This thesis explores representations of landscape in Chilean fiction cinema from 2008 to 2014, through a corpus drawn from the so-called novisimo cine chileno, a generation of young filmmakers who have attracted significant critical attention both within Chile and on international festival and arthouse circuits. The thesis is built on close readings of the selected films within a conceptual framework informed by interdisciplinary perspectives from the developing field of landscape studies. It aims to show how these cinematic landscapes function beyond the limitations of narrative setting or symbolic imagery and are instead represented in ways which capture landscape's processual, experiential and polysemic nature, which in turn throws light on landscape as an approach to a wide range of thematic concerns within these films. It begins by placing the selected corpus within a broader cultural history of the Chilean landscape and maps out the conceptual framework which will be applied and developed through the thesis, considering landscape as experience and process, as well as image. The thesis then sets out the foundations for the thesis' close readings by demonstrating how such a conceptual approach can reveal the inherent tensions of film landscapes - between being inside and outside, contemplation and immersion, proximity and distance - and can also uncover the multisensory and embodied aspects of landscapes on screen, with particular attention to the roles of sound and haptic imagery. In the remainder of the thesis, this approach to landscape is developed through further close analysis of selected films in order to demonstrate how landscape functions in relation to certain thematic concerns - what contact between body and landscape reveals about materiality and mortality, how the cinematic landscape both invites and resists its framing as territory, and how film as a medium has a particular capacity to evoke the multiple temporalities at work within landscape. As a whole, the thesis works to illuminate the aesthetic, formal, narrative and thematic functions of landscape in the chosen films and argues for the usefulness of interdisciplinary conceptual approaches in the study of cinematic landscapes in order to reach a more nuanced understanding of film's representation of the relation of people and place.

France and Australia possess such distinctive national traits that they are not habitually compared in relation to their history, identity and culture. However, their national cinemas reveal that they have much in common. A significant number of recent films from both nations bear the mark of a similar obsessional quest for national identity that is linked to the exploration of a troubled colonial past. This shared preoccupation constitutes the starting point for this thesis, which compares the representation of colonial history in the cinema of France and Australia since 1970. It is of course evident that the two nations have had widely differing experiences of colonisation. Modern France is among the ranks of the major empire builders, and Australia is the product of one of Great Britain's most successful colonies. If neither nation can forget its colonial past, it is also for different reasons: France is the principal destination of migrants from her former colonies, and Australia faces landrights claims from her indigenous populations. If these differences provide the distinct social, political and geographical contexts of French and Australian cinema, they do not, however, impinge upon the stylistic and ideological analysis of their colonial thematics. For the purposes of this thesis, three fundamental criteria determine the inclusion of a film in the corpus: it must have an historical colonial setting; its narrative must focus principally on aspects of the colonisation process; and its director must be a descendant of the former colonisers. Around a dozen films released since 1970 in each country have been identified as matching these criteria and, for the purposes of the thesis, have been called postcolonial films. The content and structures of the films dictate the analytical approach and theories are drawn upon as tools when needed. These theories are widely varied across the disciplines and the theorists include Pierre Sorlin, Edward Saïd and Albert Memmi. The approach to representing colonial issues varies widely, with the majority of the films in the corpus neither appearing to confront openly nor to support the ideology of colonialism. Two exceptions are Coup de torchon (Tavernier, France, 1981) and The Chant of Jimmie Blacksmith (Schepisi, Australia, 1978). More typical of the ambivalent treatment of colonialism are the popularly attended films such as Indochine (Wargnier, France, 1991) and Picnic at Hanging Rock (Weir, Australia, 1975). In the first chapter an analysis of the relationship of the films to documented history demonstrates that French films are frequently set during the period between 1910 and 1950, and Australian films during the last half of the nineteenth century. The following chapter examines the relationship of the colonisers to their colonised lands and asks if the exceptional attention paid in all the films to the colonial geography has the effect of assimilating an alien landscape into the Western settlers’ culture and mythology. The following two chapters address the core element of colonial life - in Franz Fanon's terms - its division into two worlds. The first of these chapters examines the interaction between the coloniser and the colonised through individual relationships between the two, and addresses the problem that all of these relationships end in permanent separation. The following chapter explores the interaction between coloniser and colonised as social groups that are divided by notions of race and discusses the general epistemological problem of the representation of the Other. The fifth chapter analyses the symbolic mechanisms being used to structure the films and manipulate the unconscious effect on the viewer. For example, there are a number of films with journeys of some kind, orphan-like characters and characters with strong noble savage qualities. Finally, the sixth chapter compares two of the films to the books from which they are derived. The object of this double comparison is to isolate differences in the films which are better explained by changing colonial politics than by inherent differences between cinema and literature. In the conclusion, it is argued that there appear to be few sustained attempts at confronting and resolving the problematic aspects of colonialism’s legacy. This is especially evident from the predominance of fictitious stories over the depiction of actual documented events. This tendency in both the French and Australian cinemas to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and thus avoiding the necessity of dealing with it. A further notable tendency was the preference for selecting certain periods and avoiding others, hence stripping the colonial past of its most embarrassing aspects. For example, no film could be found which showed the initial phase of the establishment of a colony. Despite the rarity of films released in France and Australia that openly challenge colonialism as a whole, many signs are evident throughout these films that the practices and values defending or justifying colonisation are nevertheless being questioned. / Thesis (Ph.D) -- School of Humanities, 2003

France and Australia possess such distinctive national traits that they are not habitually compared in relation to their history, identity and culture. However, their national cinemas reveal that they have much in common. A significant number of recent films from both nations bear the mark of a similar obsessional quest for national identity that is linked to the exploration of a troubled colonial past. This shared preoccupation constitutes the starting point for this thesis, which compares the representation of colonial history in the cinema of France and Australia since 1970. It is of course evident that the two nations have had widely differing experiences of colonisation. Modern France is among the ranks of the major empire builders, and Australia is the product of one of Great Britain's most successful colonies. If neither nation can forget its colonial past, it is also for different reasons: France is the principal destination of migrants from her former colonies, and Australia faces landrights claims from her indigenous populations. If these differences provide the distinct social, political and geographical contexts of French and Australian cinema, they do not, however, impinge upon the stylistic and ideological analysis of their colonial thematics. For the purposes of this thesis, three fundamental criteria determine the inclusion of a film in the corpus: it must have an historical colonial setting; its narrative must focus principally on aspects of the colonisation process; and its director must be a descendant of the former colonisers. Around a dozen films released since 1970 in each country have been identified as matching these criteria and, for the purposes of the thesis, have been called postcolonial films. The content and structures of the films dictate the analytical approach and theories are drawn upon as tools when needed. These theories are widely varied across the disciplines and the theorists include Pierre Sorlin, Edward Saïd and Albert Memmi. The approach to representing colonial issues varies widely, with the majority of the films in the corpus neither appearing to confront openly nor to support the ideology of colonialism. Two exceptions are Coup de torchon (Tavernier, France, 1981) and The Chant of Jimmie Blacksmith (Schepisi, Australia, 1978). More typical of the ambivalent treatment of colonialism are the popularly attended films such as Indochine (Wargnier, France, 1991) and Picnic at Hanging Rock (Weir, Australia, 1975). In the first chapter an analysis of the relationship of the films to documented history demonstrates that French films are frequently set during the period between 1910 and 1950, and Australian films during the last half of the nineteenth century. The following chapter examines the relationship of the colonisers to their colonised lands and asks if the exceptional attention paid in all the films to the colonial geography has the effect of assimilating an alien landscape into the Western settlers’ culture and mythology. The following two chapters address the core element of colonial life - in Franz Fanon's terms - its division into two worlds. The first of these chapters examines the interaction between the coloniser and the colonised through individual relationships between the two, and addresses the problem that all of these relationships end in permanent separation. The following chapter explores the interaction between coloniser and colonised as social groups that are divided by notions of race and discusses the general epistemological problem of the representation of the Other. The fifth chapter analyses the symbolic mechanisms being used to structure the films and manipulate the unconscious effect on the viewer. For example, there are a number of films with journeys of some kind, orphan-like characters and characters with strong noble savage qualities. Finally, the sixth chapter compares two of the films to the books from which they are derived. The object of this double comparison is to isolate differences in the films which are better explained by changing colonial politics than by inherent differences between cinema and literature. In the conclusion, it is argued that there appear to be few sustained attempts at confronting and resolving the problematic aspects of colonialism’s legacy. This is especially evident from the predominance of fictitious stories over the depiction of actual documented events. This tendency in both the French and Australian cinemas to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and thus avoiding the necessity of dealing with it. A further notable tendency was the preference for selecting certain periods and avoiding others, hence stripping the colonial past of its most embarrassing aspects. For example, no film could be found which showed the initial phase of the establishment of a colony. Despite the rarity of films released in France and Australia that openly challenge colonialism as a whole, many signs are evident throughout these films that the practices and values defending or justifying colonisation are nevertheless being questioned. / Thesis (Ph.D) -- School of Humanities, 2003

This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation. Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity. Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.

Im Rahmen dieser Diplomarbeit entstand in Zusammenarbeit des Instituts für Kartographie der Technischen Universität Dresden und Archäologen der Universität Gent in Belgien ein dreidimensionales Landschaftsmodell einer Teilregion des Naturparks „Uch-Enmek“, gelegen in der Republik Altai. Diese Region beinhaltet die wichtigsten und größten bekannten Begräbnisstätten skythischen Ursprungs, für die es gilt, den Bekanntheitsgrad und das Bewusstsein dieses kulturellen Erbes durch diese Arbeit zu steigern. Im Zuge dessen wurden wichtige Geodaten, unter Berücksichtigung der prägenden Geoelemente einer Landschaft, in einem Geoinformationssystem zusammengetragen, um die Ausgrabungsstätten ergänzt und verfeinert und schließlich zu einem digitalen Landschaftsmodell ausgebaut. Die Wandlung zu einem dreidimensionalen Landschaftsmodell durch Hinzunahme von 3D-Objekten, wie Gebäuden oder Bäume, wurde in einer professionellen 3D-Software durchgeführt. Zur Visualisierung des Endproduktes wurden aus dem resultierenden 3D-Modell statische Bilder und eine Animation erstellt. Zukünftig können die Ergebnisse genutzt werden, um einen Internetauftritt des Naturparks zu ermöglichen. / Within the scope of this diploma thesis, a three-dimensional landscape model of a part of a region located in the nature park „Uch-Enmek“ (situated within the Altai Republic), was generated in cooperation with the Institut for Cartography of Dresden University of Technology and archaeologists of the University of Ghent in Belgium. The area of interest contains the most important and well-known burial mounds, that origin back to Scythian history. Aim of the thesis is to increase the degree of popularity and the awareness for this cultural heritage. In this case, important geodata were collected within a geo-informationsystem, with respect to characteristic geoelements of a landscape. The geodata were replenished and improved around the archaeological excavation and built up to a digital landscape model. The conversion to a three-dimensional landscape model by adding three-dimensional objects, like buildings and trees, was executed with the help of a professional 3D-software. To visualize the final product, static images and an animation were generated as results out of the 3D-model. Prospectively, the achievement can be used to establish an internet presentation of the nature park.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les implications (esthétiques, narratives, iconologiques, philosophiques, poétiques, etc.) de ce traitement singulier de l’espace filmique en montrant comment le cinéaste parvient à créer différents types de sensations et construire son discours par et à travers l’espace de ses œuvres. Le mémoire porte une attention particulière à la notion de «paysage filmique» et se structure en trois chapitres, lesquels étudient respectivement l’espace chez Malick en termes de «sensations» (sensibilité de l’espace, «mise en vue» du paysage au sein des deux films), de «relations» (relations entre les différents espaces et relations entre les personnages et l’espace) et de «mémoire» (densité «iconologique» du paysage). Aussi, j’aborde d’autres questions importantes au cours du projet et je reviens à plusieurs endroits sur la dimension «poétique» du cinéma de Malick et sur la «réflexivité spatiale» de ses films (réflexivité et aspect «attractionnel» du paysage, réflexivité de la voix-off, réflexivité de l’organisation et de la structure spatiales du récit, réflexivité du «tissage spectral»). Enfin, il est question de montrer au fil du mémoire que Malick parvient à édifier avec le cinéma, et par là avec l’espace et le paysage, un véritable espace de pensée qui «déborde» du cadre filmique. / This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films.

Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les implications (esthétiques, narratives, iconologiques, philosophiques, poétiques, etc.) de ce traitement singulier de l’espace filmique en montrant comment le cinéaste parvient à créer différents types de sensations et construire son discours par et à travers l’espace de ses œuvres. Le mémoire porte une attention particulière à la notion de «paysage filmique» et se structure en trois chapitres, lesquels étudient respectivement l’espace chez Malick en termes de «sensations» (sensibilité de l’espace, «mise en vue» du paysage au sein des deux films), de «relations» (relations entre les différents espaces et relations entre les personnages et l’espace) et de «mémoire» (densité «iconologique» du paysage). Aussi, j’aborde d’autres questions importantes au cours du projet et je reviens à plusieurs endroits sur la dimension «poétique» du cinéma de Malick et sur la «réflexivité spatiale» de ses films (réflexivité et aspect «attractionnel» du paysage, réflexivité de la voix-off, réflexivité de l’organisation et de la structure spatiales du récit, réflexivité du «tissage spectral»). Enfin, il est question de montrer au fil du mémoire que Malick parvient à édifier avec le cinéma, et par là avec l’espace et le paysage, un véritable espace de pensée qui «déborde» du cadre filmique. / This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films. / Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.