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The Global ETD Search service is a free service for researchers
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Showing 1 to 4 of 4 (0.022 seconds)Spelling suggestions: "subject:"gianfrancesco"" "subject:"franco""
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Images de la Sardaigne dans le cinéma sarde des années 2000 / Images of Sardinia in Sardinian cinema of the 2000’sLandron, Fabien 01 December 2014 (has links)
Une terre exotique aux moeurs archaïques, peuplée de bandits et marquée par la vendetta : c'est ainsi qu'a principalement été représentée la Sardaigne, pendant de nombreuses années, par un cinéma dit “sarde” s‟inspirant des classiques de la littérature deleddienne et de certains faits divers, et le plus souvent réalisé par des non Sardes. L‟image de l'île et des ses habitants a été forgée par le recours à un grand nombre de stéréotypes, parfois perçus comme outranciers par les spectateurs sardes. À la fin des années 80 apparaissent les premiers signes significatifs d‟une “réappropriation” du cinéma sarde par les Sardes eux-mêmes. Progressivement (et surtout dans les années 2000), plusieurs réalisateurs proposent de nouvelles approches des représentations filmées de leur île, jusqu‟à la constitution plus ou moins consciente d‟un mouvement non officiel appelé “nouveau cinéma sarde” : G. Cabiddu, G. Columbu, P. Sanna, S. Mereu et E. Pau en sont les représentants. Cette étude se propose d‟analyser, par le traitement des oeuvres significatives et une approche sociologique du mouvement, le phénomène collectif du “nouveau cinéma sarde” et les démarches individuelles des auteurs qui le composent, plaçant l‟identité au coeur de la question. Partant du modèle imposé par la littérature et le cinéma relatifs à la Sardaigne, les “nouveaux” cinéastes sardes ont su créer une cinématographie sarde basée sur l‟interprétation et la ré-élaboration des stéréotypes, dans une démarche visant à offrir une nouvelle vision de l‟île, de ses habitants et de leurs pratiques, à une instance spectatorielle hétérogène, à travers les différentes formes de distribution de leurs oeuvres. / An exotic territory with archaic standards, populated by bandits and marked by vendetta : this is how has mainly been represented Sardinia for many years, by so called “Sardinian” movies inspired by the classics of deleddian literature and some news items, usually directed by non-Sardinians. The image of the island and its people was forged by using a large number of stereotypes, sometimes seen as outrageous by Sardinian spectators. In the late 80‟s had appeared the first significant signs of a Sardinian cinema “reappropriation” by the Sardinians themselves. Progressively (and especially in the 2000‟s), several directors propose new approaches to filmed representations of their island, until the more or less conscious constitution of an informal movement called “new Sardinian cinema” : G. Cabiddu, G. Columbu, P. Sanna, S. Mereu and E. Pau are its main representatives. This study aims to analyze, through the treatment of major works and a sociological approach to the movement, the collective phenomenon of “new Sardinian cinema” and the individual efforts of the authors who make it up, placing the identity to the heart of the matter. Leaving from the model imposed on Sardinia by literature and cinema, the “new” Sardinian directors have created a Sardinian film-making based on the interpretation and re-development of stereotypes, whose wants to offer a new vision of the island, its people and their practices, to a heterogeneous spectatorial instance, through the various forms of distribution of their works.
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Le cose e i segni : per una semiotica dello stile indiretto libero nell'opera letteraria e cinematografica di Pier Paolo Pasolini / Les choses et les signes : une sémiotique du style indirect libre dans l'oeuvre littéraire et cinématographique de Pier Paolo Pasolini / Things and Signs : The free indirect style in the literary and cinematic works of Pier Paolo PasoliniDesogus, Paolo 23 June 2015 (has links)
Cette thèse se propose d’étudier le style indirect libre dans l’œuvre de Pier Paolo Pasolini à travers un axe de recherche qui peut, schématiquement, se rattacher à deux champs: le champs poétique, concernant l'activité littéraire et cinématographique de l'auteur et le champs théorique, où le problème de la forme esthétique devient l'occasion pour l'étude des principes linguistiques etsémiotiques qui en permettent la réalisation. Ce double parcours s'articule à son tour en quatre phases de développement: la phase de la « régression » théorisée dans les années quarante pour expliquer divers processus relatifs à l’emploi du dialecte en littérature ; celle de la « connexion sentimentale », notion tirée des Cahiers de prison de Antonio Gramsci pour décrire le rapport entre les intellectuels et les classes subalternes ; celle du discours indirect libre en tant que tel, qui se trouve à la base de lapoétique des romans romains des années cinquante, et qui est également présent dans d’autres œuvres élaborées plus tard ; et finalement la phase de la subjective indirecte libre, théorisée dans les années soixante pour décrire le style indirect libre au cinéma.La régression, la connexion sentimentale, le discours indirect libre, la subjective libre indirecte constituent le point de contact entre le parcours poétique et dans le même temps théorique de l'auteur. La régression dans la parole de l’autre, ou, comme au cinéma, dans le regard de l’autre, représente en dernière instance la tentative de l’auteur de traduire sur le plan littéraire et cinématographique la réalité de conflits historiques et existentiels. / This doctoral thesis studies the free indirect style in Pasolini's works through a double path of research. On one hand it takes into account his literary and cinematic production; on the other it studies the linguistic and semiotic principles on which its free indirect style hinges. This double path has been crossed in the light of four notions that Pasolini developed in his theoretical essays along his artisticactivity. The first one is the “regression”, elaborated in the 40s in order to describe the usage of the Friulian dialect of his early poems. The second one is the “sentimental connection”, which Pasolini discovered in Gramsci's Prison Notebooks and he employed to analyse the relationship between intellectuals and subaltern classes. The third one concerns the free indirect discourse used in Pasolini's Roman novels of the 50s and studied from a linguistic and semiotic point of view in some essays. The last one is the free indirect subjective theorised in the 60s to describe the cinematic adaptation of the free indirect style.Regression, sentimental connection, free indirect discourse and free indirect subjective are the most important notions of Pasolini's free indirect style. They show how the author established itslinguistic, political and sentimental relationship with the subalterns that populates his literary works aswell as his movies.
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[en] POETRY AS A LANGUAGE OF REALITY: THE POETIC REFERENCES OF PIER PAOLO PASOLINI AN IDEA OF ITALIAN DIALECTAL POETRY / [pt] A POESIA COMO LINGUAGEM DA REALIDADE: AS REFERÊNCIAS POÉTICAS DE PIER PAOLO PASOLINI A UMA IDEIA DE POESIA DIALETAL ITALIANAJANAINA DE OLIVEIRA SANTOS 20 July 2016 (has links)
[pt] Em 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada. / [en] In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.
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Marijuana Australiana: Cannabis use, popular culture and the Americanisation of drugs policy in Australia, 1938-1988Jiggens, John Lawrence January 2004 (has links)
The word 'marijuana' was introduced to Australia by the US Bureau of Narcotics via the Diggers newspaper, Smith's Weekly, in 1938. Marijuana was said to be 'a new drug that maddens victims' and it was sensationally described as an 'evil sex drug'. The resulting tabloid furore saw the plant cannabis sativa banned in Australia, even though cannabis had been a well-known and widely used drug in Australia for many decades. In 1964, a massive infestation of wild cannabis was found growing along a stretch of the Hunter River between Singleton and Maitland in New South Wales. The explosion in Australian marijuana use began there. It was fuelled after 1967 by US soldiers on rest and recreation leave from Vietnam. It was the Baby-Boomer young who were turning on. Pot smoking was overwhelmingly associated with the generation born in the decade after the Second World War. As the conflict over the Vietnam War raged in Australia, it provoked intense generational conflict between the Baby-Boomers and older generations. Just as in the US, pot was adopted by Australian Baby-Boomers as their symbol; and, as in the US, the attack on pot users served as code for an attack on the young, the Left, and the alternative. In 1976, the 'War on Drugs' began in earnest in Australia with paramilitary attacks on the hippie colonies at Cedar Bay in Queensland and Tuntable Falls in New South Wales. It was a time of increasing US style prohibition characterised by 'tough-on-drugs' right-wing rhetoric, police crackdowns, numerous murders, and a marijuana drought followed quickly by a heroin plague; in short by a massive worsening of 'the drug problem'. During this decade, organised crime moved into the pot scene and the price of pot skyrocketed, reaching $450 an ounce in 1988. Thanks to the Americanisation of drugs policy, the black market made 'a killing'. In Marijuana Australiana I argue that the 'War on Drugs' developed -- not for health reasons -- but for reasons of social control; as a domestic counter-revolution against the Whitlamite, Baby-Boomer generation by older Nixonite Drug War warriors like Queensland Premier, Bjelke-Petersen. It was a misuse of drugs policy which greatly worsened drug problems, bringing with it American-style organised crime. As the subtitle suggests, Marijuana Australiana relies significantly on 'alternative' sources, and I trawl the waters of popular culture, looking for songs, posters, comics and underground magazines to produce an 'underground' history of cannabis in Australia. This 'pop' approach is balanced with a hard-edged, quantitative analysis of the size of the marijuana market, the movement of price, and the seizure figures in the section called 'History By Numbers'. As Alfred McCoy notes, we need to understand drugs as commodities. It is only through a detailed understanding of the drug trade that the deeper secrets of this underground world can be revealed. In this section, I present an economic history of the cannabis market and formulate three laws of the market.
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