El siguiente trabajo abarca la investigación de la hipótesis generada sobre los temas del cine peruano y la película cusqueña Kukuli: Kukuli como la primera película de cine peruano. Kukuli es una película del grupo Cine Club Cusco, un grupo de intelectuales que se reunieron a mediados de los cincuenta y fueron llamados como Escuela de Cusco por el historiador George Sadoul. Su primer largometraje es considerado por muchos intelectuales del medio peruano como la primera película relevante en la cinematografía nacional. Dentro del contexto, cabe resaltar que en las investigaciones sobre el cine peruano se da cuenta de películas, entre cortometrajes y largometrajes, que datan desde los años treinta, por lo que no nos referimos a que Kukuli sea la primera película hecha en el Perú, sino que es la primera película que toman relevancia los propios investigadores para marcar un punto en el desarrollo del concepto de un cine nacional. Con esto, se busca identificar las narrativas que contiene este filme para que, a pesar de haber sido rodado y estrenado en un contexto en el que ya existía cine peruano, sea considerada como una película pionera y relevante en la formulación de la historia del cine peruano. / The following work covers the investigation of the hypothesis generated on the themes of Peruvian cinema and the Cusco film Kukuli: Kukuli as the first Peruvian film. Kukuli is a film by the Cine Club Cusco group, a group of intellectuals who met in the mid-fifties and were called the Cusco School by historian George Sadoul. Their first feature film is considered by many intellectuals in Peru as the first relevant film in the national cinematography. Within the context, it is worth mentioning that research on Peruvian cinema includes films, both short and full-length, that date back to the 1930s, so we are not referring to Kukuli being the first film made in Peru, but rather it is the first film that the researchers themselves have made relevant to mark a point in the development of the concept of a national cinema. With this, we seek to identify the narratives contained in this film so that, in spite of having been shot and released in a context where Peruvian cinema already existed, it is considered a pioneering and relevant film in the formulation of the history of Peruvian cinema. / Trabajo de investigación

Este estudo histórico sobre as origens do espetáculo cinematográfico em Porto Alegre investiga as práticas que caracterizaram a exploração comercial do cinematógrafo para fins de entretenimento desde a sua introdução na cidade em novembro de 1896 até a abertura das primeiras salas permanentes especializadas na exibição cinematográfica, em 1908, e que deram início ao processo de sedentarização da atividade exibidora. O cinema não surgiu como um gênero espetacular acabado e tampouco foi uma prática inédita enquanto espetáculo de projeções, mas esteve estreitamente vinculado à tradição dos espetáculos de projeções de lanterna mágica do século XIX, o que explica a extensão da pesquisa a 1861. Entre 1896 e 1908, o cinematógrafo deixou de ser apenas uma nova invenção técnica e uma nova modalidade de projeção de imagens ópticas para se constituir e afirmar como novo gênero espetacular, autônomo de outras práticas culturais que lhe foram anteriores e contemporâneas e com as quais estabeleceu diferentes formas de associação. Ao longo deste período, o cinematógrafo foi explorado comercialmente de modo descontínuo e temporário por diferentes exibidores cinematográficos itinerantes que ocuparam centros de diversões já existentes e criaram espaços especializados de exibição, propondo distintos modos de organização do espetáculo e dos programas. A heterogeneidade da exibição também facultou um acesso diversificado do público ao cinema e possibilitou uma grande variedade nas formas de sua apropriação pelos espectadores, conferindo uma dinâmica ímpar ao processo de afirmação do cinema como gênero espetacular específico e nova prática cultural. / This historical study on the origins of the cinematographic spectacle in Porto Alegre investigates the practices which characterized the commercial exploitation of the cinematographer for entertainment purposes from its introduction in the city in november 1896 to the opening of the first permanent theaters specialized in cinematographic exhibitions, in 1908, which gave start to the process of sedentarization of the exhibiting activity. Cinema did not appear as an accomplished spectacle genre and neither the projection spectacle was a new practice; it was closely linked to the tradition of the magic lantern projection spectacles of the 19th century, as explained by the extension of the research to 1861. Between 1896 and 1908, the cinematograph has shifted from being solely a new technical invention and a new mode of projection of optical images to becoming a new spectacular genre, independent from other cultural practices, previous and contemporary, with which it had established various forms of association. Throughout this period, the cinematograph was commercially explored in a discontinuous and temporary fashion by a number of itinerant cinematographic exhibitors who occupied existing entertainment centers and created specialized exhibition spaces, proposing distinct ways of organization of the spectacle and of the programs. The heterogeneity of the exhibition also allowed diversified access from the public to cinema and introduced a great variety of possibilities for the audience to appropriate it, conferring an unparalleled dynamic to the process of affirmation of cinema as a specific spectacle genre and a new cultural practice.

Este estudo histórico sobre as origens do espetáculo cinematográfico em Porto Alegre investiga as práticas que caracterizaram a exploração comercial do cinematógrafo para fins de entretenimento desde a sua introdução na cidade em novembro de 1896 até a abertura das primeiras salas permanentes especializadas na exibição cinematográfica, em 1908, e que deram início ao processo de sedentarização da atividade exibidora. O cinema não surgiu como um gênero espetacular acabado e tampouco foi uma prática inédita enquanto espetáculo de projeções, mas esteve estreitamente vinculado à tradição dos espetáculos de projeções de lanterna mágica do século XIX, o que explica a extensão da pesquisa a 1861. Entre 1896 e 1908, o cinematógrafo deixou de ser apenas uma nova invenção técnica e uma nova modalidade de projeção de imagens ópticas para se constituir e afirmar como novo gênero espetacular, autônomo de outras práticas culturais que lhe foram anteriores e contemporâneas e com as quais estabeleceu diferentes formas de associação. Ao longo deste período, o cinematógrafo foi explorado comercialmente de modo descontínuo e temporário por diferentes exibidores cinematográficos itinerantes que ocuparam centros de diversões já existentes e criaram espaços especializados de exibição, propondo distintos modos de organização do espetáculo e dos programas. A heterogeneidade da exibição também facultou um acesso diversificado do público ao cinema e possibilitou uma grande variedade nas formas de sua apropriação pelos espectadores, conferindo uma dinâmica ímpar ao processo de afirmação do cinema como gênero espetacular específico e nova prática cultural. / This historical study on the origins of the cinematographic spectacle in Porto Alegre investigates the practices which characterized the commercial exploitation of the cinematographer for entertainment purposes from its introduction in the city in november 1896 to the opening of the first permanent theaters specialized in cinematographic exhibitions, in 1908, which gave start to the process of sedentarization of the exhibiting activity. Cinema did not appear as an accomplished spectacle genre and neither the projection spectacle was a new practice; it was closely linked to the tradition of the magic lantern projection spectacles of the 19th century, as explained by the extension of the research to 1861. Between 1896 and 1908, the cinematograph has shifted from being solely a new technical invention and a new mode of projection of optical images to becoming a new spectacular genre, independent from other cultural practices, previous and contemporary, with which it had established various forms of association. Throughout this period, the cinematograph was commercially explored in a discontinuous and temporary fashion by a number of itinerant cinematographic exhibitors who occupied existing entertainment centers and created specialized exhibition spaces, proposing distinct ways of organization of the spectacle and of the programs. The heterogeneity of the exhibition also allowed diversified access from the public to cinema and introduced a great variety of possibilities for the audience to appropriate it, conferring an unparalleled dynamic to the process of affirmation of cinema as a specific spectacle genre and a new cultural practice.

Este estudo histórico sobre as origens do espetáculo cinematográfico em Porto Alegre investiga as práticas que caracterizaram a exploração comercial do cinematógrafo para fins de entretenimento desde a sua introdução na cidade em novembro de 1896 até a abertura das primeiras salas permanentes especializadas na exibição cinematográfica, em 1908, e que deram início ao processo de sedentarização da atividade exibidora. O cinema não surgiu como um gênero espetacular acabado e tampouco foi uma prática inédita enquanto espetáculo de projeções, mas esteve estreitamente vinculado à tradição dos espetáculos de projeções de lanterna mágica do século XIX, o que explica a extensão da pesquisa a 1861. Entre 1896 e 1908, o cinematógrafo deixou de ser apenas uma nova invenção técnica e uma nova modalidade de projeção de imagens ópticas para se constituir e afirmar como novo gênero espetacular, autônomo de outras práticas culturais que lhe foram anteriores e contemporâneas e com as quais estabeleceu diferentes formas de associação. Ao longo deste período, o cinematógrafo foi explorado comercialmente de modo descontínuo e temporário por diferentes exibidores cinematográficos itinerantes que ocuparam centros de diversões já existentes e criaram espaços especializados de exibição, propondo distintos modos de organização do espetáculo e dos programas. A heterogeneidade da exibição também facultou um acesso diversificado do público ao cinema e possibilitou uma grande variedade nas formas de sua apropriação pelos espectadores, conferindo uma dinâmica ímpar ao processo de afirmação do cinema como gênero espetacular específico e nova prática cultural. / This historical study on the origins of the cinematographic spectacle in Porto Alegre investigates the practices which characterized the commercial exploitation of the cinematographer for entertainment purposes from its introduction in the city in november 1896 to the opening of the first permanent theaters specialized in cinematographic exhibitions, in 1908, which gave start to the process of sedentarization of the exhibiting activity. Cinema did not appear as an accomplished spectacle genre and neither the projection spectacle was a new practice; it was closely linked to the tradition of the magic lantern projection spectacles of the 19th century, as explained by the extension of the research to 1861. Between 1896 and 1908, the cinematograph has shifted from being solely a new technical invention and a new mode of projection of optical images to becoming a new spectacular genre, independent from other cultural practices, previous and contemporary, with which it had established various forms of association. Throughout this period, the cinematograph was commercially explored in a discontinuous and temporary fashion by a number of itinerant cinematographic exhibitors who occupied existing entertainment centers and created specialized exhibition spaces, proposing distinct ways of organization of the spectacle and of the programs. The heterogeneity of the exhibition also allowed diversified access from the public to cinema and introduced a great variety of possibilities for the audience to appropriate it, conferring an unparalleled dynamic to the process of affirmation of cinema as a specific spectacle genre and a new cultural practice.

Max Ophuls reste un cinéaste méconnu. Plusieurs de ses films (Liebelei, Lettre d’une inconnue, La Ronde) l’ont associé à la Vienne fin de siècle et à la littérature autrichienne, faisant oublier sa relation avec l’Allemagne, son pays natal, et avec Goethe. Cette thèse propose une nouvelle approche auctoriale fondée sur l’étude de sa relation avec l’écrivain. Il s’agit d’examiner la façon dont le matériau goethéen travaille les œuvres inspirées de Goethe et nourrit les conceptions esthétiques du cinéaste. La première partie s’attache à Goethe en tant que source d’inspiration créatrice. Elle repose essentiellement sur l’analyse du Roman de Werther, film français de 1938, et de la Nouvelle, pièce radiophonique allemande de 1954. Cette nouvelle lecture d’œuvres considérées comme mineures montre l’évolution de la relation à Goethe et met en évidence le rapport d’Ophuls à la culture allemande et à l’Allemagne dans le contexte mouvementé du XXème siècle. La seconde partie établit sur un plan plus théorique les liens entre la conception de l’art d’Ophuls et l’esthétique goethéenne. L’analyse des Réflexions sur le cinéma (pièce radiophonique allemande de 1956) montre l’importance de Goethe comme référent théorique. L’examen d’écrits de natures diverses d’Ophuls met au jour une poétique implicite du cinéma, fondée sur l’esthétique organique goethéenne. / Max Ophuls remains a neglected film maker. Several movies he directed (such as Liebelei, Lettre d'une inconnue, La Ronde) have linked his name with fin de siècle Vienna and Austrian literature, overshadowing his relationship with Goethe and with Germany, his native country. Our thesis proposes a new approach to Ophuls, based on a study of his relationship with the German writer : we examine the way in which the Goethean sources both operate in the works directly inspired by Goethe and influence the aesthetic tenets of the director. The first part of our work deals with Goethe as a source of inspiration. It is mostly based on the analysis of the 1938 movie Le Roman de Werther, and of the 1954 radio drama Novelle. This new approach to works considered of lesser importance reveals the development of Ophuls's relationship with Goethe and highlights his connection with Germany and German culture in the turbulent context of twentieth century. The second part, on a more theoretical level, traces the paths linking Ophuls's conception of art and Goethean aesthetics. Our analysis of Thoughts on Film (Gedanken über den Film), a 1956 radio drama, highlights the importance of Goethe as a theoretical frame of reference: other texts of different nature allow us to describe an implicit poetics of cinema, based on Goethean organic aesthetics.

Esta tese se dedica à análise dos filmes: A vida provisória (1968), de Maurício Gomes Leite; Sagrada família (1970), de Sylvio Lanna; Crioulo doido (1970), de Carlos Alberto Prates Correia e Perdidos e malditos (1970), de Geraldo Veloso, com o objetivo de compreender uma questão central apresentada por essas obras: na virada dos anos de 1968/1970, para pensar o Brasil seria necessário voltar a Minas Gerais, mesmo no limite de sua negação física. Seus diretores partem de uma formação comum: o cineclubismo vivido no Centro de Estudos Cinematográficos de Minas Gerais (CEC) e o exercício da crítica cinematográfica desenvolvida na Revista de Cinema e em jornais diários na cidade de Belo Horizonte. A migração para o Rio de Janeiro, ocorrida na década de 1960, e a formação profissional nessa nova cidade, marca a história de todos esses realizadores, bem como imprime aos filmes perspectivas que, segundo nossa análise, criam trânsitos sinuosos entre os dois maiores movimentos do cinema moderno brasileiro: o Cinema Novo e o Cinema Marginal. / This thesis is dedicated to the analysis of the films: A vida provisória (1968), by Maurício Gomes Leite; Sagrada família (1970), by Sylvio Lanna; Crioulo doido (1970), by Carlos Alberto Prates Correia and Perdidos e malditos (1970), by Geraldo Veloso, aiming to understand a central issue presented by these works: at the turn of the years 1968/1970, it would be necessary to return to Minas Gerais in order to think Brazil, even at the limit of the city\'s physical negation. These directors had a common background: the cinephilia exercised in the Centro de Estudos Cinematográficos from Minas Gerais (CEC), as well as the exercise of the film criticism developed in magazines and newspapers from its capital, Belo Horizonte, such as the Revista de Cinema. The migration to Rio de Janeiro in the 1960s and the professional formation in this new city marks the history of all these filmmakers, as well as the films which, according to our analysis, create sinuous transits between the two major movements of the Brazilian modern cinema: the Cinema Novo and the Cinema Marginal.

Source majeure de l’histoire du cinéma, la presse cinématographique française des premiers temps reste pourtant encore un vaste continent à explorer. À partir d’un corpus composé de douze revues couvrant la période de 1908 à 1940, cette recherche entreprend d’étudier les facteurs à la fois techniques, économiques et sociaux de la naissance et de l’évolution de la presse cinématographique française sur trois décennies. Envisagée en tant qu’entreprise de presse, dans sa dimension collective, chaque revue fait l’objet d’une étude méthodique de son identité, de ses spécificités, ainsi que des différentes mutations, administratives, techniques, économiques, formelles et éditoriales, subies. L’ambition première de cette thèse est de proposer une histoire autant de la presse que des journalistes. Elle aspire ainsi à définir la profession de journaliste et de critique de cinéma, telle qu’elle est perçue à l’époque par la corporation du cinéma ainsi que les journalistes et critiques eux-mêmes. La définition de cette fonction se fait également à travers la création de groupements professionnels, dont cette recherche espère avoir éclairé l’histoire et les péripéties qui la jalonnent. Le dessein poursuivi par ailleurs est de contribuer à une meilleure connaissance des hommes, journalistes et critiques, encore méconnus pour la plupart mais qui ont pourtant été des figures marquantes de leur époque, qui ont participé à la création de la presse spécialisée et à l’élaboration d’une pensée et d’une critique cinématographiques dans les années 1900-1930. / A major source for history of cinema, the early French film press however still remains a vast, unexplored continent. With a body of research composed of twelve film magazines spanning over the 1908-1940 period, this thesis aims to study the technical, economical and social factors involved in the birth and evolution of the French film press over three decades. Contemplated as a press organization, in its collective dimension, each film magazine is subject to a methodical study of its identity, specifications and various mutations – administrative, technical, economical, formal and editorial – incurred. The main ambition of this thesis is to propose a history of press as well as of journalists. The study thus aims to define the profession of journalist and film critic, as it is perceived in this period by the film corporation and the journalists and critics themselves. This fonction also defines itself through the creation of professional associations, the history and adventures of which this research hopes it has illuminated. The pursued purpose is also to contribute in a better knowledge of the men, journalists and critics, remaining mainly unrecognized to this day despite being major figures of their time, who participated in the creation of the specialized press and the formulation of a critical thought about cinema, in the 1900s-1930s.

Depuis 2004, le Maroc a opté pour des partenariats public-privé pour augmenter le nombre de productions cinématographiques, et le montant budgétaire de quelques productions dans l’espoir d’avoir des films à haute qualité internationale. Dix ans après, le nombre des films produits est en augmentation devant un déclin du nombre de salles suite à la baisse des recettes. Devant ce constat, il devient nécessaire d’évaluer les projets choisis pour ce Partenariat, leurs sorties commerciales et par conséquent du travail du centre cinématographique représentant l’Etat, et de ses diverses commissions qui sélectionnent les films. Cette thèse évalue ces films produits en partenariat avec l’Etat en suivant la méthode d’analyse SWOT pour chacun des films bénéficiant de ce PPP. Chaque deux ans, la commission qui choisit les films produits en partenariat, est renouvelée. Cette commission, désignée par le ministre de tutelle, vient en grande partie de milieux politiques, ou idéologiques qui affecteront leurs choix des thématiques et aussi des traitements des histoires. Une synthèse des analyses SWOT des films choisis lors de chaque commission permet l’évaluation de son travail. Une synthèse générale des résultats des dix ans permet d’évaluer le dispositif en lui-même, le mode et les critères de sélection. Dans cette thèse, nous allons aussi investiguer le travail de l’Etat via le CCM pour remédier à ce constat, et les résultats des actions entreprises.En effet, mettre l’accent sur les obstacles handicapant les productions bénéficiant du PPP, permettrait une meilleure réorganisation des structures de ce fonds de Partenariat pour réussir les productions futures. Pour ce, après l’étude d’autres modèles de politiques culturelles cinématographiques de pays qui ont mieux réussi les sorties des films, cette thèse présente des propositions de restructuration du fonds de soutien au cinéma au Maroc. / Since 2004, the Moroccan government launched public-private partnerships (PPP) to increase the number of film productions, and leverage up the corresponding budgets in the aim for higher film and media quality. Ten years later, the number of films produced has increased, yet the gross income has dropped down, along with the number of movie theaters. In regard to the listed outcomes, reviewing the projects selected to benefit from state financial support, as well as the film release campaigns, and consequently the work of the Moroccan Cinematographic Center (CCM), the state Agency in charge of the selection and financial support of film projects, became an urgent necessity. The present thesis aims to evaluate the films produced in partnership with the State, based on a SWOT analysis method.The commission in charge of the film selection for the PPP support is renewed every two years. The ministry of communication and culture based on different criteria appoints this commission’s members. Among these criteria are the political and ideological beliefs, which indirectly influence the choice of the theme and the movie project to pick and put up front for the PPP sponsorship program.A summary of the two years' period SWOT analysis for the selected films helps evaluate the commission’s work. A more in depth study over the past ten years, yields a synthesis of the SWOT results for each of the movie projects reviewed. This synthesis allowed questioning the criteria, and the process of selection used by the CCM and thus the quality of its work. The present thesis will consequently, investigate the effectiveness of this state agency and highlight the corrective actions implemented by the state to remediate to the actual situation, then conclude with the results of these actions.Evaluating the Strengths, weaknesses, threats and opportunities of each and every film project as whole will certainly enable a better organization of the state funding, and thus help future productions success, making the funding purpose come true. Based on the study of several successful models in different countries, this thesis, suggests a new strategy to restructure the film support fund in Morocco, in order for a better commercial outcome of the film industry in Morocco.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

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