Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.

[pt] O amor e sua relação com a diferença são as premissas de análise para a investigação desta condição da filosofia no pensamento de Alain Badiou, traçando ainda suas correspondências com outros pensadores da contemporaneidade (Michel Foucault, Claudine Haroche e Zygmunt Bauman, entre outros) sobre o tema. Este estudo inicia-se com uma breve introdução à sua biografia, militância e pensamento, analisando ainda o amor como verdade e instrumento na construção e reinvenção de um novo homem, bem como novas formulações a partir de um pensamento livre sobre o tema. / [fr] L amour et son rapport à la vérité et à la différence sont les premisses d analyse pour enquêter cette condition de la philosophie dans la pensée d Alain Badiou, en cherchant encore leurs connexions avec d autres penseurs contemporains (Michel Foucault, Claudine Haroche et Zygmunt Bauman parmi d autres) sur le sujet. Cet étude commence par une introduction à sa biographie, activisme et pensée, ainsi qu à son affirmation que l amour est une verité est aussi un instrument dans la construction et reinvention d un nouveau homme, ainsi que de nouvelles formulations sur à partir d une libre pensée sur le sujet.

This thesis investigates the aesthetic presence of social performance in six French and Czechoslovak New Wave films of the 1960s. The New Wave was particularly interested in portraying everyday life, and the film corpus studied in this thesis focuses specifically on the representation of the characters' social lives. In addition, the films share the commonality of being made with an aesthetic of authenticity inspired more or less by the 1960s observational documentary genre of cinéma vérité. In the film corpus, ordinary social situations occupy a more prominent place on screen than usual, and instigate a social kind of engagement with the films. Where narrative context conventionally provides the framework for a character's actions, in these unconventional films, it is the characters' social environments that more precisely contextualize their way of being. The aim of the thesis is to engage with these social contexts to understand the characters' social behaviours, and to examine how the 'vérité aesthetic' evokes a social kind of reading of the films. To this end, I develop in the first chapter a Goffmanian approach to the films, inspired by sociologist Erving Goffman's writings on social reality as a performative realm. I use his notions of social performance, social framework, and social perception to engage with each film through what I call a 'social gaze' that inspects the social dynamics of the characters' behaviours. Over the course of three case study chapters, I apply this approach to the films to unearth and discuss their social range of meaning. This thesis thus aims to contribute both to film historical scholarship on the 1960s European New Wave, and to a study of the aestheticization of social reality in film in general.

No description available.

[pt] Esta Dissertação propõe uma leitura do trabalho de Michel Foucault na perspectiva de um projeto filosófico. Para empreender esta tarefa privilegiamos os textos em que ele demarca o espaço que torna possível as suas pesquisas, responde a questões direcionadas à sua investigação histórico-filosófica, analisa, em retrospectiva, o seu próprio trabalho. Essa opção de abordagem nos possibilitou elucidar a especificidade da descrição arqueológica e sua articulação com a filosofia e com outras dimensões do seu trabalho e nos colocou diante de uma constante problematização das relações que o sujeito estabelece com a verdade. Assim, deixamos em suspenso as interpretações já consolidadas em torno de sua obra, que em geral a classificam como: textos arqueológicos que têm por tema o saber (década de 60), textos genealógicos que tematizam o poder (década de 70) e, por fim, nos últimos anos de sua vida textos preocupados com a questão do sujeito. Fazemos esse recuo por pensarmos que a leitura, acima descrita, enfraquece seu projeto pois impossibilita visualizar as relações que se estabelecem entre o discurso e as demais práticas não discursivas. As nossas conclusões apontam, ainda, para a definição do seu projeto como uma tarefa e não como um sistema. Um exercício filosófico, de forte inspiração na filosofia crítica de Kant, que pode ser resumido na questão de saber como e até onde seria possível pensar de outro modo; desprender-se de si. / [fr] Cette dissertation est une lecture du travail de Michel Foucault dans la perspective d un projet philosophique. Pour faire cet tâche nous avons privilégié les textes dans il marque l espace que faire possible ses recherches, répondre des questions à propos de l investigation historique-philosophique, analyse en retrospective son travail même. A partir de cet abordage il a été possible d élucider le propre de la discrition archèologique et s articulation avec la philosophie et des outres dimensions de son travail et nous avons posé en face d une constant problematization des rapports entre le sujet et la verité. Alors, nous avon suspendu l interpretation dèjá consolidés à propos de l´ouvre de Michel foucault, que d une façon général classifie son travail comme : textes archéologiques lesquels à propos du savoir (annés 1960), textes généalogiques lesquels à propos du pouvoir (annés 70) et enfin, dans le dernier moment de sa vie les textes qui s occupent de la question du sujet. Nous faisons ce recul à cause de la lecture plus fréquent, affaiblit son projet à mesure que ne permet pas de voir des rapports entre le discours et d outres pratiques non-discoursives. Notre conclusion indique, encore, par une définicion de son projet comme une tâche e nom comme um système. Un exercice philosophique, de fort inspiration dans la philosophie critique de Kant, que peut se résumer dans la question de savoir Comment et jusqu où il serait possible de penser autrement? ; se déprendre de soi- même.

On ne naît pas un sujet autonome, on le devient. Et, selon Foucault, on le devient à partir de l'invention d'une « éthique du souci de soi » sur la base de laquelle le soi s'engage dans la résistance aux formes de l'assujettissement et dans la production de formes originales de relations de pouvoir. Mais qui, quand, comment et à quelles conditions devient un sujet autonome ? Mobiliser la « performance de genre » pour répondre à cette question signifie problématiser la conceptualisation binaire et «occidentale» du genre, ainsi que mettre en cause les usages de cette conceptualisation. Mais si, comme l'écrit Butler, « l'acte de discours » opposé à la norme de genre est un acte « individuel » et « localisé » , comment peut-on politiser la parodie subjective du genre de manière à produire une action collective, subversive et inédite?

Iranian film has in recent decades comprised an increasingly important and influential cinema. The Iranian Islamic Revolution of 1979 paved the way for freedom of artistic and literary expression, communicating a new generation of unheard voices in Iranian society. More specifically Iranian cinema has progressed in maintaining an identity that reflects both a contemporary nation and auteuristic cinematics. Abbas Kiarostami is one of the more recent and leading film directors rewarded with critical and filmmaking acclaim out of Iran, producing contemporary snapshots of society and culture. His filmmaking methods and ideals are very much reflective of the style of post Second World War Italian Neorealism. In context and filmmaking principles Kiarostami adapts the conventions of Neorealism in exploring contemporary Iranian socio-cultural problems in a similar manner. This project aims to explore the relationship between the style and context of his filmmaking in terms of mise-en-scène, themes and socio-cultural concerns. It shows how Kiarostami creates a distinctive form of Neorealist filmmaking to get at the ‘truths’ of contemporary Iranian life in a particular way. In doing so an emergent strand of a modern-Neorealism becomes apparent.

FLAT! immerses us into the life and mindset of a Flat-earther who eagerly evangelizes the discoveries he and other Flat-earthers claim to have made. With his car clad in flat-earth messages, he travels around the country provoking discussions with curious bystanders and debating scientists. While he thrives in this pursuit, it is not without its costs.

Tales of My Cities is a poetic observation of life in the cities of Hyderabad and Secunderabad, India. The documentary is an intimate first-person exploration of the culture in these cities. The viewer should find a surreal peace in the life and atmosphere of the cities where life extends from centuries old traditions to the current hi-tech pace of life.

No description available.