Diss. Univ. Zürich, 2004/05. - Ref.: Elisabeth Bronfen. / Im Buchh.: Edinburgh : Edinburgh University Press. Register. Literaturverz.

Den här uppsatsen behandlar huruvida det finns ett multipelt auteurskap och om termen auteur kan appliceras på andra filmskapare än regissören. Utifrån syftet ställdes sedan två frågor: Vilken roll har manusförfattaren jämfört med regissören när det kommer till auteurskap över en film? Samt frågan om på vilket sätt ett multipelt auteurskap skulle kunna formuleras? För att undersöka dessa frågor användes sedan en komparativ metod där romanen Rebecca jämförs med dess filmiska adaptation samt filmens manus. Baserat i fallstudien av Rebecca (1940) diskuteras sedan regissörens roll gentemot filmmanusförfattarens och författarens, samt vad dessa roller får för konsekvenser i termer av auteurskap. / This essay examines whether there is a multiple auteurship and if the term auteur can be applied to other filmmakers than the director. Based on this purpose, two questions where formulated: What is the role of the screenplay-writer compared to the director’s when it comes to auteurship over a film? The paper also examines the question of how a possible multiple auteurship could be formulated. To examine these questions, a comparative method was used in which the novel Rebecca was compared with its cinematic adaptation, as well as the film's screenplay. Based on the case study of Rebecca (1940), the director’s role is thereafter discussed compared to the screenplay-writers and the authors roles, as well as what the consequences of these roles have in terms of auteurship.

L'œuvre filmique relève-t-elle du "sévère exercice de dépersonnalisation" revendiqué par Gilles Deleuze dans l'invention d'une identité personnelle ? Quelles méthodes, les réalisateurs Alfred Hitchcock, Thomas Vinterberg et Kim Ki-duk inventent-ils pour représenter des femmes et des hommes soumis à des situations si intolérables qu'elles les dépersonnalisent et ce jusqu'à l'oubli de leur nom ? Enfin, quels liens peut-on opérer entre une dépersonnalisation qui relève d'une stratégie de survie déclenchée par des traumatismes d'origines diverses et, une autre, qui reflète la formidable puissance de l'acte créateur ? Ma réflexion s'inscrit à la croisée de deux formes de dépersonnalisation dont le psychanalyste Michel de M'Uzan a indiqué les destins radicalement opposés. Chacune, selon lui, s'accompagne d'affect distinct. Aussi à partir de ces différences essentielles quant à la qualité de l'émotion et à la visée, j'analyse, dans ma thèse, les modalités selon lesquelles le créateur est en mesure de nous montrer comment dévier la violence autodestructrice de l'une à la faveur de la puissance créatrice de l'autre qui, avec l'avènement de l'œuvre cinématographique, délivre l'image des empreintes terrifiantes d'un monde contemporain à la tonalité extrêmement archaïque. Tout au long de ma démonstration, les passages fréquents de la poïétique à la narration filmique m'ont permis, à la suite de la proposition de Gilles Deleuze et de la notion de créativité de Donald Woods Winnicott, d'envisager aussi la création en terme d'identité. / Does creation as something to do with the "exercise of severe depersonalization" claimed by Gilles Deleuze in the invention of a personal identity? What methods, directors Alfred Hitchcock, Thomas Vinterberg and Kim Ki-duk they invented to represent women and men subject to the conditions so intolerable that depersonalize them ? Finally, what links can be made between a depersonalization that is a survival strategy to trauma, and another that reflects the tremendous power of the creative act ? My thinking is at the intersection part of two forms of depersonalization in which the psychoanalyst Michel M'Uzan said the radically different fates. Each, he says, is accompanied by distinct affect. Also from these essential differences in the quality of the emotion and the destiny, I analyze in my thesis, the manner in which the creator is able to show us how to deflect the destructive violence of one to for the creative power of the other. Throughout my demonstration, the frequent passages between the narration and the poïesis allowed me, as a result of the proposed Gilles Deleuze and the notion of creativity Donald Woods Winnicott, to consider also creation in terms of identity.

Cette étude propose une analyse de la représentation de la peur dans la société américaine à l’époque du maccarthysme à travers la filmographie de trois réalisateurs contemporains : Alfred Hitchcock, Elia Kazan et Fred Zinnemann. La période charnière de 1946 à 1954 sert de cadre à ce travail. La définition de l'identité américaine était au cœur du mouvement anticommuniste des années cinquante dont l'organe étatique s'appelait la House Un-American Activities Committee (la HUAC), car le fait d'être communiste était considéré comme une activité anti-américaine. C’est pour cette raison que les trois réalisateurs qui ont été choisis pour cette étude sont tous issus de l'immigration, et que la notion identitaire est sous-jacente à ce travail. Le cinéma durant cette période révèle la présence de la peur dans l'esthétique et les scénarii des films eux-mêmes, mais également dans le contexte plus large de l'industrie cinématographique hollywoodienne. La peur fut utilisée dans la société américaine afin d'assurer la docilité du peuple. Tout ce qui concerne la façon dont une société est organisée relève de la politique. Cette étude s’intéresse donc à la fonction politique de la peur ainsi qu’à la façon dont le cinéma a pu être utilisé pour transmettre un message subliminal au public : deux aspects qui sont toujours d’actualité dans la société de nos jours. / The aim of this study is to present an analysis of the manifestation of fear in American society during the period of McCarthyism, and concentrates on the filmographies of three directors contemporary to events: Alfred Hitchcock, Elia Kazan and Fred Zinnemann. The period of transition, 1946 to 1954, provides the temporal framework for this work. Defining American identity was the underlying focus of the 1950s anticommunist movement, which depended on the interventions of the House Un-American Activities Committee (the HUAC), as being a Communist was considered to be an un-American activity. This is why the three directors studied here were all recent immigrants to the United States, and why the notion of identity underlies this study. The cinema of this era shows the presence of fear through the movie esthetics and screenplays, but also in the broader context of the Hollywood cinema industry. Fear was used in American society in order to ensure the docility of the population. Anything which concerns the way in which a society is organized is political. In this way, this study shows the political function of fear as well as the potential use of cinema in order to transmit a subliminal message to the public; two aspects of society which continue to subsist in today's world.

Made available in DSpace on 2016-04-26T18:12:30Z (GMT). No. of bitstreams: 1 Marcelo Moreira Santos.pdf: 1103732 bytes, checksum: f1ca91036fe2c93f88aefaf816bd3e5b (MD5) Previous issue date: 2012-10-26 / Fundação de Amparo a Pesquisa do Estado de São Paulo / This thesis had the objective of studying Poetics of Film. Considering poetry, in the case of cinema, as the process of creation, production and effect achieved by the film, this research s question was: how is a systemic semiotic unit created in a film? Its goal, therefore, was to understand how poetics is structured and engendered. The hypothesis that guided this research were the following: 1) the signs characteristics, which are the hybrid language of cinema, are formed by the integration and complementation of semiotic principles and developments of the aural, visual and verbal languages, 2) the film s systemic ontology is characterized by a collaborative authorship and a complex process of semiosis and communication. To achieve its objective, the research was based on the junction of the Peircean semiotic theory and Edgar Morin and Jorge Vieira s theory of systems. This junction allowed the understanding of the hybrid nature of the filmic sign, which is based on the intersection of three semiotic principles developed by Santaella: syntax, form and discourse. Thus, the filmic interpretation was carried out from Peirce's theory of the interpretants, along with systemic evolutionary parameters. Considering that the cinematography of Alfred Hitchcock constitutes a unique case of an optimized entanglement between semiotics and systemics, the research focused on the study of carefully selected parts from three films by the director: Rear Window (1954), Vertigo (1958) and Psycho (1960). The choice is due to the fact that this filmmaker prepares exemplarily a complex unity in his films, working the characteristics of each language - visual, aural and verbal - on both its autonomy and on the interfaces and integrations between them, generating poetics, ie a way of internal engendering that organizes different elements in a systemic dynamics. The analysis revealed that the suspense in Hitchcock is based on the geometrization of a network of intersemiosis that flows, uniting itself by attractive structures, through which timelines of events and information gradually reveal a representative grammaticality. Thus, in addition to situate and contextualize Hitchcock in poetics of film articulated in different schools and movements throughout history, this research established the concept of systemic ontology cinematography. For, in its ontological bias, the poetics of film is made by an organization of diverse and plural nature, whose active unit is established and maintained by the multiplicity of interactions and cooperation which the semiotics agents involved, with their specialties and functions, are able to produce, develop and transform / A presente tese tomou como seu objeto de pesquisa a poética fílmica. Entendendo por poética, no caso do cinema, o processo de criação, produção e efeitos alcançados pelo filme, a questão da pesquisa foi: como é gerada uma unidade semiótico-sistêmica em um filme? O objetivo voltou-se, portanto, para a compreensão de como se estrutura e se engendra tal poética. As hipóteses que nortearam o encaminhamento da pesquisa foram as seguintes: 1) as características sígnicas, que constituem a linguagem híbrida do cinema, são formadas pela integração e complementação dos princípios e desdobramentos semióticos das linguagens sonora, visual e verbal; 2) a ontologia sistêmica do filme é marcada pela autoria colaborativa e seu complexo processo de semiose e comunicação. Para alcançar seu objetivo, a pesquisa fundamentou-se na junção da teoria semiótica peirciana com a teoria dos sistemas de Edgar Morin e Jorge Vieira. Essa junção permitiu compreender a natureza híbrida do signo cinematográfico que se fundamenta na intersecção de três princípios semióticos, desenvolvidos por Santaella: a sintaxe, a forma e o discurso. Assim, a interpretação fílmica se realizou a partir da teoria dos interpretantes de Peirce, em comunhão aos parâmetros sistêmicos evolutivos. Por considerarmos que a cinematografia de Alfred Hitchcock constitui-se em um caso otimizado de um entrosamento semiótico e sistêmico ímpar, a pesquisa se concentrou no estudo de partes criteriosamente selecionadas de três filmes do diretor: Janela Indiscreta (1954), Um Corpo que Cai (1958) e Psicose (1960). A escolha se deve ao fato de que esse cineasta confecciona de modo exemplar uma unidade complexa em seus filmes, trabalhando as características de cada linguagem - visual, sonora e verbal - tanto na autonomia de cada uma quanto nas interfaces e integrações entre elas, gerando uma poética, ou seja, certo modo de engendramento interno que organiza diferentes elementos em uma dinâmica sistêmica. A análise revelou que o suspense, em Hitchcock está baseado na geometrização de uma rede de intersemioses que flui, acoplando-se por meio de estruturas atratoras, pelas quais linhas temporais de eventos e informações vão aos poucos revelando uma representativa gramaticalidade. Assim, além de situar e contextualizar Hitchcock nas poéticas fílmicas articuladas em diferentes escolas e movimentos ao longo da história, a pesquisa estabeleceu o conceito de ontologia sistêmica cinematográfica. Em seu viés ontológico, a poética fílmica se faz por meio de uma organização de caráter plural e diverso, cuja unidade ativa se estabelece e se mantém pela multiplicidade de interações e cooperações, as quais os agentes semióticos envolvidos, com suas especialidades e funções, são capazes de produzir, desenvolver e transformar

This dissertation examines the motif of idolatry in the work of two modernist authors, Oscar Wilde and Joseph Conrad, and one modernist filmmaker, Alfred Hitchcock. The idols in these texts serve a contradictory role, signifying both increasing commodification under capitalism and an attempt to formulate a new ethics of image-making in response to this global transition. Chapter 1 analyzes Wilde’s play Salomé. Attending to the original French and to biblical allusion, I demonstrate that the text’s key generative trope is idolatry, which occupies a position both sacred and profane. The play superimposes two moments of historical rupture, positing Salomé as the embodiment of a new artistic potential of idolatry under monopoly capitalism. Chapter 2 analyzes Conrad’s early fiction, particularly The Nigger of the “Narcissus,” “The Return,” “Karain,” and Nostromo. I track a three-stage development in Conrad’s representations of idols, whereby the idol is associated with utopian fantasy, false ideals, and the artistic process. I also identify a new image-making technique, “retroactive modification,” which attempts to destabilize the image and thus counter problems of narrative representation, particularly reification and historical inauthenticity. Chapter 3 analyzes Hitchcock’s Blackmail, Saboteur, and Shadow of a Doubt, and challenges the notion of Hitchcock as auteur. The first two films culminate in sequences featuring monumental and iconic statuary. In the earlier British film, this process signifies a reckoning with history; in the later American film, it signifies the threat of history’s erasure and the degradation of art. Shadow of a Doubt signals a shift to a post-modern global-capitalist paradigm and a focus on the celebrity idol. My methodology builds on the work of Fredric Jameson and Slavoj Žižek to elucidate cultural fantasies underlying the texts and the ways in which the texts perform the psychical maneuver of disavowal, whereby a proposition is simultaneously asserted and denied. This double movement in Wilde, Conrad, and Hitchcock’s texts bespeaks a striving, through the motif of idolatry, to represent the image in motion. Though this desire is finally realized in the technology of film, the authenticity of that realization is undermined by the historical contradictions that enable its production. / 2020-12-11T00:00:00Z

In this thesis I investigate the nature of noir subjectivity, and the degree to which it can be described as heroic. To investigate these issues, I have chosen to illustrate my argument by analysing my novel, Viper, and two films that renew the noir cycle at different socio-political crossroads in America: in 1958, Alfred Hitchcock???s late noir, Vertigo, and in 1974, Frances Ford Coppola???s neo-noir, The Conversation. Because these texts present an extreme theorisation of deception in terms of the assembling and erasure of subjective identity, they will serve as a basis to explore the question of noir subjectivity. In proceeding thus, I argue in the dissertation that film noir???s most innovative borrowing can be described as a monstrous stitching together of incompatible parts???the real and the imaginary, the past and the present, the living and the dead???which accounts for a cut both between, and within, the image. It is this prosthetic approach to representation that takes the noir mode beyond its existential, individualist limits, and accounts for the subjective wound in noir: the heroic conflict between the singular and the multiple. In my analytic procedure then, I extend the idea of monstrosity beyond its current boundaries in contemporary theory. I do this by fusing Marie H??l??ne Huet???s conception of the monstrous imagination, which is a theory of art, with Gilles Deleuze???s powers of the false, which belongs to a philosophy of time. I posit a dialogic exchange across these analyses and my novel to suggest that the cinematic cut not only accounts for what Deleuze has termed the time-image but also is symptomatic of the chronic wounding of the riven noir hero. These analyses suggest that, while sustaining the aura of authorship through technical innovation and stylistic mastery, film noir serves paradoxically to challenge the mastery of the model designated as masculine. In my novel I continue to deal with the issues raised in the dissertation, through a rearticulation of a subjectivity that irrevocably alters its relation to representation in its affinity with the image, its serial movement through interstitial space, and its novel powers of falsification.

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Formal education is primarily based upon learning about space through static two-dimensional representations, while landscape architecture responds to the ever-changing spatial and temporal conditions of the material world. The film medium, with its illusion of movement and three-dimensionality, offers an easily accessible antidote to this conundrum. Although cinematic settings are often constructed to promote a particular narrative rather than emulate physical reality, these filmic worlds trigger powerful imagery which overwhelms the lived experience of space. Through the analysis of three seminal films by director Alfred Hitchcock – Rear Window, North by Northwest and The Birds – this project represents an endeavour to deconstruct the haunting filmic atmospheres which transformed my perceptions of three familiar landscapes. Through the use of drawing and composite graphics, I have sought to understand this cinematic ostranenie – or defamiliarization – of the everyday and its underlying creative potential for the realm of landscape architecture.

Formal education is primarily based upon learning about space through static two-dimensional representations, while landscape architecture responds to the ever-changing spatial and temporal conditions of the material world. The film medium, with its illusion of movement and three-dimensionality, offers an easily accessible antidote to this conundrum. Although cinematic settings are often constructed to promote a particular narrative rather than emulate physical reality, these filmic worlds trigger powerful imagery which overwhelms the lived experience of space. Through the analysis of three seminal films by director Alfred Hitchcock – Rear Window, North by Northwest and The Birds – this project represents an endeavour to deconstruct the haunting filmic atmospheres which transformed my perceptions of three familiar landscapes. Through the use of drawing and composite graphics, I have sought to understand this cinematic ostranenie – or defamiliarization – of the everyday and its underlying creative potential for the realm of landscape architecture.