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Stutz, Fernando Henrique Lacerda. "Cinema estrutura: estudo genealógico do cinema estrutural." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4727.
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Previous issue date: 2015-07-21<br>In 1969 the film critic P.A.Sitney said that, suddenly, a cinema structure "had emerged." Although imprecise, his observations were responsible for triggering a long process of discussions about a kind of cinema that, in general, was characterized by self-reflectiveness and antiillusionist processes. The exploration of the filmstrip's materiality, of the alternative projection and camera-capture methods, of the different editing processes and articulation between sound and image, as well as a number of other procedures that called attention to the cinematic structure, were taken as central features of those "structural films." In the search of a genealogical approach of the facts and building on key authors of the genealogical method, especially Nietzsche and Benjamin, alongside with the help of historicaldocumentary data, this research has made clear that the emergence of a dedicated cinematography to its own structure, had derived from a historical development marked by the emancipation of cinema as art, as well as from the development for developing alternatives to the set of cinematic codes agreed by the film industry. From the avant-garde of the 1920s to the artistic movements of the postwar 1950s, the will to acquire an "essential cinematic language have mobilized artists and filmmakers to produce experimental works that questioned such codes, giving rise to the structural films. New York, London and Vienna, altogether saw the development of a filmic production that prioritized to discuss the structural basis of cinematic experience and cinematic discourse from the visual perception phenomena, to cognitive processes during the view. Heterogeneously, the so-called structural works not only cast new light on the film practice itself, expanding its limits; but also demonstrated the possibility of using cinema as an useful instrument for philosophical speculation. Making "films about films", the structural filmmakers completed the avant-garde project of employing film as an autonomous art-form, turning its attention to its own structure, and thereby making the structure of things, the man and his thought more and more visible<br>Em 1969 o critico de cinema P.A.Sitney alertou para o fato de que, de súbito, um cinema da
estrutura havia emergido . Apesar de imprecisas, suas observacões foram responsáveis por
desencadear um longo processo de discussões acerca de um tipo de cinema que, em sintese,
caracterizava-se por ser auto-reflexivo e anti-ilusionista. A exploracao da materialidade da
pelicula fotoquimica, dos métodos alternativos de projecao e captacao, dos sistemas matemáticos
de montagem e articulacao entre som e imagem, bem como de uma série de outros procedimentos
que chamavam a atencao para a estrutura do cinematografo, foram tomados como caracteristicas
centrais daqueles filmes estruturais .
Buscando uma visao genealogica dos fatos e tomando como base autores fundamentais do
método genealogico, especialmente Nietzsche e Benjamin, aliados a investigacao de dados
historico-documentais, esta pesquisa tornou explicito que a emergencia de uma cinematografia
voltada para sua propria estrutura derivou do desdobramento historico de um processo marcado
pela emancipacao do cinema como arte e, consequentemente, pela elaboracao de alternativas ao
conjunto de codigos convencionados pela indústria cinematográfica. Das vanguardas da década de
1920 aos movimentos artisticos do pos-guerra dos anos 1950, a vontade pela aquisicao de uma
linguagem essencialmente cinematográfica mobilizou artistas e cineastas a produzirem obras
experimentais que problematizaram tais codigos, fazendo emergir o cinema estrutural.
A partir de Nova Iorque, Londres e Viena, desenvolveu-se um tipo de producao que priorizou
discutir as bases constituintes da experiencia e do discurso cinematográfico - da percepcao visual
aos processos cognitivos. De modo heterogeneo, as chamadas obras estruturais nao apenas
lancaram novas luzes sobre o proprio fazer-cinema, expandindo seus limites; mas também
demonstraram a possibilidade de utilizá-lo como um meio útil para a especulacao filosofica.
Fazendo filmes sobre filmes , os realizadores estruturais completaram o projeto vanguardista de
encarar o cinema como arte autônoma que, voltando-se para sua propria estrutura, também
tornou visiveis a estrutura das coisas, do homem, e de seu pensamento
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Lessa, Larissa. "Subversão e resistência no Japão pós-guerra: os filmes de Terayama Shūji." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-22102018-162052/.
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Esta pesquisa tem como objetivo o mapeamento do espaço que ocupa Terayama Shūji, poeta, escritor, dramaturgo e diretor de cinema japonês, frente ao período histórico a que pertenceu e frente às teorias da vanguarda e do pós-modernismo. A investigação se inicia com o período do pós-guerra no Japão, quando em meio a protestos e ansiedades políticas, floresce na capital do país uma nova vanguarda artística. O primeiro capítulo é dedicado a um exame do teatro angura e da nova onda do cinema, dois movimentos dos quais Terayama fez parte. Procura-se então delinear suas propostas artísticas e suas principais influências, japonesas e estrangeiras, examinando como seu trabalho se aproxima ou se afasta do paradigma pós-moderno conforme teorizado principalmente por Fredric Jameson, mas levando em conta reflexões sobre as aplicações desse conceito especificamente no Japão. Por fim, o último capítulo se debruçará sobre dois longas-metragens do diretor Joguem seus livros, vamos às ruas, de 1971, e Pastoral: Morrer no campo, de 1974 de modo a encontrar exemplos do seu caráter experimental, subversivo, de sua insurreição contra as instituições da família e do Estado e de suas complexas relações com a política, a história, o pastiche e a espetacularização.<br>This research aims at mapping the space occupied by Terayama Shūji, a Japanese poet, playwright and filmmaker, in his historical context and in relation to avant-garde and postmodernism theories. The investigation begins with postwar Tokyo, when amid protests and a climate of political anxiety, a new avant-garde movement starts to flourish. The first chapter is dedicated to an examination of the angura theatre and the Japanese new wave, two of the movements Terayama was part of. We shall then trace his general artistic views and main influences, Japanese and foreign, examining how they relate to postmodern characteristics as theorized mainly by Fredric Jameson, but also inquiring at how this very concept can apply to the Japanese context. In the last chapter, we shall take two of Terayamas feature films Throw Away Your Books, Rally In The Streets and Pastoral: To Die in The Country for further analysis, in order to find more specific examples of his experimental and subversive character, his rejection of the institutions of family and the State, and his complex relationship with politics, history, pastiche and spectacularization.
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Leonel, Nicolau Bruno de Almeida. "Percursos da formação de Chris Marker: cinema militante, dissidência e profanação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-24112015-163738/.
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Chris Marker é um cineasta que realizou documentários políticos pouco convencionais ao longo de quase sessenta anos de carreira. Depois de uma militância ativa e inserida no coração de acontecimentos cruciais na França e na Europa, e de uma carreira literária como editor, ensaísta e romancista, natural que seus filmes, vistos isoladamente, provoquem as mais equivocadas interpretações. Esta pesquisa procura, através de um levantamento de seus filmes e escritos, dos debates que foram se travando sobre a vida nacional francesa e mundial, sempre retomando os fios dos acontecimentos decisivos do período do Front Populaire (1936), da ocupação da França pelos nazistas e das lutas de Resistência buscar uma interpretação para muitos dos aspectos aparentemente desconcertantes de sua filmografia. Ao longo dos capítulos a pesquisa aborda, a partir de documentação esparsa em textos, declarações, debates, frases de filmes, os elementos biográficos \"enigmáticos\" de que se tem conhecimento, dada a discrição do cineasta sobre a sua pessoa. Em seguida o momento crucial da entrada de Marker, com 16 anos, no liceu em Paris e turbulências do ano de 1936, na França, discorre sobre o Front Populaire. Depois foca o nascimento de uma corrente, da qual Chris Marker participa, influenciada pela filosofia personalista de Emmanuel Mounier; e depois sua passagem pela revista Esprit e posteriormente a sua integração nas lutas da Resistência. Seguindo os passos do futuro cineasta, aborda o impacto da Resistência na vida militante e a formação dos cineclubes no meio operário com a Associação Peuple et Culture. Toda esta trajetória é permeada por comentários e análises de cenas dos futuros documentários. Por fim a pesquisa, aborda a problemática do cinema militante, analisando L\'ambassade (1973), filme de solidariedade com a Unidade Popular chilena e contra o golpe de Pinochet e o curta sobre o editor François Maspero. Os últimos percalços de nosso percurso busca construir um debate sobre A. Medvedkine e V. Maiakóvsky e a profanação da arte moderna, procurando investigar como na obra de Chris Marker coincidem cinema militante, cinema experimental, cinema ensaio e cinema documentário.<br>Chris Marker is an intriguing filmmaker who produced unconventional political documentaries over almost sixty years. After an active militancy, and inserted in the heart of crucial events in France and Europe, and working on a literary career as an editor, essayist and novelist, it is natural that his films, viewed in isolation, could cause the most equivocal interpretations. This research seeks, through a detailed analyses of his films and writings, to work with the debates that were important on the French national and global life of his time. Always thinking about the decisive events of the Front Populaire in the period (1936), the occupation of France by the German Nazis and the participation of Marker in the struggles of the Resistance. All of this puzzeled elements seek an interpretation for many of the seemingly confusing aspects of his filmography. Throughout the chapters of this research, we seek to approach, with this documentation, texts, statements, debates, films phrases, the enigmatic biographical elements of his uncanny formation. Marker is known by the discretion about himself. Working on his years of youth and formation, we see that when aged 16, in high school in Paris and the 1936 year in France, discussing at length the Front Populaire, we seek to work about Chris Marker influence by the personalist philosophy of Emmanuel Mounier and then by Esprit and later in it\'s integration in the struggles of resistance. Following in the footsteps of the filmmaker, this work discusses the impact of this years in his militant life, including the training of workers film clubs. All this history is permeated by scenes and debates of his future documentaries. Finally, the research addresses the issue of militant cinema, analyzing L\'ambassade (1973), the solidarity with the Chilean Popular Unity and the struggle against the totalitarian latin american dictatorships, and a short film-portrait of the editor Maspero. We end our research with a debate on A. Medvedkine and V. Mayakovsky and the profanation of modern art, trying to investigate how the work of Chris Marker coincide with militant cinema, experimental cinema, film essay and documentary cinema.
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Morales, Hernandez Mauricio. "Médiatisation technologique et voix du réel. : une anthropologie historique du regard — de la trace à l'écran." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0041.
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Nous partons du constat de l’importance de l’image dans le processus d’anthropogénèse, car la fixité de l’image se dévoile comme une médiation temporelle, c’est-à-dire, comme la création d’un temps rapporté médiatisant notre rapport au réel et transgressant par là notre champ perceptif. À ce titre, l’histoire de l’image apparaît comme le développement de divers modèles eidétiques statiques qui vont être en négociation et relation permanente avec les modèles eidétiques dynamiques : le langage, les gestes, l’outillage, la musique, la danse, l’habitat ; modèles qui en contrepartie sont des médiations nous permettant d’investir l’espace et de le délimiter. L’interpénétration des deux types de modèles, dynamiques et statiques, constituerait, dans la pléthore et la diversité d’éléments composant chaque culture, le caractère définissant l’homme comme animal politique. C’est ainsi que l’on a pu discerner une différence ontologique lors de l’apparition de la trace photographique, trace résultant, non d’une idéalisation formelle et symbolique, mais de l’idéalisation d’une distance, à partir de laquelle se matérialise l’écran en articulant le regard depuis une nouvelle échelle opératoire. L’apport essentiel de l’image serait entré donc dans une nouvelle phase qui, au bout de presque deux siècles, aurait transformé l’homme en animal médiatique. C’est là que l’histoire de la nouvelle trace, sous l’essor de la technologie numérique, centre tout enjeu politique dans sa manifestation la plus conséquente, celle de l’expression cinématographique.Dans ce cadre nous avons abordé et privilégié une histoire du cinéma à des moments où celle-ci développe des enjeux spécifiques dans son rapport au réel, comme notamment dans l’exemple de l’œuvre du cinéaste mexicain Téo Hernández, réalisée pour l’essentiel en Europe entre 1968 et 1992. Sa forte dimension phénoménologique, l’importance du corps dans l’acte de filmer, tout autant que sa fine réflexion sur le médium et son rapport au réel, nous ont fournit une clé de voûte nous permettant de comprendre les grands changements médiatiques qui sont survenus dans les années 80, et qui ont déterminé le regard politique du monde actuel<br>We begin by observing the importance of the image in the anthropogenesis’ process because the fixed image reveals temporal mediation, namely, the creation of reported time, mediatizing our relation to the real and thus, transgressing our fields of the perceptual. On this basis, the image’s history appears as a development of various static eidetic models that are going to be in a negotiation and permanent relationship with dynamic eidetic models: language, gestures, equipment, music, dance, the habitat; models that, in return, are mediations enabling us to invest the space and divide it up. The intermingling of the dynamic and static models would constitute the character defining man as a political animal, in the myriad and diversity of the elements that are components for each culture. That is how we are able to detect an ontological difference at the time when the photographic trace appears, a trace not resulting from a formal, symbolic idealization but from an idealization of distance, from which the screen materializes by articulating the eye from a new operative scale. The image’s essential contribution would thus have entered a new phase that would have transformed man into a media animal after almost two centuries. That is where the history of the new trace becomes the core of all political issues in its most consistent manifestation, under the surge of digital technology, that of cinematographic expression.In doing so, we have addressed and favoured one of cinema’s histories at a time when there was a development of specific issues in relation to the real, notably using the work of a Mexican filmmaker, Téo Hernández, mainly done in Europe between 1968 and 1992 as an example. Its powerful phenomenological dimensions — the importance of the body while filming — and also the deep reflexion on the medium and its relation to the real, have provided us with a keystone that enables us to understand the major changes in media that happened during the 1980s and determined the political outlook of the world today
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García, Bardón Xavier. "Exprmntl. Une histoire du Festival du film expérimental de Knokke/Bruxelles (1949-1974)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA149.
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EXPRMNTL fut probablement la plus importante manifestation jamais consacrée au cinéma expérimental. Conçu et organisé par Jacques Ledoux et la Cinémathèque royale de Belgique, le festival de Knokke / Bruxelles, qui ne connut que cinq éditions (1949, 1958, 1963, 1967, 1974) jouit aujourd'hui d'un statut mythique. Cette initiative singulière et inclassable fut bien davantage qu'un simple festival de cinéma : un point de rencontre pour la création d'avant-garde et la pensée contemporaine, un événement placé sous le signe de l'imprévu, du désir et de la contestation, y compris celle du festival même. En somme : une manifestation à ce point cohérente avec son objet qu'elle fut en elle-même une expérience. Cette recherche retrace l'histoire des cinq éditions du festival, de sa naissance à sa disparition. Elle se fonde sur les archives de la manifestation, jusqu'ici inexplorées, sur les comptes-rendus parus dans la presse de l'époque et sur de nombreux entretiens avec des acteurs et témoins<br>EXPRMNTL was probably the most important event ever devoted to experimental cinema. Designed and organized by Jacques Ledoux and the Royal Belgian Film Archives, the festival of Knokke / Brussels, which only had five editions (1949, 1958, 1963, 1967, 1974) now enjoys a mythical status. This unique and unclassifiable initiative was more than just a film festival: a meeting point for avant-garde culture and contemporary thinking, an event placed under the sign of the unexpected, desire and protest, including that of the festival itself. In short: an event so consistent with its object that it was in itself an experience. This research traces the history of the five editions of the festival. It is based on the hitherto unexplored archives of the event, the reports published in the press at the time and many interviews with protagonists and witnesses
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Schefer, Maria Raquel. "La Forme-Evénement : le cinéma révolutionnaire mozambicain et le cinéma de libération." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA101.
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Cette thèse porte sur les représentations filmiques de la guerre de Libération(1964-1974) et de la Révolution mozambicaine (1975-1987) et vise à analyser les enjeux esthétiques et politiques du cinéma révolutionnaire de ce pays. La compréhension de cette problématique passe dans un premier temps par un examen des différentes logiques qui ont présidé aux positionnements de la théorie anticoloniale à l’égard de la culture pour ensuite interroger la politique du cinéma d’État et ses contradictions. Les représentations filmiques de es deux processus historiques furent un instrument essentiel pour la formation de l’identité nationale, à l’intérieur d’un dispositif épistémique historiographique. En reconstituant les principes d’une culture de libération transnationale, cette thèse envisage de considérer les conditions politiques, idéologiques et technologiques qui conduisirent à la fondation de l’Institut national de cinéma mozambicain (INC) en mars 1976 et l’orientation que le Front de libération du Mozambique (FRELIMO) tenta d’imprimer au cinéma.La délimitation des trois phases du cinéma révolutionnaire mozambicain mettra en exergue les déséquilibres entre la coexistence d’un projet de production cinématographique collective, l’expérimentation formelle et les postulats du programme étatique. La notion de «forme-événement » nous permettra de concilier deux dimensions de la production esthétique :celle qui envisage l’art comme reflet ; celle qui le considère à partir de ses effets. À travers l’analyse esthétique formelle et historique d’un ensemble de films singuliers réalisés entre 1966et 1987, nous chercherons à mettre en évidence les positions prises par les cinéastes, les résistances et les rapports successifs et contradictoires entre le cinéma collectif, d’auteur et d’État. De l’étude approfondie du film Mueda, Memória e Massacre (1979-1980) de Ruy Guerraet de son histoire matérielle émergera une connaissance archéologique et critique du programme politique et culturel mozambicain.Cette thèse envisage également une insertion du cinéma révolutionnaire mozambicain dans son contexte historique et culturel en élaborant une cartographie du cinéma de Libération en relation avec la conjoncture politique des années 1960 et 1970. La notion de « cinéma de Libération » se trouve dans un cadre historique, géographique et catégoriel par rapport à l’histoire du cinéma politique, d’avant-garde et expérimental et de l’histoire du cinéma en général. L’étude d’une série d’oeuvres filmiques nous permettra d’établir une cartographie extensible du cinéma de Libération, englobant le cinéma révolutionnaire portugais (1974-1982)et l’« état de la forme » de ce cinéma<br>The dissertation focuses on the filmic representations of the War of Liberation(1964-1974) and of the revolution (1975-1987) in Mozambique, and aims to analyse the aesthetic and political issues of Mozambican revolutionary cinema. To understand this question,the various logics that guided the positions of anti-colonial theory with regard to culture are examined in the first instance, while the State cinema policy and its contradictions are reassessed in the second instance. The filmic representations of these two historical processes were an essential instrument for the construction of national identity, within an epistemic historiographical apparatus. By reconstructing the principles of a culture of transnational liberation, the dissertation intends to consider the political, ideological, and technological conditions which led to the foundation of Mozambique’s National Institute of Cinema (INC) inMarch of 1976, and the orientation that the Mozambique Liberation Front (FRELIMO) attempted to ascribe to cinema.The identification of three phases of Mozambican revolutionary cinema will highlight the discrepancy between the coexistence of a project for the collectivisation of film production,formal experimentation and the premises of the State programme. The notion of ‘form-event’will allow us to reconcile two dimensions of the aesthetic production: one, which considers art as a reflection; another, which considers it in terms of its outcomes. Through the formal aestheticand historical analysis of a set of singular films produced between 1966 and 1987, we will seekto problematize the positions adopted by the filmmakers, the points of resistance, as well as the succession of contradictory forms of relation between collective, auteur and State cinema. Anarchaeological and critical knowledge of the Mozambican political and cultural programme will emerge from the comprehensive analysis of Ruy Guerra’s Mueda, Memória e Massacre(1979-1980).The dissertation purports to replace Mozambican revolutionary cinema in its historicaland cultural context by drawing a cartography of the Cinema of Liberation in relation to the political situation of the 1960s and 1970s. The concept of ‘Cinema of Liberation’ is sited in a historical, geographical and categorial framework with respect to the history of political, avantgarde,and experimental cinema, and to the history of cinema in general. The analysis of a selection of films will allow us to extensively map the Cinema of Liberation, including the cinema of the Portuguese Revolution (1974-1982) and the ‘state of the form’ of this cinema
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Owen, Jonathan Lyndon. "Avant-garde tradition in the Czech cinema of the 1960s." Thesis, University of Manchester, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509569.
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Reynolds, Lucy. "British avant-garde women filmmakers and expanded cinema of the 1970s." Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536627.
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My thesis examines the expanded cinema of Gill Eatherley, Annabel Nicolson and Lis Rhodes. My intent has been to locate them within their historical context, addressing in particular their relationship to the cohesive, 'Structural' film culture then emerging from the London Filmmakers' Co-operative, and the distinct expanded film form with which it was associated in the early part of the 1970s. The main focus of my methodology, however, is interpretative rather than empirical. Through close textural readings of key works I have attempted to open up fresh critical frameworks for understanding their work, referring to discourses of phenomenology and the haptic, for example, as a means of exploring their subjective and embodied relationship to the materials and apparatus of film. My thesis proposes a multi-interpretative analysis of Eatherley, Nicolson and Rhodes' rich and complex film works. The aim of my research is to create a dialogue of ongoing questions between the different theoretical, political and subjective positions their films engender, from which, it is hoped, productive juxtapositions and convergences can emerge.
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Sobhani, Mehrnoosh. "Avant-garde film or television series : on Edgar Reitz's cinema utopia." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/23198.
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This thesis examines Edgar Reitz’s internationally acclaimed films <i>Heimat </i>and <i>Die Zweite</i> <i>Heimat</i> in the context of the early avant-garde theories and films, which Reitz developed during his years at the Ulm Film Institute. The two films have been widely analysed in articles, essays, books and PhD theses within the context of the Heimat film genre of the 1950s and the anti-Heimat and critical Heimat film genres of the 1960s and 1970s. They have also been extensively debated for their controversial portrayal of the Third Reich and the Holocaust. Astonishingly, in all the studies on the films, critics have assumed that, apart from an autobiographical relationship, there is no link between Reitz’s <i>Heimat-</i>films and his early avant-garde theories and films. Interpretations, therefore, largely overlook the cinematographic issues brought up by the films. This dissertation attempts to close this gap in the discussion of Reitz’s <i>Heimat-</i>films. Starting with a detailed study of Reitz’s early avant-garde theories and films, it investigates Reitz’s contributions of the New German Cinema, shedding light on his novel approach in exploring a new film language, as well as a new film venue. Critics have debated the question of the venue of Reitz’s <i>Heimat</i>-films, which were made for the cinema but gained success in television. Few, however, have related this debate to Reitz’s earlier attempts to challenge the conventional venue of film. The fact that critics have predominantly focused on the question of history and the meaning of Heimat in the two films has had the unfortunate consequence that references to Reitz’s earlier films have been restricted to those which likewise deal with the topic of National Socialism, namely <i>Die Reise nach Wien</i> and <i>Stunde Null</i>.
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Johnston, Emma Anne. "Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance." Thesis, University of Canterbury. Theatre and Film Studies, 2014. http://hdl.handle.net/10092/10068.
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This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious.
The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life.
This thesis comes out of my own experience as a performer and is informed both by theoretical discourse and practical experimentation in the theatre. Exploring the voice as a liminal, transgressive force requires analysis from an experiential perspective.
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Ledesma, Eduardo. "The Historic Avant-Garde, the Neo-Avant-Garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10286.
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My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).<br>Romance Languages and Literatures
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Sharp, Charles Michael. "Improvisation, identity and tradition experimental music communities in Los Angeles /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779690111&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Hale, Ryan Nathan. "INTIMATE CINEMA: AVANT-GARDE FILM INFLUENCING A BIOGRAPHICAL STORY OF DISCOVERY IN COMPUTER ANIMATION." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306950792.
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Murray, Sean. "The lilac cube." ScholarWorks@UNO, 2004. http://louisdl.louislibraries.org/u?/NOD,94.
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Thesis (M.F.A.)--University of New Orleans, 2004.<br>Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications."--Thesis t.p. Vita. Includes bibliographical references.
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Moroncini, Barbara Serena. "Experimental music after Los Angeles site, power, self, sound /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1706818091&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Waidner, Isabel. "Experimental fiction, transliteracy & 'Gaudy Bauble' : towards a queer avant-garde poetics." Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/experimental-fiction-transliteracy--gaudy-bauble(ea7f0b2a-8230-41e8-81fc-b23f8e5cbbd6).html.
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This practice-led thesis situates the experimental novella <i>Gaudy Bauble</i> within the context of interdisciplinary approaches to experimentation which cross the arts, humanities, literature and sciences. The novella and thesis develop a queer avant-garde poetics and writing methodology that I have called transliteracy. Transliteracy builds on my situated and embodied writing practice as a queer identified novelist and nonnative English speaker. I have mobilised the perceived 'otherness' of English to produce narratively and linguistically experimental prose fictions (Waidner, 2010, 2011). Transliteracy develops this practice by sharing agency (the capacity to influence the narrative) across assemblages of human and nonhuman, fictional and real, material and semiotic 'actors', to use the philosopher of science Bruno Latour's (1987, 1999) term for participants in action and process. Transliteracy has allowed me to subvert normative versions of authorship, intentionality, causality, and process in <i>Gaudy Bauble</i>, and to produce a radically subverted version of a plot that is intelligible and captivating to the reader. <i>Gaudy Bauble</i> inaugurates a genre I have called agential realist fiction, which is original in its genre-bending, gender-bending, interdisciplinary and queer avant-garde orientation. The practice was further shaped according to a generative constraint, which dictated that the most marginal actors on and beyond the page were made relevant for the plot. This conceptual apparatus is also reflected in the novella's narrative as a 'not quite' detective story: <i>Gaudy Bauble</i> stages what happens if previously inconsequential actors are allowed to become effectual, rather than actions located within a conventional protagonist. Enacting an "insurrection of subjugated knowledges" (Foucault, 1980, p. 81) in fiction, <i>Gaudy Bauble</i> stages a landscape of reversed power relations, a locally subverted surface of emergence in fiction, where radically nonnormative phenomena and imaginaries can come into being. The thesis connects transliteracy to a wider political LGBTQI+ project and agenda.
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Hoppe, Meredith A. "Breaking tradition reaching for the avant-garde in theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.
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Aceti, Lanfranco. "European avant-garde : art, borders and culture in relationship to mainstream cinema and new media." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/7762/.
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This research analyses the impact of transformation and hybridization processes at the intersection of art, science and technology. These forms of transformation and hybridization are the result of contemporary interactions between classic and digital media. It discusses the concept of 'remediation' presented by Bolter and proposes the concept of 'digital ekphrasis,' which is based on Manovich' s analyses of the interactions between classic and digital media. This is a model which, borrowed from semiotic structures, encompasses the technical as well as aesthetic and philosophical transformations of contemporary media. The thesis rejects Baudrillard's and Virilio's proposed concepts of 'digital black hole' as the only possible form of evolution of contemporary digital media. It proposes a different concept for the evolutionary model of contemporary hybridization processes based on contemporary forms of hybridizations that are rooted in aesthetic, philosophical and technological developments. This concept is argued as emancipated from the 'religious' idea of a 'divine originated' perfect image that Baudrillard and Virilio consider to be deteriorated from contemporary hybridization experimentation. The thesis proposes, through historical examples in the fine arts, the importance of transmedia migrations and experimentations as the framework for a philosophical, aesthetic and technological evolutionary concept of humanity freed from the restrictions of religious imperatives.
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Devaney, Kieran John Michael. "Europe after the rain : Alan Burns and the post-war avant-garde." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/15212.
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Alan Burns was one of the key figures in the group of experimental writers working in Britain in the nineteen sixties and early nineteen seventies, which included writers such as B.S. Johnson, Christine Brooke-Rose, Ann Quin and Giles Gordon. All of them sought ways to update and radicalize the techniques of modernism to make them relevant for their contemporary situation. Alan Burns took the novel to more radical extremes than his counterparts, eschewing traditional narrative in favour of a dense accumulation of detail. This is the first full length study of Burns' work, which has largely been neglected by scholars and, for the most part, remains out of print. I provide a thorough account of Burns' life and work and theorise the reasons for his obscurity. I examine the role of trauma in his work. For Burns the experience of the traumatic moment is one in which the violence that underpins everyday society is momentarily unveiled, the sheer and explicit violence of the event produces a rupture that displays the deeper and more insidious violence that exists beneath it and gives it structure. I draw on theories of visual art, music and cinema, both of the 'classical' avant-garde and more recent, as much as of literature and philosophy, to attempt to account for the strategies, techniques and approaches that Alan Burns engaged with in his writing. Avowedly left-wing, in interviews Burns is frequently optimistic about the possibility for political change in the world, and is even confident about the role that literature can play in fostering that change. However, I argue that his novels present a rather different, and much more pessimistic picture: each of them shows the way in which any activism can ultimately be constrained and co-opted.
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Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
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Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.
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Pierron, Andréa. ""L'Ombre de votre espérance" : repères pour une histoire plastique des revues d'artistes expérimentaux au XXe siècle." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA085/document.
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Cette thèse de doctorat se consacre à l’analyse de périodiques créés au cours du XXe siècle par des cinéastes et des plasticiens à l’œuvre dans le champ des avant-gardes et du cinéma expérimental. Les revues forment des objets plastiques et spéculatifs, complexes et composites de par les relations qui se nouent entre le texte et l’image, les montages qui se créent et le défi que constitue la transposition des images filmiques. En quoi ces revues d’artistes témoignent-elles d’une recherche expérimentale ? Comment les revues d’artistes participent-elles à une histoire critique et plastique des formes cinématographiques ? L’étude tente de comprendre les manières originales dont les cinéastes et les plasticiens se saisissent des revues afin d’élaborer, défendre, documenter, objectiver et analyser certains paradigmes cinématographiques. À quels titres les revues deviennent elles-mêmes des propositions expérimentales, des laboratoires de recherche sur les liens entre l’image et le texte ? Nous observerons comment, grâce à leurs propositions techniques, graphiques et visuelles propres, les revues exposent certains enjeux matériels, poétiques, plastiques et théoriques propres à l’image cinématographique, comment elles questionnent le regard. Les revues offrent des plateformes de diffusion et de dissémination esthétiques, servent à ouvrir des réseaux de circulation pour les idées, singulières ou collectives, des rédacteurs en chef. Comment accompagnent-elles leurs efforts dans la construction d’un milieu cinématographique alternatif ? Les revues Dada I de Tristan Tzara et Hans Arp (1916), Dada Sinn der Welt de John Heartfield et George Grosz (1921), Le Promenoir de Jean Epstein, Pierre Deval et Jean Lacroix (1921-1922), G. für elementare Geschaltung de Hans Richter (1923-1926), Close Up du groupe Pool composé de Kenneth Macpherson, Bryher et H.D. (1927-1933), Film Culture de Jonas Mekas (1955-1996) et Cantrill’s Filmnotes d’Arthur et Corinne Cantrill (1971-2000) forment le corpus de cette thèse qui vise à contribuer à une histoire plastique des publications expérimentales<br>This PhD thesis focuses on analyzing periodicals created during the XXth Century by both visual artists and filmmakers operating in the realm of avantgardes and experimental cinema. The journals become plastic, conceptual, complex, and composite objects because of the interplay between text and image as well as the reproduction of images and realization of photomontages. How these artists’ journals show signs of an experimental approach ? How do artists’ journals contribute to the critical and plastic history of film ? The dissertation aims to understand the unique ways the visual artists and filmmakers make use of the journals to create, defend, document, visualize and analyze some cinematic paradigms. To what extent the journals become in turn experimental works about the relationships between text and image ? We will study how magazines exhibit various plastic, aesthetical, theoretical, and poetical dimensions at stake in the cinematic image, relying on specific technical, graphic and visual undertakings, and how they call into question the perception. Journals become instrumentalized in ensuring the movement of the editors’ ideas, either collective or indivuals. How do journals support the editors’ efforts in building an alternative cinema domain ? Dada I edited by Tristan Tzara and Hans Arp (1916), Dada Sinn der Welt by John Heartfield and George Grosz (1921), Le Promenoir by Jean Epstein, Pierre Deval and Jean Lacroix (1921-1922), G. für elementare Geschaltung by Hans Richter (1923-1926), Close Up by Kenneth Macpherson, Bryher and H.D. (1927-1933), Film Culture by Jonas Mekas (1955-1996) and Cantrill’s Filmnotes by Arthur et Corinne Cantrill (1971-2000) form the corpus of this PhD thesis, which aims to contribute to a plastic history of experimental publications
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Ying-Chih, Liao. "The renaissance of Taiwaneseness : Taiwanese alternative cinema and Avant-garde theatre in the post martial law era." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515014.
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Papalas, Mary Laura. "A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211977685.
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Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
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This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.<br>Arts, Faculty of<br>Theatre and Film, Department of<br>Graduate
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Marquez, Barragan Miriam Yvonn. "Presencia de la danza en el teatro de Federico Garcia Lorca." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1560867293526761.
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Cooper, Michael T. "WELCOME TO THE PLANET: FORT LIVING ROOM O ROTTING SUN." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/192.
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O Rotting Sun is a pair of long narrative poems that leap, spanning over an epic-length manuscript—175 pages of prose block, lyrical verse, and projective verse. Its chief poetic-operational modes are: inclusion, fragmentation, textual destructions, intentional omissions, intentional misspelling, large narrative leaps; all of which engage a poetics of doubt and multiplicity. O Rotting Sun is a jarring and jangly poem of resistance, intended if possible, for being read aloud and argued with: a provocation of intense meditation, reflection, and when successful, disintegration of anger & agonism—followed by a reintegration of the reader back into a community of change and hope. These poems are an invitation to that hero’s journey which is sometimes painful, sometimes beautiful, sometimes both. I wish to welcome my heroic, wonderful, deep reader into this new world of O Rotting Sun.
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Payne, Christopher Neil. "Terminus intractable and the literary subject : deconstructing the endgame in Chinese avant-garde fiction." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29518.
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The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.
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Del, Valle Davila Ignacio. "Le "Nouveau cinéma latino-américain" : un projet de développement cinématographique sous-continental." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00782109.
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Au début des années soixante ont lieu les premiers essais pour créer une alliance des expériences de rénovation cinématographique menées dans divers pays d'Amérique latine. La tentative de révolutionner les formes autonomes du cinéma fut conçue comme une contribution à la révolution sociale et politique revendiquées par les mouvements de libération latino-américains de cette époque. Notre étude est consacrée à l'analyse de ce projet de développement cinématographique, qui sera connu comme Nouveau cinéma latino-américain dès la fin des années soixante. Nous examinerons les films et les réflexions théoriques de quelques-uns des cinéastes qui adhérèrent au projet, dont l'œuvre se caractérise par un positionnement subversif au sein du champ cinématographique, face à la position hégémonique du modèle hollywoodien. À travers l'analyse des apports théoriques de ces réalisateurs et l'étude des rencontres et échanges entre eux, nous chercherons à établir les caractéristiques du concept de Nouveau cinéma latino-américain, ainsi que ses contradictions et limites.
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Gordon, Wendy A. "The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292018.
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Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.
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White, Mary C. "From text to practice : rereading Laura Mulvey's 'Visual pleasure and narrative cinema' towards a different history of the feminist avant-garde." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/10913.
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The thesis proposes that there have been a series of responses in visual practice to Laura Mulvey's article 'Visual Pleasure and Narrative Cinema' (1975) from 1975 to 2000. As Mulvey's article was and still is an exemplary text its contribution to film and visual theory is well documented, however, this has overshadowed any contribution the article has made to visual practices. As Mulvey, at the time of writing the article, was an avant-garde film maker the thesis examines how the article emerged from a context of visual practice. The first chapter establishes the location of 'Visual Pleasure and Narrative Cinema', broadly summarising its arguments and the commentaries that proceeded from it, noting that many of these commentaries failed to acknowledge its emergence from visual practices. The next chapter explores the context of Mulvey's film-making practice, its content and location amongst other film makers and groups contemporary with it. Chapter 3 looks at the work of key feminist film makers during the 'visual pleasure' moment that immediately followed the publication of Mulvey's article and re-states their importance. The following chapter broadens the argument and examines two visual practices that were not film-based, photo-text and tape-slide, but which took up Mulvey's ideas strategically to explore language and sexual difference in the 1980s. The final chapter looks at how questions of pleasure became vital for a generation of black, gay and lesbian artists during the 1990s in response to, and even in rejection of, Mulvey's earlier work. My aim is to highlight some key practices, mostly in the UK, exploring their heterogeneous nature through context and location, to show a network of practices where Mulvey's legacy can be seen through shared concerns and approaches. This reconstitutes a history and argues that Mulvey's work is part of a framework, which has a legacy to practice, as well as to theory.
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Quintino, Oberdan [UNIFESP]. "A imagem no cinema como choque segundo Walter Benjamin." Universidade Federal de São Paulo (UNIFESP), 2012. http://repositorio.unifesp.br/handle/11600/39339.
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Previous issue date: 2012-11<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O célebre ensaio “A obra de arte na era de sua reprodutibilidade técnica” de
Walter Benjamin salienta a transformação do conceito de obra de arte sob um viés histórico
e de produção. Neste sentido, a reprodutibilidade técnica representa uma ruptura com o
conceito tradicional de obra de arte quanto aos elementos espaço-temporais que lhe
conferem o caráter de obra original e aurática. Nesse contexto, se inserem a fotografia e o
cinema que, devido a suas particularidades técnicas, exigem uma nova forma de percepção
e recepção da obra de arte, que Benjamin busca caracterizar por meio do conceito de
choque. Movimentos de vanguarda do início do século XX, como dadaísmo e surrealismo,
exploraram e anteciparam o efeito de choque em suas opções estéticas. Tais fenômenos
artísticos se originaram num momento histórico das sociedades modernas industrializadas e
de massas, marcado, entre outros, pelo desenvolvimento acelerado da técnica a partir do
século XIX e pela crescente penetração desta na vida cotidiana, o que trouxe alterações
comportamentais sob vários aspectos, dentre eles a relação entre a experiência individual e
coletiva.<br>The celebrated essay “The work of art in the age of mechanical reproduction” by
Walter Benjamin points out the transformation of the concept of work of art under a
historical bias, as well as a bias of production. In that sense, the mechanical reproduction
represents a break off the traditional concept of work of art as for the space and time
elements that give it the character of an original work with aura. The photography and the
cinema are inserted in that context due. The technical characteristics of both of them
require a new perception and reception of the work of art. Benjamin characterizes that
through the concept of shock. Early twentieth-century avant-garde movements as dadaism
and surrealism explored and antecipated the shock effect in their aesthetic options. Those
artistic phenomena originated in the modern industrialized and mass societies historical
moment characterized by the fast development of the technique from the nineteenth century
and the increasing penetration of such a technique in daily life, wich brought with them
different changes in behavior, as the relationship between the individual experience and
collectiv one.
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Lemos, Gabriel Francisco Barboza 1988. "A música de vanguarda serve ao imperialismo (?) : a relação entre música e ideologia na trajetória de Cornelius Cardew entre as décadas de 1960 e 1970 /." São Paulo, 2018. http://hdl.handle.net/11449/157184.
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Orientador(a): Mauricio Funcia De Bonis<br>Banca: Alberto Tsuyoshi Ikeda<br>Banca: Gustavo de Moura Valença Motta<br>Resumo: Na segunda metade do Século XX, em especial nas décadas de 1960 e 1970, artistas e intelectuais discutiram calorosamente acerca da relação entre a atuação poética (criativa) do artista e sua influência no campo político e ideológico social. Nesse contexto, o compositor inglês Cornelius Cardew (1936 - 1981) se destacou por desenvolver um trabalho composicional e teórico contundente, crítico e autocrítico sobre a vanguarda musical e sua dimensão ideológica. Transitou entre duas das mais influentes orientações estéticas da segunda metade do Século XX, a música de vanguarda e a música politicamente engajada, ambas fundamentais na construção de chaves de leitura acerca da relação entre o compositor e a sociedade ocidental capitalista. Cardew se dedicou no decorrer de toda a década de 1960 na criação e divulgação de obras diretamente influenciadas pela escola americana experimental. Compôs obras que trabalhavam com a aleatoriedade, a improvisação (The Great Learning, Schooltime Compositions, etc.) e a notação gráfica, dentre essas, Treatise (1963-7) se destaca. Em 1969, ainda ligado às diretrizes aleatórias e ritualísticas da escola americana, o compositor fundou a orquestra experimental Scratch Orchestra (1969-74). Não obstante, influenciado pelo trabalho de pesquisa feito em conjunto com a orquestra (haja a existência de um núcleo de estudos teóricos chamado de Ideological Group), nos anos seguintes ao encerramento das atividades do grupo, Cardew se engajou na utilização da (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: In the second half of the twentieth century, especially in the 1960s and 1970s, artists and intellectuals intensify argued about the relationship between the poetic (creative) performance of the artist and his influence on the political and ideological social field. In this context, the English composer Cornelius Cardew (1936 - 1981) stood out for developing a compelling, critical and self-critical compositional and theoretical body of work about the musical avant-garde and its ideological dimension. He transited between two of the most influential aesthetic orientations of the second half of the twentieth century, avant-garde music and politically engaged music, both fundamental in the construction of reading about the relationship between the composer and western capitalist society. Throughout the 1960s, Cardew devoted himself in the creation and dissemination of works directly influenced by the experimental American school. He composed works that worked with randomness, improvisation (The Great Learning, Schooltime Compositions, etc.) and the graphic notation - among these, Treatise (1963-7) stands out. In 1969, still attached to the random approach and ritualistic directives of the American school, the composer founded the experimental orchestra Scratch Orchestra (1969-74). Nevertheless, influenced by the research work done in conjunction with the orchestra (strictly related to the theoretical studies group called the Ideological Group), in the years following the closing... (Complete abstract click electronic access below)<br>Mestre
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Talavera, Ibarra Pedro Leonardo. "The changing view on the world : from symbolism to avant-garde in Russian, French and Latin American literature /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Thesis (Ph. D.)--University of Texas at Austin, 1999.<br>Vita. Text in English, with some Russian, French and Spanish. Includes bibliographical references (leaves 222-240). Available also in a digital version from Dissertation Abstracts.
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Pena, Eder Wilker Borges 1993. "Satierik Musique : da natureza da música humorística em Erik Satie /." São Paulo, 2017. http://hdl.handle.net/11449/151159.
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Orientador: Lia Vera Tomás<br>Banca: Marcos José Cruz Mesquita<br>Banca: Celso Luiz de Araújo Cintra<br>Resumo: O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d'un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguid... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the applicat ion and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, (Complete abstract eletronic acess below)<br>Mestre
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Tokimatsu, Rosana Fumie. "O iniciado do movimento: a ficção de Aníbal Machado e o cinema." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12052017-155530/.
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Este trabalho pretende expor as maneiras pelas quais a ficção de Aníbal Machado dialoga com o cinema, procurando definir a ampla visão de sua poética a partir desse viés. A condição do autor de fã e conhecedor da chamada sétima arte faz com que ela se faça presente também em sua obra literária. Um dos aspectos nela observados é a tentativa de reproduzir técnicas e procedimentos da linguagem cinematográfica, o que tem origem em práticas das vanguardas europeias e do modernismo brasileiro. Tal tentativa se faz já em João Ternura, livro que começou a ser escrito por volta de 1926 e concluído às vésperas da morte do autor, em 1964, e é claramente marcado como um projeto modernista. A aproximação da linguagem fílmica nesse livro, entretanto, limita-se quase exclusivamente à montagem de segmentos narrativos descontínuos. Por outro lado, os recursos que buscam similaridade com a narrativa fílmica encontram-se disseminados nos contos do autor, sendo A morte da porta-estandarte o mais cinematográfico deles, já que mobiliza a maior parte desses recursos, como a focalização de um assunto de diversos ângulos e a montagem, realizando uma feliz conjunção entre imagem, movimento e som. Num segundo andamento a tese examina uma particularidade cinematográfica, a presença de Carlitos, de Charles Chaplin, na obra de Aníbal Machado, bem como do cinema burlesco de maneira geral. Assim é enfatizado que na ficção do autor existe uma galeria de personagens que se distingue pela inocência, pelo sonho ou pelo irracional, o que resulta de uma visão do universo de Carlitos influenciada pelas vanguardas europeias, principalmente pelo surrealismo, ao qual Aníbal Machado chegou a declarar publicamente a adesão. As referências aos filmes chaplinianos estão também no ponto de vista irônico do narrador, bem como na coexistência do cômico e do dramático. Na ficção do autor, a gestualidade está relacionada à inocência e ternura de personagens que, por esse motivo, são massacrados pelas rígidas regras e convenções sociais. Daí seu irracionalismo representado pelo burlesco - como recusa a se submeter a essas regras. A pesquisa se detém ainda em outras atividades de Aníbal Machado relacionadas ao cinema. Nesse particular, o foco se volta para o início dos anos 1950, quando o escritor foi convidado pela Companhia Vera Cruz a colaborar com roteiros de outros autores e a escrever adaptações para alguns contos de sua autoria. Assim, elaborou sinopses e roteiros para A morte da porta-estandarte, O telegrama de Ataxerxes e O piano, mas nenhum deles chegou a ser filmado. Nesse andamento, pretende-se caracterizar o contexto em que a produção ficcional se inscreve, situando-a também na história do cinema brasileiro. Tomando as adaptações de autoria de Aníbal, procura-se avaliar o motivo do interesse do mercado cinematográfico da época em adaptar seus contos. Com isso em vista, pretende-se fazer uma análise comparativa entre A morte da porta-estandarte e sua correspondente sinopse em duas versões, e de O telegrama de Ataxerxes e o roteiro nele baseado, procurando explicitar as soluções adotadas pelo autor para transpor suas histórias para uma linguagem cinematográfica, criando novos elementos para dar conta das diferentes artes e linguagens que se impõem nessas adaptações.<br>This work intends to discuss problems related to Anibal Machados literary works and the dialogues he established with the filmic art and in this way trying to define the large view of his poetics. The authors interest as fan and expert of the so called Seventh Art was fundamental to the assimilation he processed in his fictional works. So one of the aspects observed in this analyses includes the authors attempt to reproduce techniques and proceedings of the cinematographic language with keeping its roots in practices of the European Avant-garde and in the Brazilian Modernism. This mentioned attempt is firstly present in João Ternura, a book he started writing by 1926 and only finished in 1964 soon before his death, and in which he exposes the linking with the Brazilian modernist project. In this case the approach he established between his literary writing and the filmic proceedings was limited to the act of assembling discontinuous narrative sequences. But different approaches to the filmic narrative were explored in his short-stories being A morte da porta-estandarte the most relevant example of the various ways he tried to absorb the cinematographic language. So from different angles of viewing and discontinuous acts of assembling Aníbal Machado tried to explore the field of the images, movements and sonorities. As a second part this work examines a specific element, focusing the famous character created by Charles Chaplin, Charlie, but also trying to capture the general burlesque aspect of the cinema in the work of Aníbal Machado. So it is showed that in the authors fiction there is a gallery of characters distinguished by its innocence, by the dream and by irrational aspects that lead to Charlies universe and is also influenced by the European Avant-garde, mainly the Surrealism, that Aníbal Machado once declared its adoption. The references to Chaplins filmography will be also stressed by means of the ironical approach of the narrator as well as the comic and the dramatic aspects. In the authors fiction it is marked the presence of the corporal movement related to innocence and tenderness of some characters that due to this kind of acting are slaughtered by the rigidness of social rules and conventions. And so it results in irrationalism represented by the burlesque as a refusal to be submitted to the social rules. The research is still enlarged by other activities of Aníbal Machado related to the Seventh Art. In this case the focus was directed to the beginning of the 50s when the A. Machado was invited by the cinematographic Companhia Vera Cruz to help in the writing of scripts and also asked to adapt some of his own short-stories. Among them are A morte da porta-estandarte, O telegrama de Ataxerxes and O piano, though none of them was filmed. In this part the intention is to expose the context in which the Aníbals work of fiction is included trying to situate it in the history of the Brazilian cinema. Finally, we try to appreciate and discuss reasons way at that time the filmic industry was interested in adapting Aníbals short-stories. So it was developed a comparative approach between A morte da porta-estandarte and two versions of its respective summary. The same was developed between O telegrama de Ataxerxes and a script based on this short-story. In both cases it is tried to show ways the author used to translate his fictional stories to a filmic language thus creating new elements to adapt different arts and languages.
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Vichnar, David. "L'Avant-postman : James Joyce, L'avant-garde et le postmoderne." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030010.
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La thèse, intitulée « L’Avant-Postman: James Joyce, L’Avant-Garde et le Postmoderne », s’efforce de construire une généalogie littéraire post-joycienne, centrée sur les notions de l’avant-garde joycienne et de l’expérimentation littéraire, et prend les deux dernières œuvres de Joyce, Ulysses et Finnegans Wake, pour points de départ des avant-gardes d’après la seconde guerre mondiale, une époque généralement appelée « postmoderne », en Grande-Bretagne, aux États-Unis, et en France.L’Introduction identifie la notion d’une avant-garde joycienne à l'exploration, par Joyce, de la matérialité du langage et l’identification de sa dernière œuvre, le « Work in Progress », à la « Révolution du mot », défendue par Eugène Jolas dans sa revue transition. L’exploration joycienne de la matérialité du langage se comprend selon trois orientations : l'écriture conçue comme une trace physique, susceptible d’être distordue ou effacée ; le lan-gage littéraire compris comme une forgerie des mots des autres ; le projet de la création d’un idiome personnel, défini comme un langage « autonome », qui doit être caractéristique de la littérature vraiment moderne.La thèse est divisée en huit chapitres, deux pour la Grande-Bretagne (de B.S. Johnson, Brooke-Rose à Iain Sinclair), deux pour les États-Unis (de Burroughs et Gass à Acker et Sorrentino) et trois pour la France (le nouveau roman, l’Oulipo, et la groupe Tel Quel). Le Chapitre VIII retrace l’héritage joycien pour la littérature après 2000 dans ces trois espaces na-tionaux. La conclusion définit l’avant-garde joycienne, telle qu'elle est thématisée après la seconde guerre mondiale, comme un défi adressé à la notion de « postmoderne »<br>The thesis, entitled “The Avant-Postman: James Joyce, the Avant-Garde and Postmodern-ism,” attempts to construct a post-Joycean literary genealogy centred around the notions of a Joycean avant-garde and literary experimentation written in its wake. It considers the last two works by Joyce, Ulysses and Finnegans Wake, as points of departure for the post-war literary avant-gardes in Great Britain, the USA, and France, in a period generally called “postmodern.”The introduction bases the notion of a Joycean avant-garde upon Joyce’s sustained explora-tion of the materiality of language and upon the appropriation of his last work, his “Work in Progress,” for the cause of the “Revolution of the word” conducted by Eugene Jolas in his transition magazine. The Joycean exploration of the materiality of language is considered as comprising three stimuli: the conception of writing as physical trace, susceptible to distortion or effacement; the understanding of literary language as a forgery of the words of others; and the project of creating a personal idiom as an “autonomous” language for a truly modern literature.The material is divided into eight chapters, two for Great Britain (from B.S. Johnson via Brooke-Rose to Iain Sinclair), two for the U.S. (from Burroughs and Gass to Acker and Sorrentino) and three for France (the nouveau roman, Oulipo, and the Tel Quel group). Chapter Eight traces the Joycean heritage within the literature after 2000 of the three national literary spaces. The conclusion contextualises the theme of the Joycean post-war avant-garde as a challenge to the notion of “postmodernism.”
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Gemme, Pascal. "De L'écho des jeunes au Nigog, pour une préhistoire de l'avant-garde littéraire au Québec, 1890-1920." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0027/MQ35680.pdf.
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Amao, Damarice. "Passion et Désillusion. Eli Lotar (1905-1969) : Contribution à une histoire des rapports entre les avant-gardes photographique et cinématographique à Paris dans l’entre-deux-guerres." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040036.
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Eli Lotar décède en 1969 à Paris après avoir poursuivi une longue et difficile carrière de photographe et de cinéaste. Alors qu’il fait partie des pionniers de la Nouvelle Vision photographique française aux côtés de Germaine Krull, il faut attendre 1993 pour qu’une première exposition monographique posthume lui soit consacrée par le musée national d’art moderne-Centre Pompidou. Entre temps, son documentaire Aubervilliers (1945) et son travail de directeur de la photographie auprès de Luis Buñuel et d’Alberto Cavalcanti lui ont assuré une solide réputation dans les milieux cinéphiles après la Seconde Guerre mondiale.Son identité de photographe moderne prend quant à elle plus de temps à se forger. En parallèle de cette réévaluation initiée à la fin des années 1970, dans le champ des études sur le surréalisme la série des Abattoirs de la Villette qu’il publiait dans la revue Documents (1929) lui permet de faire son entrée dans le panthéon visuel du mouvement d’avant-garde.Le surréalisme, le cinéma d’avant-garde, la Nouvelle Vision : Lotar a livré dans chacun de ces champs des images emblématiques tout en demeurant, encore aujourd’hui, une figure opaque et complexe. À partir de sources inédites, cette étude se propose d’envisager son parcours d’une part dans le réseau élargi des avant-gardes parisiennes et européennes, d’autre part à l’aune de sa deuxième identité, celle de cinéaste et de cinéphile. Sujet marginal dans le champ des études de l’entre-deux-guerres photographique française, ces rapports de la photo et du cinéma fondent, en partie, le nouveau paradigme visuel moderniste de l’époque dont Eli Lotar serait l’une des figures exemplaires à Paris<br>Eli Lotar passed away in Paris in 1969 after a long but low-key career as a photographer and filmmaker. While one of the pioneers of the New Vision in France alongside Germaine Krull, one has to wait year 1993 for a first solo show to be devoted by the Centre Pompidou. Meanwhile, his documentary Aubervilliers (1945) and his work as director of photography with Luis Buñuel and Alberto Cavalcanti ensured him a solid reputation in cinephile circles after the Second World War.His identity as a modern photographer, on the other hand, takes more time to take shape. In parallel with this revaluation initiated in the late 1970s, in the field of studies on surrealism, the series of the Abattoirs de la Villette he published in the review Documents (1929) allows him to become one of the icons of the avant-garde.Surrealism, avant-garde cinema, New Vision: Lotar delivered in each of these fields iconic images while he remains an opaque and complex figure. From unpublished sources, this study proposes to consider his career the one hand into the expanded network of Parisian and European avant-garde, the other in the light of its second identity as a filmmaker and cinephile. Peripheral subject in the field of studies of inter-war French photography, links between photography and cinema partly establish the new modernist visual paradigm of the era whose Eli Lotar would be one of the exemplary figures in Paris
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Bruzual, Alejandro. "Narrativas contaminadas tres novelas Latinoamericanas el tungsteno, parque industrial y cubagua /." [Pittsburgh, PA] : University of Pittsburgh, 2006. http://etd.library.pitt.edu/ETD/available/etd-12052006-172521/unrestricted/ABruzual%5FDissertation2.pdf.
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Siegling, Scott Alan. "Intermedia at Iowa 1967-2000: the cultural politics of intermedia in performing and event-based arts." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1754.
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This dissertation analyzes the institutionalization of avant-garde artistic practice within an American university, the University of Iowa between the years 1967 and 2000. In order to understand the development of the Intermedia program at Iowa, the institutional context of the "Iowa Idea" as it was developed on campus from the 1930s that emphasized the simultaneous instruction of art history and theory with instruction in the graphic and plastic arts. Following the success of the Iowa Writers' Workshop, the University of Iowa received a major grant from the Rockefeller Foundation in 1970 to form the Center for New Performing Arts.
Following the development from Happenings to Intermedia, and gradually into specific "disciplines" of performance art and video art, this dissertation demonstrates how the institution was inseparable from these avant-garde practices which required significant resources to develop. The importance of technology is traced through the digital revolution in the arts, and the role of "intermedia" is shown to be part of a process of changing consciousness as opposed to commonly accepted definitions of "multimedia" or Gesamtkunstwerk.
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Mendes, da Silva Vaz Marria Suzana. "The archaic makes the Avant-garde : Experimental practice and primordial image ; reading the Brazilian Post-Neoconcrete and the Japanese Gutai artists through Mircea Eliade and Carl Gustav Jung." Thesis, University of the Arts London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650332.
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Blamey, Peter J. "Sine waves and simple acoustic phenomena in experimental music with special reference to the work of La Monte Young and Alvin Lucier /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/25659.
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Thesis (Ph.D.)--University of Western Sydney, 2008.<br>A thesis presented to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.
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Olivero, Massimo. "Figures de l'extase. Une esthétique des limites de la représentation filmique de Serguei M. Eisenstein à Orson Welles." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030092.
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Ce travail se propose d'interroger le problème des limites de la représentation du cinéma de l'âge classique (1920-1960) à partir de l'esthétique organique-pathétique conçue par Sergueï Eisenstein dans la Non-Indifférente Nature, qu'il nomme « formule de l'extase ». Après avoir montré l'existence d'une double nature de l'extase chez Eisenstein (en même temps eidétique et régressive), ce travail montre les analogies de cette formule avec la mise en forme de l'excès de pathos (thématique et formel) dans l’œuvre de trois cinéastes hollywoodiens, King Vidor, Josef von Sternberg et Orson Welles<br>This piece of work aims to inquire the topic of the limits of representation in the cinema of classical era (1920-1960) on the basis of the organic-pathetic esthetics conceived by Sergei Eisenstein in The Nonindifferent nature, which he names “formula of ecstasy”. After having shown the existence of a double (that is, eidetic and regressive at the same time) nature of ecstasy in Eisenstein, this piece of work will focus on the analogies between this formula and the shaping of the excess of (thematic and formal) pathos in the works by three Hollywood filmmakers: King Vidor, Josef von Sternberg and Orson Welles
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Rodríguez, Granell Ana. "Teoría y práctica del cine como dispositivo crítico. El alcance de la modernidad y las formas de lo político desde la historia del arte al cine de los años treinta." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/80942.
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A través del concepto de dispositivo crítico, esta investigación analiza cómo, durante la década de los años veinte y treinta, en diversos contextos geográficos como la Unión Soviética, la República de Weimar, Reino Unido, Estados Unidos y Francia, emergen proyectos, estructuras de producción y obras cinematográficas al margen de la industria convencional con una voluntad expresamente política debido, en parte, al auge de las luchas sociales a partir de la primera postguerra y de la crisis de 1929. Llegando hasta los albores de la II Guerra Mundial y otras fechas clave de mediados de los años treinta cuando estas prácticas se ven sepultadas por varios motivos políticos y sociales.
El recorrido a través de los diversos contextos geopolíticos permite visibilizar no sólo las formas de organización cultural en materia cinematográfica de todo el espectro de la izquierda sino también visibilizar las especificidades locales debidas tanto al bagaje histórico-cultural como al desarrollo de la industria e institución cinematográfica en relación con los diversos sistemas políticos y económicos. La aportación original de la tesis radica en proponer una mirada prospectiva bajo una nueva perspectiva condensada en el concepto de dispositivo crítico. Reuniendo datos históricos, atendiendo a toda una multiplicidad de planos como puedan ser la emergencia de determinados discursos estéticos desde dentro y fuera de diversas instituciones; políticas gubernamentales; la hegemonía de cierta industria cultural con sus modos de producción; la emergencia de antagonismos políticos desde varios organismos políticos, etc., para así, intentar revelar en esas prácticas una dimensión política que supera la etiqueta genérica de cine político o militante. De este modo, se ha intentado rastrear algunos de los caracteres vinculables a la modernidad artística y que también se verán desarrollados en el marco del cine moderno.
Para abarcar los vínculos de algunos fenómenos cinematográficos con la modernidad, se ha lanzado la mirada mucho más allá de los límites cronológicos que normalmente clausuran la historia del cine. Atender a un marco histórico tan amplio -desde finales del siglo XVIII- pretende visibilizar el proceso mediante el cual emergen producciones culturales que, en tanto ponen en crisis los modos de hacer convencionales y abren interrogantes acerca de la propia función política del arte, nos remiten a ciertos procesos que constituyen la modernidad tanto filosófica como artística. Este proceso lo podemos observar a través del concepto de crítica que Immanuel Kant sistematiza en su trilogía y cómo, a través de todo el proceso histórico que sigue durante el siglo XIX, a través del idealismo alemán, el romanticismo, y las diversas transformaciones del campo cultural, se observa cómo se constituyen y emergen dos posiciones clave en todo el paradigma moderno que abarca al siglo XX: o bien, la cultura es entendida como lugar ideal para el desarrollo de un sujeto creativo y libre, capaz de generar por sí solo un proyecto emancipador; o bien, una idea de cultura capaz de apuntalar un mito común y un proyecto estético cohesionado, que permita la creación de un sujeto político y, por tanto, capacitado para la transformación social. A través de este debate, viéndolo también heredado en el campo cinematográfico con sus propias especificidades, se ha intentado atender a una mayor complejidad que difumina los límites normalmente estancos -establecidos por la historiografía cinematográfica- de categorías como vanguardia experimental, vanguardia política, cine institucional y cine moderno.<br>Cinema’s theory and practice as a critical dispositive. The achievement of modernism and the shape of politics in the cinema of the thirties
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Through the concept of critical dispositive this research analyzes the political dimension contained in modern art practice and film productions made in the margins of the industry and those alternative structures organized in the period covered since the mid-twenties until the mid-forties of the twentieth century. The analysis and historiographical work focuses on visualizing the ways in which emerging and organizing the various groups that are connected with movements of the left, socialists, communists, anarchists or cooperative movements in the relevant contexts between the global wars: the Soviet Union, the Weimar Republic, the United Kingdom, United States and France. Thus, it have shown some connections linked to political cinema practice and agent’s theoretical corpus with those processes and debates that arise as a result of philosophical modernity in the late eighteenth and throughout the nineteenth century, the development of the aesthetics of this period, and Marxist thought.
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Larcher, Jonathan. "Des arts filmiques en anthropologie. Enquête, expérience et écologie des images en "tsiganie"." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH045/document.
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Cette recherche s’est initialement constituée autour de la réalisation de films documentaires et d’une collecte d’images vernaculaires produites dans le « quartier tsigane » (une « ţigănie ») du village de Dițești, au sud de la Roumanie. Dès le début de l’enquête, mes interlocuteurs m’indiquent que leur tsiganie est peuplée d’images ; des telenovelas, des images domestiques, des « films de commande familiaux », etc. Chaque situation filmée fait ainsi l’objet d’intenses négociations entre des pratiques et des expériences filmiques contrastées. Ce travail de description et de reconstitution de l’expérience vécue et sédimentée des images de mes interlocuteurs, par l’observation de ses ramifications à la fois dans le monde social et dans une histoire et une écologie des images, a successivement pris la forme d’une enquête par les arts filmiques, d’une histoire visuelle et numérique des figures tsiganes des industries culturelles roumaines, et enfin d’une archéologie des pratiques filmiques vernaculaires en ţigănie.Bien que l’échelle de l’analyse soit celle de la monographie, l’enjeu de ce travail est de montrer combien cette forme d’expérience reconfigure la pratique des arts filmiques et élargit le champ phénoménal des différentes traditions de recherche qui composent le domaine de l’anthropologie visuelle (« ethnographie expérimentale », Indigenous media et film ethnographique). En somme, cet ensemble de propositions visuelles et manuscrites considère les arts filmiques comme des outils analytiques permettant de comprendre et faire comprendre l’expérience vécue des personnes filmées et l’agentivité des images dans le monde social que nous habitons. Ce qui implique, c’est à la fois la conclusion de cette recherche et le postulat du manuscrit, de considérer les cinéastes et les interlocuteurs de l’anthropologue comme de véritables observateurs et théoriciens des images et des réalités vécues. Ainsi, en appréhendant les images au prisme de l’expérience des images des enquêtés, cette recherche expose la manière dont les arts filmiques – en tant que pratique et discipline – produisent de nouveaux questionnements anthropologiques. Complémentairement, et de manière plus critique, ce savoir des images invite à reconsidérer avec attention la manière dont les anthropologues (et les cinéastes) délèguent parfois aux technologies de l’image des fonctions descriptives, mémorielles, ou transactionnelles<br>This research initially consisted of the production of documentary films and a collection of vernacular images produced in the "Gypsy Quarter" ( "ţigănie") of Diţeşti, a village in the south of Romania. From the start of this investigation, my interlocutors informed me that their ţigănie is populated by images; telenovelas, domestic pictures, “commissioned home movies”, etc. Each filmed situation is therefore the subject of intense negotiations between practices and contrasting filmic experiences. This work is based on a description and the reconstruction of the lived experiences, sedimented with images of my interlocutors. By observing the ramifications of this work, both in the social world and in a history and ecology of images, it has progressively taken the form of an investigation by the filmic arts, a visual and digital history of Gypsy figures of the Romanian cultural industries and an archeology of vernacular film practices in ţigănie. Although the scale of the analysis is that of a monograph, the challenge of this work is to show how this form of experience reconfigures the practice of filmic arts and broadens the phenomenal field of different research traditions that constitute the field of Visual Anthropology ("experimental ethnography", Indigenous media and ethnographic film). In short, this set of visual and textual proposals considers the filmic arts as analytical tools for understanding and making understood the lived experience of filmed people and the agentivity of images in the social world we inhabit. What this thesis proposes, both in its hypothesis and conclusion, is to consider both filmmakers and the anthropologist’s interlocutors as true observers and theoreticians of images and experienced realities. Thus, by understanding images through the experience of the respondents’ images, this research demonstrates the way in which the filmic arts - as a practice and a discipline - generate new anthropological questions. In addition, and more critically, this knowledge of images invites us to reconsider attentively the way in which anthropologists (and filmmakers) sometimes delegate the descriptive, memorial or transactional functions of images to visual technologies
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Troin-Guis, Marie Anysia. "Pratiques et poésies expérimentales de1960 à 1980 : enjeux esthétiques, éthiques et politiques : Julien Blaine, William S. Burroughs, Eugenio Miccini." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0457.
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Cette thèse se propose de dégager les enjeux esthétiques, éthiques et politiques des poésies et pratiques expérimentales de 1960 à 1980, à partir de l’étude des œuvres de J. Blaine, W. S. Burroughs et E. Miccini. Ce travail développe une réflexion sur les expérimentations poétiques qui ont lieu durant une période de fortes mutations sociétales, économiques et médiatiques. Après la mise en place d’une généalogie des pratiques expérimentales que sont le collage et le montage, il s’agit d’inscrire ces poésies expérimentales, généralement occultées des histoires littéraires, dans un modèle néo-avant-gardiste, qui implique une réévaluation de pratiques héritées du début du XXe siècle et un fonctionnement en réseau, faisant dialoguer l’individuel et le collectif. Dès lors, la thèse démontre que le renouvellement du poétique qui s’opère à l’ère d’une société de l’image est tributaire de l’évolution technique : il s’agit de créer avec et contre le livre. Le nouveau rapport entre création poétique et livresque et problématiques de la reproductibilité, favorisée principalement par l’offset, engendre une mise en perspective de l’œuvre avec la notion d’empreinte. L’empreinte constitue ainsi un nouveau paradigme entérinant le statut ontologique instable d’une œuvre qui travaille la matérialité de son support et qui altère une traditionnelle dimension uniquement verbale. La résistance aux formes traditionnelles implique ainsi un engagement, dans la forme et dans le fond : différentes stratégies sont alors développées par les auteurs, permettant d’établir des politiques esthétiques dont l’objectif est de proposer au lecteur/spectateur une expérience esthétique formatrice et éthique<br>This thesis aims to identify the aesthetic, ethical and political issues of experimental poetry from 1960 to 1980. It deals with the works of J. Blaine, W. S. Burroughs and E. Miccini. This work offers a reflection upon the poetic experiments taking place during a period of strong societal, economic and media switch. After the establishment of a genealogy of the experimental practices of collage and montage, it is now about placing this experimental poetry in a neo-avant-garde model, which involves a re-evaluation of practices inherited from the beginning of the twentieth century and a functioning in a network, making the individual and the collective dialogue. Henceforth, the thesis shows that the renewal of the poetics that takes place in the era of a society of the image relies on on technical evolution : it is about creating with and against the book. The new relationship between poetic. The new relationship between poetic and book-based creation and issues of reproducibility, mainly by offset, creates a perspective of the work with the notions of imprint and ruin. Thus, the imprint constitutes a new paradigm which endorses the unstable ontological status of a work which works on the materiality of its support and which alters a traditional, only verbal dimension. Resistance to traditional forms implies a commitment, in form and substance : different strategies are then developed by the authors, which allow to establish aesthetic policies of which the aim is to make the reader / spectator access a formative and ethical aesthetic experience
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Berthelot, Martin R. "Spectacle and Resistance in the Modern and Postmodern Eras." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24272.
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The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252
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Salas, González Carlos. "Del cine a las artes plásticas. Relaciones e influencias en las vanguardias históricas." Doctoral thesis, Universidad de Murcia, 2010. http://hdl.handle.net/10803/10886.
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Las relaciones existentes entre el cinematógrafo y las artes plásticas durante las primeras décadas del siglo XX son una de las señas de identidad de un período artístico protagonizado por los movimientos vanguardistas. En efecto, fotografía y cine se unen a pintura y escultura en el maremagno de creatividad y experimentación que vivió el arte al calor de las vanguardias históricas. Pese a ser numerosas y evidentes las influencias que el cine recibió de las artes plásticas en esas primeras décadas del siglo, lo que se quiere abordar en esta investigación no es esta vinculación sino, precisamente, su inversa. De lo que se trata, pues, es de investigar, evidenciar y explicar las influencias del medio cinematográfico en las artes plásticas, a nivel formal, expresivo o iconográfico, influencias que, como es lógico, resultan especialmente significativas en la pintura.<br>The existing relations between the cinematograph and the plastic arts during the first decades of the 20th century are one of the identity signs of an artistic period led by the avant-garde movements. In fact, photography and cinema join painting and sculpture in the maremagnum of creativity and experimentation that art lived with the historical avant-garde. In spite of the fact that the influences that cinema received from plastic arts in these first decades of the century are numerous and evident, what must be faced in this investigation is not this link but, precisely, his opposite. What we are dealing with, thus, is investigating, demonstrating and explaining the influences of the cinematographic means in the plastic arts, at a formal, expressive or iconographic level, influences that, naturally, turn out to be specially significant on painting.
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Tönies, Simon. "Au fond de l'inconnu : Technique et esthétique dans "Polyphonie X" de Pierre Boulez." Thesis, Université Côte d'Azur, 2021. http://www.theses.fr/2021COAZ2000.
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Écrite en 1951, "Polyphonie X" est une œuvre clé des débuts du sérialisme et une pierre angulaire de la phase la plus expérimentale dans la carrière de Pierre Boulez. Cependant, le fait que la pièce ait été retirée peu après sa création a inhibé la possibilité même d’une réception ou d’une compréhension adéquate. Le présent travail vise à combler cette lacune en fournissant une analyse approfondie des procédés de composition sous-jacents ainsi qu’une discussion esthétique. En plus des trois mouvements achevés de "Polyphonie X", son prédécesseur Première Polyphonie, plus vaste, mais abandonné à un stade rudimentaire, est également pris en considération. Après un bref aperçu du contexte historique et une discussion sur le concept de polyphonie de Boulez, l’analyse se poursuit en deux étapes : tout d’abord, la structure complexe de fond est reconstruite à partir des esquisses en accordant une attention particulière à la relation entre les différentes dimensions compositionnelles telles que la hauteur, le rythme ou le timbre. Ensuite, il est examiné comment le compositeur travaille avec cette structure de fond dans la partition afin, par exemple, d’accentuer certains potentiels perceptifs. À cette fin, une méthodologie d’analyse harmonique est proposée qui intègre également les conclusions de diverses recherches empiriques axées sur la perception. Les résultats de l’analyse sont ensuite pris comme point de départ pour une critique esthétique. Il est soutenu que le rejet de "Polyphonie X" par Boulez résulte d’une crise non résolue de la créativité subjective par rapport à un matériau musical de plus en plus aliéné et auto-perpétué. En outre, il est estimé que c’est précisément ce conflit qui rend la pièce pertinente, c’est à dire transformatrice en ce qui concerne la conception traditionnelle de l’œuvre. Enfin, à la lumière de ces considérations, je fais quelques suggestions sur la manière dont la pièce peut être abordée aujourd’hui.<br>Written in 1951, "Polyphonie X" is a key work of early serialism and a corner stone of the most experimental stage in Pierre Boulez’s career. However, the fact that the piece has been withdrawn shortly after its premiere has inhibited the very possibility of an adequate reception or understanding. The present study aims to fill this gap by providing an in-depth analysis of the underlying compositional procedures as well as an aesthetic discussion. In addition to the three completed movements of "Polyphonie X", its larger scoped but only rudimentarily mapped-out predecessor Première Polyphonie is also taken into consideration. After a brief overview of the historical context and a discussion of Boulez’s concept of polyphony, the analysis proceeds in two steps: Firstly, the intricate background structure is reconstructed from the sketch material, paying particular attention to the relationship between the different compositional dimensions such as pitch, rhythm or timbre. Secondly, it is examined how the composer works with this background structure in order to, for example, accentuate certain perceptive potentials. To this end, I propose a methodology of harmonic analysis that also incorporates the findings of empirical, perception-centered research. The results of the analysis are then taken as a starting point for an aesthetic critique. It is argued that Boulez’s rejection of "Polyphonie X" is the result of an unsolved crisis of creative agency in relation to an increasingly alienated, self-perpetuating musical material. Moreover, it is opined that it is precisely this conflict that makes for the transformative relevancy of the piece. Finally, in light of these considerations, I make some suggestions as to how the piece can be approached today
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Cavalcanti, Johana de Albuquerque. "Teatro experimental (1967-1978) - pioneirismo e loucura à margem da agonia da esquerda." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-08032013-143628/.
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A partir da compressão mais ferrenha da ditadura de 1964 no Brasil, e de um diálogo mais direto com as vanguardas que ocorrem no mundo, após 1968 abrem-se novas perspectivas de criação nas artes e, especificamente, no teatro, resultando numa revolução de comportamento e cultural que, apesar de nascer em pleno \"sufoco\", paradoxalmente apresenta uma riqueza de novas propostas. Tais propostas formarão o triângulo da contracultura (tropicalismo - movimento marginal - cultura alternativa) que marcará espaço na década de 1970 pela diferença. Na conquista do direito de confrontar-se com o estabelecido, em contraponto ao establishment, ao milagre brasileiro e a uma recepção crítica perplexa que, apesar de reconhecer certo mérito nestas manifestações, prioriza diagnosticar irracionalismo e alienação, o novo teatro inaugura muitos dos princípios, técnicas e procedimentos cênicos que abrirão espaço, a duras penas, para a liberdade definitiva da possibilidade de experimentar. A pesquisa que proponho tem como finalidade identificar: o que se entende por teatro experimental em seu nascedouro, no Brasil; como surgiu e operou dentro da arte e da cultura e se podem ser identificados momentos diversos com características próprias. Para uma melhor visualização dessas questões e como amostras de vertentes distintas dentro do teatro experimental no recorte estabelecido aqui, analiso, - de forma mais aprofundada -, os espetáculos Rito do Amor Selvagem, de José Agrippino de Paula e Maria Esther Stockler com o Grupo Sonda, 1969; Gracias, Señor, primeira criação coletiva do Teatro Oficina, 1972; e Trate-me Leão , do Asdrúbal Trouxe o Trombone, 1978. Por meio destes resgates podemos avaliar qual os legados imediatos e os menos visíveis que esses trabalhos e tendências deixaram para as próximas gerações, inclusive a nós que aqui estamos em pleno segundo milênio.<br>From the more inclement pressing of 1964-Brazilian dictatorship, and the more direct dialogue with the vanguards that emerged in the world, after 1968, new perspectives of creation opened in the arts and specifically in the theater fields, resulting in a behavioral and cultural revolution that, although born under \"asphyxia\", paradoxically presented a wealth of new proposals, which constituted the triangle of the Counterculture (Tropicalism - Marginal Movement -Alternative Culture) that would impress the 1970s with the difference mark. To conquer the right to fight what was already established, as a counterpoint to the establishment, to the Brazilian Miracle and to a mesmerized critical reception - that although recognizing some merit in these demonstrations, prioritizes diagnosing alienation and slavery - the New Theater inaugurates many of the scenic principles, techniques, and procedures that would arduously open space to the utmost freedom in the experimenting possibilities. The aim of this study is to identify what is meant by experimental theatre in its emerging state in Brazil; how did it come forth and operate within art and culture; and if diverse moments with specific characteristics can be identified. To better view these issues and view them as different strands samples within the experimental theatre scope defined hereby, I will analyze in greater detail and depth the plays Rito do Amor Selvagem, by José Agrippino de Paula and Maria Esther Stockler, with the Group Sonda, 1969; Gracias, Señor, the first collective creation by Teatro Oficina, 1972; and Trate-me Leão, by Asdrúbal Trouxe o Trombone Group, 1978. By means of these recovering procedure, we are able to assess what is both the immediate and the less visible legacy these plays and trends left to following generations, including us, here, in the second millennium.