarios and interacting with varying kinds of media, were observed and had their interaction difficulties and experiences evaluated. This thesis proposes and presents the FrAMC-i, a framework consisting of a set of guidelines that support the production of AMC-i and emerged from the experience acquired during the observation of spectators in the studies. In addition to the guidelines, the FrAMC-i also provides tools for the enrichment of the media with AMC-i and a mobile application that enables the interaction with such contents by usage of a second screen. The framework was submitted to assessment by sixteen graduate students in Computer Science in the role of designers. These evaluators used the FrAMC-i artifacts to enrich media, given a provided fictional scenario. The results suggest a positive evaluation considering the utility, adherence to the proposed design solutions and usability of the artifacts supplied by the framework for the different stages of the production of the AMC-i. / A televisão é o meio de informação e entretenimento mais utilizado pelos brasileiros. Apesar do grande alcance, esse veículo, que deveria ser um meio para promover a inclusão social, por diversas vezes causa o efeito oposto. A forma como alguns programas televisivos são elaborados, em particular filmes e seriados, somada à falta de conhecimento prévio sobre determinados assuntos e contextos, fazem com que alguns espectadores não apreciem ou não desfrutem o bastante da programação, o que pode conduzi-los a uma possível insatisfação na audiência. Questões culturais e educacionais também podem acentuar a insatisfação do espectador durante uma sessão televisiva. Novas tecnologias, como a TV Digital Interativa (TVDi), permitem o enriquecimento de mídias televisivas com conteúdos adicionais que podem proporcionar uma melhor fruição das narrativas. Este projeto de doutorado aproveitou as vantagens da flexibilidade e interatividade oferecidas pela TVDi para propor uma solução de acessibilidade baseada na oferta de conteúdos adicionais específicos, aqui denominados de Conteúdo Multimídia Complementar interativo (CMCi). Os CMCis são informações extras associadas às mídias televisivas que podem ser oferecidas ao programa principal considerando diferentes aspectos, tais como, se a oferta será síncrona ou assíncrona, sob demanda ou compulsória, com ou sem pausa da mídia original, combinando um ou mais formatos de mídia complementar, entre outros. Por meio de estudos de caso, grupos de espectadores com diferentes perfis, em diferentes cenários e interagindo com diferentes gêneros de mídias, foram observados e tiveram as suas dificuldades e experiências de interação avaliadas. Esta tese propõe e apresenta o FrAMC-i, um framework composto por um conjunto de diretrizes que apoiam a produção de CMCi e que emergiu da experiência adquirida durante a observação dos espectadores nos estudos. Além das diretrizes, o FrAMC-i também disponibiliza ferramentas para o enriquecimento das mídias com CMCi e um aplicativo móvel que possibilita a interação com tais conteúdos utilizando uma segunda tela. Uma avaliação do framework foi realizada por 16 estudantes de pósgraduação em Ciência da Computação no papel de designers. Esses avaliadores utilizaram os artefatos do FrAMC-i para enriquecer mídias atendendo a um cenário fictício fornecido. Os resultados sugerem uma avaliação positiva considerando a utilidade, adesão às soluções de design propostas e usabilidade dos artefatos disponibilizados pelo framework para as diferentes etapas de produção do CMCi.

Orientador: Suzy Maria Lagazzi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-20T05:11:48Z (GMT). No. of bitstreams: 1 MartinsdeSouza_LuizCarlos_D.pdf: 3983729 bytes, checksum: 646abf82afc9908b41ae8e482668e965 (MD5) Previous issue date: 2012 / Resumo: Prezado viajante, Este bilhete lhe dá direito a uma viagem pela estrada metodológica da Análise de Discurso Materialista para que você contemple o filme em DVD ?Central do Brasil?, de Walter Salles Jr. Você passará por três estações a partir da ausência do pai como principal metáfora articuladora dos trilhos narrativos, para que você veja o entrecruzamento entre dois caminhos: o discurso religioso e o discurso psicanalítico, na estruturação do funcionamento da falta metaforizada nessa ausência, movimentando o político no social. Inicialmente você verá os mapas da viagem, circunscritos na perspectiva materialista de Análise de Discurso: a apresentação do corpus, e a indicação dos principais conceitos nele operacionalizados. Em seguida a viagem se dará em três ?estações? através do batimento sinuoso entre descrição e interpretação: na primeira estação se dá a descrição da estrutura organizacional da superfície linguageira em suas condições de produção e circulação, e a formulação narrativa da falta, lhe direcionando para o deslocamento desta em objetos discursivos. Na estação seguinte você se deterá na observação dessa falta nos dois significantes representados como sujeitos: Dora e Josué. Vendo isso, você estará apto para a próxima estação: a inscrição da falta em metáforas e metonímias discursivas: nas imagens de Santa Maria e de Jesus Cristo, em relação a Dora e a Josué, no pai e nas cartas, e noutros objetos cênicos, como um pião e um lenço, objetos discursivos visibilizados nos planos como unidades de significação pela fragmentação da montagem do filme. Esperamos que você perceba que o Cristianismo intervém na superfície textual e discursiva, como também a Psicanálise, no tratamento dado às constelações familiares, à Metáfora Paterna, à lettre lacaniana (carta, letra, significante) e às projeções entre Dora e Josué. Não se assuste: há um embate do sujeito com o Real, em derivas e deslocamentos em torno de posições de sujeito. Entenda conosco quais processos discursivos estão em jogo nessa viagem, tomando a falta como um gesto estruturante do político nas relações sociais. Na chegada possível, você verá que os sentidos são possíveis pela relação e determinação entre o Real da história, o Real da linguagem e o Real do inconsciente, de forma que as condições sócio-históricas são constitutivas das significações do texto. Agradecemos sua preferência. Boa viagem / Abstract: This work assumes the Materialist Discourse Analysis methodology to analyze the DVD movie "Central Station", by Walter Salles Jr. Taking into consideration that the father's absence is the main metaphor that articulates the narrative surface, the intention was to understand this absence in the intersection between religious discourse and psychoanalytic discourse, asking about the politics in social relations. The introduction circumscribes the materialist perspective of Discourse Analysis, and presents the corpus, and the main concepts employed into it. The following chapters are formulated as "stations" around the stages of analysis: on the first step the language's organizational structure surface is described under certain conditions of production and circulation, the narrative design of the ?lack? and its displacement as discoursive objects. Observing the treatments in the screenplay, it was noticed the inscription of the sense effects on the names of biblical characters (Joshua, Jesus, Moses, Isaiah, Hannah, Pedrão - Big Peter), references to images of St. Mary and Jesus Christ - stage props noticed as units of meaning in the fragmentation of the shots of film edition. Psychoanalysis derives from the treatment given to family constellations, to the Paternal Metaphor, to the lacanian letter and to the projections between Dora and Joshua. From the crossing between description and interpretation, it was intended to give evidence to the clash between the subject and the Real, drifts and shifts in the subject positions. The last step of the analysis examines the discursive processes, which make the ?lack? a structuring gesture of the politics in social relations. The audiovisual, object of aesthetic completion and an important commodity in the contemporary world, acts as a massive investment in the subject, determining, renewing and contradicting the circulation of capital, and the effects of the spectacle's ideology, imposed by the logic of the market. The [meanings] senses are possible through the relation and the determination between the Real from the History, the Real from the language and the Real from the unconscious, so that the socio-historical conditions constitutes the meanings of the text / Doutorado / Linguistica / Doutor em Linguística

Notre travail de thèse de sociologie présente le passage du cinéma allemand en France depuis 1990, de sa sphère de production jusqu'à sa sphère de réception individuelle. Il mobilise les études sur la culture de l'École de Francfort ainsi que les apports de la sociologie de la réception, et s'appuie sur une enquête empirique menée auprès d'acteurs de la branche de production allemande et de spectateurs français. La production contemporaine est traversée par des mutations qui convergent pour générer un paysage cinématographique plus diversifié. L'apparition d'une voie médiane entre cinéma commercial et cinéma d'auteur, les « divertissements de qualité », principalement représentés par les films historiques à caractère authentique, favorise une reconnexion du cinéma allemand avec son public local et international. Les instances d'exportation déploient une nouvelle politique de visibilité polarisée autour de cette voie médiane, valorisée en tant que marchandise culturelle. La réputation du cinéma allemand auprès des distributeurs français est revalorisée, mais s'opère selon un mode conformiste qui tend à privilégier les motifs historiques et à exclure les comédies allemandes des écrans français. Cette orientation guide des horizons d'attente spectatoriels en termes de cinéma historique de qualité, crédible et fiable. Cette catégorisation de la germanité filmique mène alors au réinvestissement actif de visions du monde plus ou moins stéréotypées par rapport à l'Autre. Cette réception favorise en outre la matérialisation de phénomènes abstraits, liés à une expérience généralisée de l'altérité, entre germanité et universalité. / This PhD presents the mechanisms of the appearance of German cinema in France since 1990, from its sphere of production to its individual reception. How can contemporary German cinema support new forms of encounter with the Other for French spectators? The analysis draws on the studies of culture undertaken by the Frankfurt School, as well as on contributions from the sociology of cinema and its reception. It also builds on empirical research conducted with major stakeholders : people working in German production on the one hand, and French spectators on the other. Since 1990 the production of German cinema has undergone changes resulting in the creation of a more productive film landscape. The rise in production has led to an increased export of German cinema, notably to France. This is a contradictory development: it has admittedly allowed a diversification in the nature of movies screened, but this diversification has been based on conformist approaches, smoothing out any heterogeneity. The export and advertising of the productions has tended to support historical themes whilst German comedies have been excluded from French screens in a self-fulfilling prophecy. The reception of contemporary German cinema has then led to an active reinvestment in more or less stereotypical worldviews of the Other. The encounter with German cinema has also fluctuated between being an experience of Germany and an experience of the world. The exoticism of German cinema has been too subtle to have any direct impact on the representation of the Other. Its influence has occurred implicitly on intertwined levels: on iconographic images, societal representations, as well as meta-representations. / Die Dissertation aus dem Fachbereich Soziologie stellt die Passagen des deutschen Kinos in Frankreich seit 1990 dar - von der Produktionssphäre bis hin zur individuellen Rezeption. Hierbei bedient sie sich sowohl an den Kulturstudien der Frankfurter Schule als auch an den Beiträgen der Rezeptionssoziologie. Des weiteren basiert sie auf einer empirischen Studie, die die Sichtweise von Akteuren der deutschen Produktionsbranche und französischer Konsumenten analysiert. Die zeitgenössische Produktion zeichnet sich durch diverse Mutationen aus, deren Kreuzung zu einer vielfältigeren Kinolandschaft führt. Die Entstehung einer Schnittmenge aus kommerziellem Kino und Autorenfilmen, die zu einer qualitativ hochwertigen Unterhaltung führt, basiert überwiegend auf Historienfilme mit authentischem Charakter und führt zu einem Rückschluss auf das deutsche Kino auf lokaler und internationaler Ebene. Der Export der Filme, die durchaus als Kulturgut wahrgenommen werden, trägt zu einer polarisierten Sichtweise bei. Das deutsche Kino wird aus der Sicht französischer Händler neu bewertet, bedient sich jedoch dabei einer sehr konformistischen Art und Weise, die dazu neigt, sich an historischen Filmen zu bedienen und deutsche Komödien auszugrenzen. Dies führt dazu, dass der französische Zuschauer, von seinem Nachbarn, qualitativ hochwertige Historienfilme erwartet. Diese Kategorisierung von Deutschtum in Filmen führt zu einer Art Stereotypisierung im Hinblick auf den Anderen. Diese Rezeption fördert wiederum die Materalisierung abstrakter Phänomene, die an einer generalisierten Erfahrung des Andersseins bezüglich Deutschtum und Universalität anknüpft.