MA (Fine Art), School of Arts, Faculty of Humanities, University of the Witwatersrand, 2011 / This dissertation offers the dramatic genre of tragicomedy as a critical entry point to the interpretation of Robert Hodgins' oeuvre. It examines the possible formal corresponding properties between tragicomedy, as outlined by Verna Foster, and selected paintings from Hodgins' oeuvre. These mechanisms involve the juxtaposition of conflicting impressions, such as those created by instances of the grotesque, the employment of multiple perspectives and the play-within-the-play. The paintings Madhouse with a View of Tyburn, Three Characters in Search of a Painter– and I know some smart-ass critic will say: 'Well, they didn't find him, did they?' and A Conservative Still Life feature in this discussion. It addresses tragicomedy and Hodgins' dualist visions and their potential to be interpreted politically as oblique comments on homogenised culture. It discusses tragicomedy as an ambivalent and abrasive theatrical form and suggests that the deliberate artifice in both Hodgins and tragicomedy can be approached as a mental projection. The plot features of Renaissance and late modern tragicomedy are compared to Hodgins' employment of anonymous figures and the figures' relation to their backgrounds. The notion of late modern tragicomedy as indicative of the death of tragedy and the tragic hero is introduced. The proliferation of everyday people as central characters in late modern tragicomedy is addressed and the relevance of Hodgins' use of stereotypes and caricature considered. The dissertation examines the political climate that informed the presentation of power of pertinent creative practitioners. A Beast Slouches is discussed as a manifestation of absurd power with reference to Yeats, Shakespeare and Jarry. It investigates Hodgins' appropriation of Jarry's Ubu as displayed in the lithograph series, Ubu Centenaire: Histoire d'un Farceur Criminel and draws a comparison with Ionesco's Macbett. It introduces the view of tragicomedy as the employment of a comic foundation with which to approach the tragic in a post Second World War paradigm and reasons that Hodgins, likewise, formally applies a comic caricature-like visual language to approach complex or tragic themes. The works on my exhibition, Masters: A Tragicomedy in Two acts of February 2011 is discussed in relation to this body of research.

Interpretavimas, kaip mokinių vizualinės raiškos būdas ir jo taikymo ugdymo procese galimybės, yra išsamiai netyrinėta edukologijos sritis. Mokykla, atsidūrusi nuolat kintančiame postmodernistiniame pasaulyje, išgyvena itin prieštaringą laiką. Norėdama ir toliau sėkmingai atlikti socializacijos funkciją, mokykla turi keistis taip, kaip kinta ją supanti aplinka, svarbu, kad mokytojai, suprasdami nuolatinius pokyčius, derintų ugdymo tikslus ir metodus, užtikrintų postmodernios visuomenės ugdymo poreikius. Efektyvių ugdymo metodų paieška ir taikymas, siekiant užtikrinti aktyvią, į raišką orientuotą mokinių meninę veiklą ir visavertišką kūrybiškumo ugdymą, yra pedagoginė problema. Aktualumas: vizualinė interpretacija, kaip būdas tikrovę vaizduoti reikšminga forma ar simboliu, tuo skatinant mokinių kūrybiškumą, ugdymo procese mažai taikoma, nes per siaurai suprantama interpretacijos prasmė arba nežinomi interpretacijos proceso dėsningumai ir taikymo metodika. Tyrimo tikslas. Atskleisti vizualinės interpretacijos prasmę ir nustatyti, kokią įtaką mokinių kūrybiškumui turi vizualinės interpretacijos taikymas dailės ugdymo procese. Tyrimo objektas –mokinių kūrybiškumo ugdymas. Hipotezė. Vizualinė interpretacija, kaip mokinių dailės ugdymo būdas, atitinka jų kūrybinio mąstymo pobūdį ir skatina kūrybiškumą. Darbo uždaviniai: 1. Išryškinti vizualinės interpretacijos sąvoką dailės kūryboje. 2. Išanalizuoti vizualinės interpretacijos taikymo galimybes dailės ugdymo procese. 3... [toliau žr. visą tekstą] / Interpretation as a visual aid of students‘ expressivity and its implementation into educational process has not lately been a target of any researches. School has found itself in the constatntly changing post modern world. To fulfill the function of socialisation the school has to be constantly changing together with changing enviroment. The teachers have to understand the constant changes and the aims and methods used have to meet the needs of the society. Looking for effective methods and using them in students‘ art activities and dveloping the creativity could be called a pedagogical problem. Relevance: visual interpretation as a method of reflecting reality in a meaningful form or a symbol promoting students‘ creativity is not used enough in educational process. That is because the essence of interpretation is not clearly understood and the methods of using it in educational process are not well known. The aim of the research: to show the essence of visual interpretation and state the importance of the impact on students‘ creativity in art education process. The object of the research: development of students‘ creativity. Hypothesis: Visual interpretation as a method of art education corresponds to the creative thinking and stimulates creativity. The goals: 1. To lighten the essence of visual interpretation in art creativity. 2. To analyse the possibilities of using visual interpretation in art education. 3. To prepare a visual interpretation programme to stimulate... [to full text]

Submitted by JOSELINA DE SOUZA CORREIA null (joselina.scorreia@gmail.com) on 2017-01-10T13:04:37Z No. of bitstreams: 1 Tese oficial _ Joselina de Souza Correia . 2017.pdf: 2214453 bytes, checksum: 2a09bae07d69c106a4dd8c34d57ecd39 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2017-01-12T13:56:01Z (GMT) No. of bitstreams: 1 correia_js_dr_bot.pdf: 2214453 bytes, checksum: 2a09bae07d69c106a4dd8c34d57ecd39 (MD5) / Made available in DSpace on 2017-01-12T13:56:01Z (GMT). No. of bitstreams: 1 correia_js_dr_bot.pdf: 2214453 bytes, checksum: 2a09bae07d69c106a4dd8c34d57ecd39 (MD5) Previous issue date: 2016-11-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Diante das situações de escassez hídrica que ocorrem no Semiárido Brasileiro, e do contínuo aumento populacional naquela região são procurados meios que otimizem o uso da água. O objetivo desse trabalho foi analisar e criar uma perspectiva, dentro das variações ocorridas nos padrões de uso e ocupação do solo, por meio de imagens de satélites e da infiltração de água no solo, para subsidiar o uso racional da área, da água no Perímetro de Irrigação Pontal Sul, em Pernambuco. Para isso, foi feito o uso de geotecnologias, para fornecer elementos subsidiando uma melhor gestão em larga escala. Duas imagens LANDSAT para os anos2000-2015, foram analisadas e classificadas por meio do programa ArcGis, para comparação dos diferentes tipos de uso do solo. As classes e subclasses foram definidas por processo não supervisionado, seguido por supervisionado, sendo o perímetro dividido em duas classes, área antropizada e área natural, e esses subdivididos em solo descoberto e agricultura irrigada, e em Caatinga densa e Caatinga raleada, respectivamente. As mesmas imagens foram analisadas pelo programa IDRISI, e seus resultados confrontados com os encontrados pelo ArcGis. Foram utilizados dados de 21 testes de infiltração, da água no solo determinados por meio da metodologia dos anéis concêntricos, de onde se obteve a velocidade de infiltração básica (VIB). Os dados encontrados foram ajustados por vários modelos, e o de Kostiakov e a função potência foram os mais qualificados para os tipos de solo do perímetro. Quanto ao uso da terra, a Caatinga densa está presente em 22,1% e 24,8%; a Caatinga rala representa 51,2% e 39,1%; e a classe solo está descoberto em 26,75% e 33,64% da área do perímetro, respectivamente em 2000 e 2015. A agricultura irrigada foi visível apenas no ano de 2015 com 2,45% da área. Quando comparados, os programas evidenciaram algumas similaridades, e relativa coerência no uso e transformação das classes do solo, sendo que o IDRISI atribuiu a algumas classes uma extensão superior ao determinado pelo ArcGis. Como divergência, o programa IDRISI registrou presença de água superficial no primeiro cenário e agricultura irrigada em ambos os anos. A VIB foi classificada como muito alta e aponta a região como arenosa sob as condições analisadas, o que dificulta sua retenção hídrica e favorece sua infiltração. Os cenários sinalizam regiões parcialmente similares como zonas potenciais, para expansão da agricultura irrigada, legitimando a eficiência dessas geotecnologias na gestão e perspectiva de uso do perímetro de irrigação. / In face of the water stress situations that occur in the Brazilian semi-arid, as well as the continued population growth in that region, the use of water resources should be maximized. Thus, the aim of this study was to analyze and create a perspective within the variations of land use patterns, through the image analysis and soil water infiltration, for guiding the use of irrigated area inside of the Pontal Sul Irrigation Scheme, state of Pernambuco, Brazil. For this, the use of geotechnology was made to provide elements for a better area management. Satellite images (2000-2015), provided by the INPE and Codevasf, were analyzed and classified by the ArcGIS software for investigation and comparison of land use. The classes and subclasses were defined by unsupervised process, followed by supervised one, and the irrigation scheme was divided into two classes, anthropic area and natural area, and these were subdivided into discovered and irrigated agriculture soil, and dense Caatinga and thinned Caatinga, respectively. The same images were analyzed by IDRISI software, and the results compared with those found by ArcGis. Data from 21 infiltration tests were used, determined by the methodology of concentric rings, where basic infiltration rate (BIR) was derived. The data were adjusted for several models, and the Kostiakov and the power function models were the most qualified to the irrigation scheme soils. Regarding the use of the land, dense Caatinga is present in 22.1% and 24.8%; the thinned Caatinga represents 51.2% and 39.1%; and the soil is uncovered in 26.75% and 33.64% of the irrigation scheme area, respectively in 2000 and 2015. Irrigated agriculture was visible only in the year 2015, in 2.45% of the area. Both software showed some similarities and consistency on the use and transformation of soil classes, and IDRISI assigned to a higher extent class determined by the ArcGis. As divergence IDRISI software recorded the presence of surface water in the first scenario and irrigated agriculture in both years. The BIR was classified as very high and indicated that soils as sandy under the conditions analyzed, which makes its water retention low and favors water infiltration. The scenarios indicate partially similar regions as potential areas for expansion of irrigated agriculture, legitimizing the efficiency of these geotechnology in management and in the perspective of the irrigation scheme use. / CNPq:161122/2012-4

<p>The purpose of this essay is to investigate modern influence in the painting <em>Strömkarlen</em>, by Ernst Josephson. <em>Strömkarlen</em> was painted 1884 in Norway. First the essay performed an investigation of earlier researchers statements to establish a ”common truth” that puts the painting in a realistic/naturalistic-romantic context. With the help of Yve-Alain Bois’ model, where he sees art from the painters point of wiew, it was possible to use two articles, written by Ernst Josephson in the fall of 1884, where he debates the conditions for art and artists in Sweden. By combining visual and textual interpretation, using a historical context, it is possible to see modern influence in <em>Strömkarlen</em>. Ernst Josephson wanted free and subjective art and artists, in opposition to the state controlled art system that existed in Sweden in the end of 19th century. <em>Strömkarlen</em> and the articles can also be seen as a combined proclamation for a new, free and modern art and what it could look like in a Scandinavian context. </p>

The purpose of this essay is to investigate modern influence in the painting Strömkarlen, by Ernst Josephson. Strömkarlen was painted 1884 in Norway. First the essay performed an investigation of earlier researchers statements to establish a ”common truth” that puts the painting in a realistic/naturalistic-romantic context. With the help of Yve-Alain Bois’ model, where he sees art from the painters point of wiew, it was possible to use two articles, written by Ernst Josephson in the fall of 1884, where he debates the conditions for art and artists in Sweden. By combining visual and textual interpretation, using a historical context, it is possible to see modern influence in Strömkarlen. Ernst Josephson wanted free and subjective art and artists, in opposition to the state controlled art system that existed in Sweden in the end of 19th century. Strömkarlen and the articles can also be seen as a combined proclamation for a new, free and modern art and what it could look like in a Scandinavian context.

Den här rapporten har tagits fram med stöd av bland annat Specialpedagogiska skolmyndigheten, SPSM, Resurscenter syn i Stockholm. Ett examensarbete där jag fördjupat mig i rummet som informationsbärare. Målet med studien har varit att ta fram en gestaltning som baseras på riktlinjer för hur ett modernt grundskoleklassrum kan utformas för att stödja orienteringen för barn med syntolkningssvårigheter. Detta för att möjliggöra en ökad tillgänglighet för målgruppen i den fysiska miljön, vilket i sin tur kan bidra till målgruppens självständighet och trygghet i skolan med förhoppning om ökad kunskapsutveckling. Lärandemiljön i ett klassrum för årskurs två i en av Stockholms nyare skolor har studerats för att ta reda på i hur stor utsträckning man idag tar hänsyn till barn med synnedsättning i framtagandet av nya skolor. För att nå målet har jag utgått från teorier och litteratur kring bland annat CVI, perception, orientering/wayfinding, färg och kontrast. Samtidigt har empiriska studier i form av kvalitativa intervjuer, observationer och analyser utförts. Resultatet av teori och empiri har visat att de viktigaste faktorerna för att skapa en funktionell miljö för barn med syntolkningssvårigheter är organiserad stabilitet, anpassningsbarhet och enkelhet. Bearbetning av dessa faktorer har resulterat i ett gestaltningsförslag som visar på att det finns goda förutsättningar att med hjälp av rumsliga element underlätta för barn med CVI att orientera sig i klassrummet. / This report is a degree project with the aim to increase the knowledge of the space as an information holder and have been developed with the support from National Agency for Special Needs Education and Schools (SPSM in Swedish) in Stockholm. The aim of the study was to develop a design proposal with guidelines for how a modern primary school classroom can be designed to support the orientation for children with visual interpretation difficulties. This is to increase access for the target group in the physical environment, which in turn can increase independence and safety at school with the hope of better learning. To find out how one today regards children with visual impairment learning environment in the development of new schools, a classroom have been studied in one of Stockholm's newer primary schools. To reach the goal, theories and literature on topics such as CVI, perception, orientation/wayfinding, colour and contrast was studied. Meanwhile, empirical studies in the form of interviews, observations, and analyzes was performed. The results of theory and empirical data have shown that the most important factors to create a functional environment for children with visual interpretation difficulties are organized stability, adaptability and simplicity. Processing of these factors has resulted in a design proposal, which shows that there are good prospects for using spatial elements to make it easier for children with CVI to orient themselves in the classroom.

Somente no ano de 2011 foram adquiridos mais de 1.000TB de novos registros digitais de imagem advindos de Sensoriamento Remoto orbital. Tal gama de registros, que possui uma progressão geométrica crescente, é adicionada, anualmente, a incrível e extraordinária massa de dados de imagens orbitais já existentes da superfície da Terra (adquiridos desde a década de 70 do século passado). Esta quantidade maciça de registros, onde a grande maioria sequer foi processada, requer ferramentas computacionais que permitam o reconhecimento automático de padrões de imagem desejados, de modo a permitir a extração dos objetos geográficos e de alvos de interesse, de forma mais rápida e concisa. A proposta de tal reconhecimento ser realizado automaticamente por meio da integração de técnicas de Análise Espectral e de Inteligência Computacional com base no Conhecimento adquirido por especialista em imagem foi implementada na forma de um integrador com base nas técnicas de Redes Neurais Computacionais (ou Artificiais) (através do Mapa de Características Auto- Organizáveis de Kohonen SOFM) e de Lógica Difusa ou Fuzzy (através de Mamdani). Estas foram aplicadas às assinaturas espectrais de cada padrão de interesse, formadas pelos níveis de quantização ou níveis de cinza do respectivo padrão em cada uma das bandas espectrais, de forma que a classificação dos padrões irá depender, de forma indissociável, da correlação das assinaturas espectrais nas seis bandas do sensor, tal qual o trabalho dos especialistas em imagens. Foram utilizadas as bandas 1 a 5 e 7 do satélite LANDSAT-5 para a determinação de cinco classes/alvos de interesse da cobertura e ocupação terrestre em três recortes da área-teste, situados no Estado do Rio de Janeiro (Guaratiba, Mangaratiba e Magé) nesta integração, com confrontação dos resultados obtidos com aqueles derivados da interpretação da especialista em imagens, a qual foi corroborada através de verificação da verdade terrestre. Houve também a comparação dos resultados obtidos no integrador com dois sistemas computacionais comerciais (IDRISI Taiga e ENVI 4.8), no que tange a qualidade da classificação (índice Kappa) e tempo de resposta. O integrador, com classificações híbridas (supervisionadas e não supervisionadas) em sua implementação, provou ser eficaz no reconhecimento automático (não supervisionado) de padrões multiespectrais e no aprendizado destes padrões, pois para cada uma das entradas dos recortes da área-teste, menor foi o aprendizado necessário para sua classificação alcançar um acerto médio final de 87%, frente às classificações da especialista em imagem. A sua eficácia também foi comprovada frente aos sistemas computacionais testados, com índice Kappa médio de 0,86. / Only in 2011 were acquired over 1.000TB of new digital image registers arising from orbital remote sensing. This range of data, which has a geometric progression increasing, is added annually to an extraordinary and incredible mass of data from existing satellite images of Earth's surface (acquired since the 70s of last century). This massive amount of raw data requires computational tools which allow the automatic recognition of image patterns desired to allow the extraction of geographical objects and targets of interest more quickly and concisely. The proposal for such recognition to be performed automatically through Spectral Analysis and Computational Intelligence integration, based on knowledge acquired by image experts, was implemented as an integrator based on Computational Neural Networks (via Kohonens Self-Organizing Feature Maps - SOM) and Fuzzy Logic (through Mamdani) techniques. These techniques were applied to the spectral signatures pattern formed by the quantization levels or gray levels of the corresponding pattern in each spectral band of each pattern of interest, so that the pattern classification will depend, in an inseparable manner, of the spectral signatures correlation of the six bands of the sensor, like the work of image experts. Bands 1 to 5 and 7 of the Landsat-5 satellite were used for the determination of five classes / targets of interest in cover and land occupation, in three test areas located in the State of Rio de Janeiro (Guaratiba, Mangaratiba and Magé) in this integration with comparison of results with those derived from the interpretation of the imaging expert, which was corroborated by checking the ground truth. There was also a results comparison obtained with two commercial computer systems (IDRISI Taiga and ENVI 4.8) with the integrator, regarding the quality of classification (Kappa) and response time. The integrator, with hybrid classifications (supervised and unsupervised) in its implementation, proved to be effective in multispectral automatic (unsupervised) pattern recognition and in learning of these patterns, because as the input of a new test area occurs, the lower became the process of learning, which achieve a final average accuracy o f 87%, compared to the experts classifications. Its efficacy was also demonstrated compared to systems tested, with average Kappa of 0.86.

Somente no ano de 2011 foram adquiridos mais de 1.000TB de novos registros digitais de imagem advindos de Sensoriamento Remoto orbital. Tal gama de registros, que possui uma progressão geométrica crescente, é adicionada, anualmente, a incrível e extraordinária massa de dados de imagens orbitais já existentes da superfície da Terra (adquiridos desde a década de 70 do século passado). Esta quantidade maciça de registros, onde a grande maioria sequer foi processada, requer ferramentas computacionais que permitam o reconhecimento automático de padrões de imagem desejados, de modo a permitir a extração dos objetos geográficos e de alvos de interesse, de forma mais rápida e concisa. A proposta de tal reconhecimento ser realizado automaticamente por meio da integração de técnicas de Análise Espectral e de Inteligência Computacional com base no Conhecimento adquirido por especialista em imagem foi implementada na forma de um integrador com base nas técnicas de Redes Neurais Computacionais (ou Artificiais) (através do Mapa de Características Auto- Organizáveis de Kohonen SOFM) e de Lógica Difusa ou Fuzzy (através de Mamdani). Estas foram aplicadas às assinaturas espectrais de cada padrão de interesse, formadas pelos níveis de quantização ou níveis de cinza do respectivo padrão em cada uma das bandas espectrais, de forma que a classificação dos padrões irá depender, de forma indissociável, da correlação das assinaturas espectrais nas seis bandas do sensor, tal qual o trabalho dos especialistas em imagens. Foram utilizadas as bandas 1 a 5 e 7 do satélite LANDSAT-5 para a determinação de cinco classes/alvos de interesse da cobertura e ocupação terrestre em três recortes da área-teste, situados no Estado do Rio de Janeiro (Guaratiba, Mangaratiba e Magé) nesta integração, com confrontação dos resultados obtidos com aqueles derivados da interpretação da especialista em imagens, a qual foi corroborada através de verificação da verdade terrestre. Houve também a comparação dos resultados obtidos no integrador com dois sistemas computacionais comerciais (IDRISI Taiga e ENVI 4.8), no que tange a qualidade da classificação (índice Kappa) e tempo de resposta. O integrador, com classificações híbridas (supervisionadas e não supervisionadas) em sua implementação, provou ser eficaz no reconhecimento automático (não supervisionado) de padrões multiespectrais e no aprendizado destes padrões, pois para cada uma das entradas dos recortes da área-teste, menor foi o aprendizado necessário para sua classificação alcançar um acerto médio final de 87%, frente às classificações da especialista em imagem. A sua eficácia também foi comprovada frente aos sistemas computacionais testados, com índice Kappa médio de 0,86. / Only in 2011 were acquired over 1.000TB of new digital image registers arising from orbital remote sensing. This range of data, which has a geometric progression increasing, is added annually to an extraordinary and incredible mass of data from existing satellite images of Earth's surface (acquired since the 70s of last century). This massive amount of raw data requires computational tools which allow the automatic recognition of image patterns desired to allow the extraction of geographical objects and targets of interest more quickly and concisely. The proposal for such recognition to be performed automatically through Spectral Analysis and Computational Intelligence integration, based on knowledge acquired by image experts, was implemented as an integrator based on Computational Neural Networks (via Kohonens Self-Organizing Feature Maps - SOM) and Fuzzy Logic (through Mamdani) techniques. These techniques were applied to the spectral signatures pattern formed by the quantization levels or gray levels of the corresponding pattern in each spectral band of each pattern of interest, so that the pattern classification will depend, in an inseparable manner, of the spectral signatures correlation of the six bands of the sensor, like the work of image experts. Bands 1 to 5 and 7 of the Landsat-5 satellite were used for the determination of five classes / targets of interest in cover and land occupation, in three test areas located in the State of Rio de Janeiro (Guaratiba, Mangaratiba and Magé) in this integration with comparison of results with those derived from the interpretation of the imaging expert, which was corroborated by checking the ground truth. There was also a results comparison obtained with two commercial computer systems (IDRISI Taiga and ENVI 4.8) with the integrator, regarding the quality of classification (Kappa) and response time. The integrator, with hybrid classifications (supervised and unsupervised) in its implementation, proved to be effective in multispectral automatic (unsupervised) pattern recognition and in learning of these patterns, because as the input of a new test area occurs, the lower became the process of learning, which achieve a final average accuracy o f 87%, compared to the experts classifications. Its efficacy was also demonstrated compared to systems tested, with average Kappa of 0.86.

This study proposes an answer to the question of what the contemporary relevance of the writings of GK Chesterton (1874-1936) may be to the field of visual culture studies in general and to discourse on visual hermeneutics in particular. It contends that Chesterton’s distinctive hermeneutic strategy is dramatology: an approach rooted in the idea that being, which is disclosed to itself via language, has a dramatic, storied structure. It is this dramatology that acts as an answer to any philosophical outlook that would seek to de-dramatise the hermeneutic experience. The structure of Chesterton’s dramatology is unpacked via three clear questions, namely the question of what philosophical foundation describes his horizon of understanding, the question of what the task or goal of his interpretive process is and, finally, the question of what tools or elements shape his hermeneutic outlook. The first question is answered via an examination of his cosmology, epistemology and ontology; the second question is answered by the proposal that Chesterton’s chief aim is to uphold human dignity through his defenses of the common man, common sense and democracy; and the third question is answered through a discussion of the three principles that underpin his rhetoric, namely analogy, paradox and defamiliarisation. After proposing the structure of Chesterton’s dramatology via these considerations, the study offers one application of this dramatology to Terrence Malick’s film 'The tree of life' (2011). This is sustained in terms of the incarnational paradox between mystery and revelation that acts as the primary tension and hermeneutic key in Chesterton’s work. / Thesis (PhD)--University of Pretoria, 2012. / Visual Arts / unrestricted

Le film d’opéra correspond à la rencontre de deux formes d’art ayant chacune ses propres règles de mise en scène. Il nécessite de concilier les exigences de l’opéra et celles du cinéma, mais prétend aussi favoriser leur enrichissement mutuel. Notre réflexion porte sur la pertinence, du point de vue créatif, de cette rencontre. Elle vise à mettre en évidence les risques, les enjeux et les intérêts artistiques du film d’opéra. Le corpus revêt une dimension franco-italienne : il se compose de cinq films produits par Daniel Toscan du Plantier (Don Giovanni de Joseph Losey, Carmen de Francesco Rosi, La Bohème de Luigi Comencini, Madame Butterfly de Frédéric Mitterrand, Tosca de Benoît Jacquot) et de deux autres, non produits par lui : La Traviata et Otello de Franco Zeffirelli, qui appartiennent à cette même « vague » du film d’opéra. L’étude s’intéresse tout d’abord à la politique culturelle du producteur Daniel Toscan du Plantier, grâce à qui ce genre cinématographique s’est développé de façon significative dans les années 1980, afin de définir le contexte de création de ses films, de comprendre son engagement en faveur de ce genre artistique et son intérêt tout particulier pour la culture italienne. Notre analyse tend par la suite à évaluer les difficultés techniques ainsi que les libertés créatives qu’engendre le passage à l’écran. L’écriture cinématographique de l’opéra implique des concessions sur le plan de la réalisation et nécessite un positionnement entre les deux esthétiques, mais elle permet aussi une lecture nouvelle et originale de l’opéra. Nous évaluons à la fois les exigences résultant de l’articulation opéra-cinéma et les solutions apportées par les réalisateurs pour répondre à ces contraintes, bien souvent musicales. La réflexion se concentre dans la seconde partie sur l’aboutissement de cette union, tout d’abord à travers l’analyse de l’interprétation visuelle de la musique fournie par les réalisateurs pour chacun des films du corpus, selon une approche thématique. Elle montre comment l’image mobile transcrit la musique, comment l’écriture cinématographique traduit visuellement la partition et peut accroître la dimension émotive. Enfin, elle s’intéresse à la réception de ces films en France et en Italie, en vue de mesurer l’accueil reçu par chacun auprès de la critique, partagée entre démocratisation de l’opéra et vulgarisation de l’art lyrique. / The "opera film" corresponds to the encounter between two art forms envolving specific staging rules. It combines the requirements of opera and cinema alike whilst endeavouring to promote their mutual enrichment. In this dissertation I analyse the relevance of this encounter from a creative point of view. I intend to highlight the risks, stakes and artistic appropriateness of the opera film. The body of works has a Franco-italian dimension: it includes five films produced by Daniel Toscan du Plantier (Joseph Losey's Don Giovanni, Francesco Rosi's Carmen, Luigi Comencini's La Bohème, Frédéric Mitterrand's Madama Butterfly and Benoît Jacquot's Tosca) as well as two other films which he did not produced: La Traviata and Otello, by Franco Zeffirelli, also belong to this opera film "wave". First of all, I examine Daniel Toscan du Plantier's cultural policy as a producer. Indeed, it was thanks to him that this cinematic genre flourished significantly in the 1980s. I aim to define the creative context of these films and to understand his commitment towards their promotion as well as his genuine interest for Italian culture. I then move on to analysing the technical difficulties as well as the creative licence which results from screen adaptation. On the one hand, the cinematographic writing of opera implies concessions in staging and requires a position be taken in respect of aesthetics, cinematographic and opera. On the other hand, it also triggers a new and original reading of opera. I assess the requirements which result from the opera-cinema articulation and the solutions, often musical, proposed by films directors confronted to these constraints. In Part II I focus on the achievements of this union, first by thematically analysing each director's the visual interpretation of music provided in the films included in the body of works. I argue that the moving image transcribes music, that cinematographic writing translates the music score visually and that it can enhance the emotional dimension. Finally, I examine the response to these films in France and in Italy, especially through the critics divided between the democratisation of opera and the vulgarisation of lyric art.