Dissertations / Theses on the topic 'Chris Marker'

Nesta dissertação estuda-se a aproximação do cinema e da literatura através do estudo de suas construções temporais, tendo como conceito operacional a imagem-tempo, conceito criado a partir de estudos sobre o cinema realizados por Gilles Deleuze. Através da análise das obras A Última Gravação de Samuel Beckett, La Jetée de Chris Marker, e Joana a Contragosto de Marcelo Mirisola, busca-se estabelecer relações entre diferentes sistemas semióticos. A pesquisa abrange uma delimitação do conceito imagem-tempo estabelecendo suas características. A partir da análise das obras estabelecidas para este trabalho é localizada a ocorrência do conceito imagem-tempo não somente no cinema, mas também na literatura. Essa pesquisa também aborda a ligação entre os autores aqui estudados com o escritor francês Marcel Proust, demonstrando conexões entre a construção temporal do cinema, do texto dramático e da prosa.

Despite the fact that the French philosopher Gilles Deleuze has included many contemporaries, co-workers and friends of Chris Marker in his controversial writings on film, Marker himself is missing among the analyzed filmmakers. This thesis challenges the supposed passiveness between both authors assuming certain intersections between their thoughts, aiming to look at several of Chris Marker's emblematic films - indeed not comprehensively, rather naturally subjectively - through the key themes from some of Gilles Deleuze's books. Statues Also Die and Cinama II: The Time-Image; La Jetée and Bergsonism; Sunless and Proust and Signs.

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Made available in DSpace on 2016-07-20T18:14:46Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Chris Marker comentários sobre uma crítica da imagem - Dissertação de Mestrado - Luís Henrique Barbosa Leal Maranhão.pdf: 2105944 bytes, checksum: 5c1eda34f9d0ccc610251e9d7239c5d9 (MD5) Previous issue date: 2014-05-30
"Nunca a imagem se impôs com tanta força no universo estético, técnico, cotidiano, político, histórico". Considerando que as imagens são, na atualidade, formadoras da nossa percepção temporal e histórica, a presente dissertação busca discutir uma condição contemporânea das imagens. A partir da ideia de que os meios massivos de comunicação articulam uma lógica de reificação do sentido das imagens e da memória, o trabalho visa pensar em que medida algumas formas de articulação da imagem propostas pelo cinema de Chris Marker constituem, a partir da experiência cinematográfica, um contraponto reflexivo, uma proposta de construção de um outro modelo de temporalidade e o estabelecimento de uma crítica sobre as imagens. A partir de autores como Walter Benjamin, Georges Didi-Huberman e Giorgio Agamben e de fragmentos dos filmes Sem Sol (1982), Level Five (1996) e O fundo do ar é vermelho (1977-1993), de Chris Marker, o trabalho pretende pensar as possibilidades expressivas relacionadas à articulação das palavras e das imagens, assim como dar conta de uma noção política dos gestos que tornam as imagens possíveis. Desse modo, o trabalho propõe-se a discutir em que medida as escolhas estéticas dos filmes analisados se relacionam às possibilidades de conhecimento do real e crítica da imagem e do tempo histórico.
"Never before image imposed itself so strongly on the universe of aesthetics, techniques, politics, history and of everyday life". Whereas images are nowadays the educators of our temporal and historical insights, this thesis goals at discussing the contemporary condition of images. Starting from the idea that mass media articulates a logic of reification of the meaning of images and memory, this work aims to think about in what extent some forms of image articulation proposed by Chris Marker's cinema are a counterpoint to the reification of the meaning of images from the point of view of the cinematographic experience - proposing a construction of another model of temporality and establishing a critical scaling on images. From authors such as Walter Benjamin, Georges Didi-Huberman and Giorgio Agamben and fragments of Chris Marker's movies - Sunless (1982), Level Five (1996) and A grin without a cat (1977-1993) - the thesis tries to think about the expressive possibilities related to the articulation of words and images, as well as to realize a political notion of gestures that make images possible. Thus, the text proposes a discussion about in what extent the aesthetic choices of the analyzed movies are related to real possibilities of knowledge and critical review of the image and the historical time.

Ce travail tente d’analyser de quelle manière la communauté politique cherche en vain l’unité et l’entente, quelle représentation le cinéma en général et celui de Chris Marker en particulier donnent à cette recherche, ainsi qu’aux rapports entre les différents acteurs de cette communauté (Etat, société civile), au fonctionnement de celle-ci, aux événements qui la traversent (révoltes, révolutions, guerres). Il étudie aussi comment l’utopie, désir de fonder des communautés plus justes, se trouve au coeur du destin de l’humanité, à tel point que les pouvoirs, les idéologies et les totalitarismes ont toujours su manipuler cette aspiration, en utilisant, par exemple, le cinéma pour rendre compte d‘une union, en apparence réalisée, de la communauté politique. Cette thèse examine encore la place de l’individu et les différentes formes de regroupement social se trouvant, selon les cas, à l’intérieur ou en dehors de la communauté politique. Elle rend compte enfin de l’originalité d’une oeuvre exceptionnelle d’un point de vue politique, celle du cinéaste Chris Marker
This work tries to analyse how the political community searches in vain for unity and harmony ; how cinema in general, and that of Chris Marker in particular, portrays this search, as well as the relationships between different actors of this community (state, civil society), its workings, and the events which run through it (uprisings, revolutions and wars). It also considers how utopia - the wish to create fairer communities - is at the heart of mankind’s destiny, so much so that authorities, ideologies and totalitarianisms have always been able to manipulate this aspiration, for instance by using cinema to show a seemingly accomplished union of the political community. Then, this thesis examines the place of the individual and the different types of social gathering being, depending on circumstances, within or outside of the political community. It finally shows the originality of a politically exceptional work, that of the filmmaker Chris Marker

O presente trabalho é uma reflexão crítica sobre o estatuto da imagem e sua relação com amemória e a história na sociedade contemporânea, em que a influência dos meios de comunicação demassa, da indústria cultural e dos recursos audiovisuais é dominante. Em contraponto a essa produçãoaudiovisual, que produz consenso acerca da memória e da história, impondo uma espécie depadronização das experiências, examinou-se como uma outra produção cinematográfica pode servircomo meio de um aprendizado crítico frente às mudanças da percepção humana com o advento denovas tecnologias, tal como apresentado por Benjamin no ensaio A obra de arte na era dareprodutibilidade técnica. A partir da interpretação do ensaio de Benjamin por Miriam Hansen, tratousede refletir sobre o conceito de mimese desdobrado em jogo e semelhança que propicia aoaparato cinematográfico a possibilidade de emancipação de uma repetição infernal e perversa,regulando uma nova relação entre ser humano e máquina voltada para a criação não destrutiva ecrítica. Através da produção fílmica de Chris Marker, deparou-se com um cinema em que a montageme a organização da sintaxe fílmica podem criar novas constelações de sentido e abrir brechas para umapossível perlaboração da memória, pois a imagem em conjunção com o texto incita a reflexão sobre ahistória e sobre a própria imagem. Na análise de filmes, fotografias e textos de Marker, procurou-secompreender o modo de articulação de imagem e som em seus trabalhos, levando em conta asconsiderações de Benjamin sobre o cinema e sobre a história.!No cinema de Marker, o trabalho é o dejustamente converter o cinema em antídoto contra a dominação, fazendo com que o aparato se voltecontra a ilusão falseadora, denunciando os próprios modos de produção de imagens e da história. Suamontagem se realiza através de uma mimese da memória criativa um agenciamento de imagens esons que cria conjunções dialéticas, que desperta para o que foi esquecido e provoca a reflexão.
This thesis is a critical treatment of images and their relationship to memory and incontemporary social history, specifically the influence of the mass media where audiovisual media aredominant in industrial culture. Mainstream audiovisual production creates consensus of memoriesand accepted history by imposing standardization of experience, in contrast this thesis focuses on ananalysis of a different practice within cinematography which, through developing critical reflection,highlights how human perception has changed due to the adoption and influence of new technologies:ideas put forward by Benjamin in his essay The Work of Art in the Age of Its Technical Reproducibility. Miriam Hansens interpretation of mimicry, developed by play and similarity, is astarting point for this thesis. Herein it is proposed that cinema has the ability to free itself from endlessand perverse repetition, establishing between humans and technology a new relationship that is criticaland non-destructive. By investigating the syntax in Chris Marker films, which consider history andimages, this thesis aims at a possible working-through process as to how cinema could enablememory. Benjamins writings about cinema and history are explored by analysing Markers films,photographs and texts; understanding is sought through the manner of his articulation of image andsound. In Markers films, the purpose is to fairly convert the cinema into an antidote againstrepression, by turning his cameras on the illusions and denouncing those same production methodsused to make false images and history. The montage of his images mimics a creative memory, anarrangement of sounds and images that create dialectic connections; his work awakens what had beenforgotten and provokes reflection.

Chris Marker, (1921-2012) qui photographie et filme des lieux divers dans le monde entier, avait pour thème de prédilection la ville. En effet, ce lieu de circulation et de mobilité, dépassant toutes les clôtures, se prête particulièrement aux œuvres markériennes, caractérisées par l’entrecroisement de différents espace-temps, et par l’expérience de l’altérité. En étant à la fois cinéaste et voyageur, les images de la ville capturées par Marker se caractérisent par le déplacement, en particulier par l’expérience de la flânerie, qui constitue un élément essentiel de la réflexion philosophique sur la ville moderne de Walter Benjamin (1892-1940). Pour cette raison, cette thèse est consacrée à l’analyse des œuvres de Marker autour du thème de la flânerie. Ainsi, au cours de trois parties, nous travaillerons des concepts reliées à la flânerie : le seuil, l’allégorie, et le chiffonnier. Ces travaux thématiques nous aideront à comprendre la stratification complexe de l’espace-temps, le caractère transitoire, et l’art de l’assemblage dans les images markériennes. Ces recherches sont finalement élargies à la notion de la navigation comme version renouvelée de flânerie, pour analyser l’espace de L’Ouvroir, le monde virtuel crée sur Second Life par Marker dans sa dernière période. Par conséquence, à la lumière des problématiques abordées par la flânerie, on comprend que la création artistique de Marker est fondée sur la quête continuelle de nouvelles expérience visuelles qui remettent en question la modernité et la représentation cinématographique
Chris Marker (1921-2012) is a filmmaker, who took photos and filmed various places by travelling all over the world. The city had been one of the important subjects for Marker’s works. Suppose every metropolis is essentially a limitless place, filled with flow and mobility, Marker’s works, described as intersection of different time and space and “otherness,” can be said that they inherit the nature of metropolis. Being filmmaker and traveler, Marker’s images of city are often characterized by “moving”, particularly by the experience of flânerie (stroll), which constitutes element of philosophical reflection of modern city by Walter Benjamin (1892-1940). In order to make this point clear, this dissertation deals with the films of Marker using Benjamin’s concept flânerie, as a major analyzing concept. Using four key concepts, threshold, allegory, and rag-and-bone man related to the experience of flânerie, this dissertation dissects the complex stratification of “space-time”, the “ephemeral character”, and the “art of collecting” in the images of Marker. Also, bringing the new concept “navigation”, as a renewed version of flânerie, the space of L’Ouvroir, the territorialities of Second Life, created in Marker’s last years of his life is analyzed. As a result, in the light of the issues raised by flânerie, we understand that Chris Marker problematizes the modernity and the system of cinematic representation based on the continual search for new visual experience

This thesis explores the poetics of editing in the films and multimedia works of Chris Marker. From his first essay films of the 1950s to his 1998 CD-ROM Immemory, the director’s work has attracted critical attention for its beauty and originality of expression. Much existing analysis engages with this work in terms of its subject matter and themes and their relationship with its associational, rather than linear, narrative form, with relatively little focus on the stylistics of Marker’s editing. While questions of the director’s thematic concerns also arise in my study, I argue that Marker’s contribution to cinema and the visual arts cannot be fully appreciated without a systematic understanding of his stylistics—his expressive use of cinematic forms and patterns. In developing such an understanding, this thesis utilises the work of a number of film writers explicitly concerned with the expressive use of cinematic space and time. From Andr?? Bazin, I take the idea of rapprochement to mean the way the comparison between two juxtaposed events or images suggests or expresses the meaning of their juxtaposition. From Jean-Andr?? Fieschi, I draw on the idea that the dialectical interaction of the plastic, formal and narrative elements of a film gives meaning to its cinematic space and time. My approach synthesises and builds upon both ideas for its account of the stylistics of Marker’s work. Starting with a preliminary analysis of one cinematic comparison in The Case of the Grinning Cat (2004), I then consider Marker’s exploration of the imaginative potential of a single image sequence in The Last Bolshevik (1993). After this, I explore examples of the stylistic figure of rapprochement in Letter from Siberia (1958), and the stylistic figure of transformation in Sunless (1982). The thesis then studies articulations of rapprochement and transformation in the museum installations Zapping Zone: Proposals for an Imaginary Television (1991), Silent Movie (1995) and the CD-ROM Immemory.

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.
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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Made available in DSpace on 2015-03-26T12:49:18Z (GMT). No. of bitstreams: 2 Dissertação - Luciana Miranda de Carvalho - 2012.pdf: 10980554 bytes, checksum: abb5f052376b2b5d15ee26cc1266bc9a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-06-13
The main objective of this research is to trace a line of reasoning since the time of the first machines to reproduce the illusion of movement, through the film until the 1960s where did my object of study: the French short film, fiction, La Jetée. From then on it was a brief technical analysis on the a esthetic film that Chris Marker (the author of the film) used in his narrative. Not leaving out a list of photofilmes produced in Brazil for a better contextualization of this type of animation pictures today. Finally, we elaborate on the practice, a movie production, using the same format as that quoted above short film: photographs. This visual narrative, the genre of fiction, has a structure in its cinematic language.
O principal objetivo desta pesquisa é traçar uma linha de raciocínio desde o tempo das primeiras máquinas de reprodução da ilusão de movimento, passando pelo cinema até a década de 1960 onde surgiu o meu objeto de estudo: o curta metragem francês, de ficção, La Jetée. A partir de então foi feita uma breve análise técnica sobre a estética fílmica que Chris Marker (o autor do filme) utilizou em sua narrativa. Não deixando de lado uma lista de fotofilmes produzidos no Brasil, para uma melhor contextualização desse tipo de animação de fotografias atualmente. Por fim, foi elaborada na parte prática, uma produção filmica, utilizando o mesmo suporte que o curta metragem citado acima: fotografias. Esta narrativa audiovisual, do gênero de ficção, tem em sua estrutura uma linguagem cinematográfica.

Este trabalho analisa filmes do cineasta Chris Marker que indagaram sobre a Unidade Popular do Chile nos anos 1970. Entre as produções abordadas, estão duas que foram remontadas a partir de documentários chilenos feitos durante o governo de Salvador Allende: La première année (1973) e On vous parle du Chili: ce que disait Allende (1973). Além disso, mais três filmes desse realizador se dedicaram ao tema: La Spirale (1976), Lambassade (1974) e O fundo do ar é vermelho (1977). Por meio do estudo dessa filmografia, identificaram-se quais foram as estratégias narrativas utilizadas e qual foi o discurso político sobre a chamada experiência chilena que essas estratégias elaboraram. A reflexão sobre o corpus permitiu verificar que o interesse por esse processo, visto desde a França, emergiu do espaço deixado pelas frequentes desilusões diante de uma referência política anterior, igualmente vinda da América Latina e que havia motivado os debates da esquerda francesa na década de 1960: a Revolução Cubana. Assim, optou-se por incluir também na pesquisa produções markerianas que nasceram do contato entre esse realizador e o Instituto Cubano del Arte e Industria Cinematográficos (ICAIC): Cuba si (1961), La bataille des dix millions (1970), On vous parle du Brésil: tortures (1969) e On vous parle du Brésil: Carlos Marighela (1970). A análise dos filmes elencados revela que, durante os anos da UP no poder, houve uma vontade de aproximação entre Chile e França que valorizava os caminhos empregados pela via chilena ao socialismo, apontando-os como possibilidades para uma Nova Esquerda europeia. Porém, com o golpe de Estado de 1973, essa postura passou por uma revisão, e a experiência chilena serviu à elaboração de leituras que apontassem um legado e lições que poderiam ser retirados da queda da Unidade Popular. Nesse sentido, as produções de Marker fazem uma denúncia das ações da direita que derrubaram Allende, bem como constroem uma visão autocrítica que indica os erros cometidos pela própria esquerda que possibilitaram essa derrota. Essa tentativa de atribuir um legado e lições buscava responder sobretudo aos anseios de uma esquerda francesa que dispunha de um programa comum de governo fortemente inspirado naquele da UP chilena, mas que deveria ser submetido a uma revisão após o fracasso de sua referência latinoamericana. Sob essa visão, esta tese propõe um estudo voltado à circulação de ideias culturais e políticas entre América Latina e França, que delega ao continente um papel central nessa relação durante os anos 1960 e 1970 e a Chris Marker a função de um mediador cinematográfico.
This work analyses the Chris Markers films that inquired about the Popular Unity in the 1970s. Among the productions approached, two of them have been reassembled from other Chilean documentaries that had been made during the Salvador Allendes government: La première année (1973) and On vous parle du Chili: ce que disait Allende (1973). Furthermore, three other films by Chris Marker have analysed this subject: La Spirale (1976), The embassy (1974) and The grin without a cat (1977). By studying his filmography, this research could identify the narratives strategies that had been used by the director, as well as the political discourse elaborated by them. The reflections about the corpus allowed verify how the interest for this Chilean process, viewed from France, has emerged from an empty space left by the usual delusion given by an earlier reference that had motivated the French left during the 1960s, also gone from Latin-American: the Cuban Revolution. So, we chose to also include in the research the Markers productions came from the relationship between this director and the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC): Cuba si (1961), La bataille des dix millions (1970), On vous parle du Brésil: tortures (1969) and On vous parle du Brésil: Carlos Marighela (1970). The analysis of the films-selected shows that, during the UPs years in the power, there was a wish to approach Chile and France by valorising the Chileans way to the socialism and pointing it as a possibility to the European New Left. However, after the coup détat in 1973, this attempt has been revised and the Chilean experience has been used to elaborate lectures that pointed a legacy and lessons from the follow of Popular Unity. In this sense, the Markers productions denounce the rights actions to overthrow Allende, as well as built a self-criticism vision to indicate the lefts mistakes that had collaborated to the defeat. This wish to show a legacy and lessons has dialogued with the expectations of a Frenchs left that had have a common government programme tightly inspired in the Chileans UP ones, but that has required a revision after the failure of its Latin-American reference. From this point of view, this thesis proposes a study based on the circulation of cultural and political ideas between Latin American and France that delegated to this continent a central role in this relationship during the 1960s and the 1970s, and assigned to Chris Marker the function of a cinematographic mediator.

This thesis examines montage in the early films of Nicole Vedrès, Alain Resnais, and Chris Marker, identifying its central importance as an aesthetic and historiographical method in a corpus of films directed over the course of a decade in post-war France. It explores their common artistic influences, personal ties, and shared aesthetic preoccupations in developing a poetics of montage in this period, one that privileges the assemblage of shots as a means of expressing a temporal flux between historical phenomena and the cinematic image. With the trio’s montage-centric filmmaking out of step with post-war French criticism’s embrace of a realist aesthetic of mise-en-scène, this thesis instead traces points of commonality between their work and inter-war practices of montage in the plastic arts, literature and cinema, particularly those associated with surrealism. Vedrès, Resnais and Marker adapt this modernist, avant-garde heritage of heterodox assembly to their own, reflexive historiographical method, with the novel correspondences created through cinematic montage used to reflect upon the itinerary of images over time when examined from a future vantage point. Walter Benjamin’s work on the historical legibility of images, theorising the emergence of a consubstantial relationship of past to present produced by montage, offers a useful conceptual framework for understanding the temporal complexities of these filmmakers’ historical assemblages. Bringing together images that range from archival photographs and footage, reproductions of artworks, and contemporary travel footage, Vedrès, Resnais and Marker suggest the deeper, often non-chronological historical resonances that link images of other times and places with a later moment of assemblage. Montage thus emerges in their work as a historiographical method that expresses new, critical relations between their post-war present and broader currents of cultural, aesthetic and political history, bringing to the surface the subterranean correspondences between images of the past and contemporary phenomena of the French Fourth Republic. Their films engage with the escalating tensions of the Cold War, French colonialism, the traumas of WWII and France’s attendant restructuring of its social and cultural fabric in terms of their more profound and lasting links to earlier 20th century history, staking a claim on the deeply unstable contours of post-war France as it grapples with its after-effects of the recent past. Vedrès, Resnais and Marker’s films of this period thus instantiate a model of image-based, cine-historical discourse on the present, in which the intellectual collisions of montage make available an archaeological vision of the contemporary moment as being built on the ceaselessly mutable foundations of the past.

The current tum towards more subjective models within the field of non-fiction filmmaking has sparked consistent academic interest on the essay film as form and on the work of Chris Marker, Harun Farocki and Jose Luis Guerin as an example of an essayistic approach to cinema. A recent wave of articles, book chapters and monographs has laid the foundations of scholarly discussions of the subject. Nonetheless, these attempts to come to terms with essayistic filmmaking seem to get consistently bogged down in the problem of finding a valid definition for the form. This thesis sets out to consciously circumvent the problem of generic definition, focusing on the connective lines that link theorisation of the literary essay as form with the cinematic work of Harun Farocki, Chris Marker and Jose Luis Guerin, without proposing such connections as a coherent generic formula. Further contradictions within the nascent debate on the essay film have also been addressed. This thesis rejects current attempts to integrate the cinematic essay within the realm of documentary filmmaking. It argues for essayistic discourses in film as autonomous forms, which are non-fictional mainly by virtue of their selfreflexive approach to images. A historical overview of the assimilation of essayistic discourses by cinema is also provided, in the conviction that it is only through an understanding of how essayistic discourses have developed at different historical and cultural junctions that a proper discussion around the essay film as form can actually take place. The final section of the thesis also contains a complete analysis of essayistic filmmaking as a dialogical practice. Using structural and specific elements within Bakhtin's theoretical approach to language and the novel, aspects such as the exploration of subjectivity in direct relation to alien discourse, the promotion of active patterns of spectatorship and the conception of reality as dialogised by film images have been addressed with reference to work by Chris Marker, Harun Farocki and Jose Luis Guerin.

A dissertação é dedicada a analisar a relação entre História e memória na obra do cineasta francês Chris Marker, focando nos filmes La jetée e Sans Soleil. No trabalho, investigamos a concepção estética dos filmes em contato com aspectos de época que os constituem. A dissertação está dividida em três partes. A primeira dedicada a analisar La jetée e o trabalho de representação da memória feito pelo diretor em uma era de catástrofe. A segunda parte é dedicada a analisar Sans Soleil, seu caráter reflexivo e o modo como o diretor trata da temática da memória, da relação com as imagens do passado e as experiências de luta da segunda metade do século XX. A terceira parte é um estudo comparativo das duas obras e das questões que permanecem e mudam na representação da memória nos dois filmes.
The research is dedicated to analyze the relation between History, memory in the cinema of the french director Chris Marker, specially the films La jetée and Sans Soleil. We investigated the aesthetics conception of films and historical aspects that influenced them. The work is divided into three parts. The first one investigates La jetée and the construction of memory representation made by the director in an era of catastrophe. The second part is dedicated to analyze Sans Soleil, its reflective nature and the way the director treats the theme of memory, the relation with images of the past and the social mobilizations experiences of the second half of the twentieth century. The third part is a comparative study of the two films and the issues that remain and change in the representation of memory.

The nineteenth and twentieth centuries saw the development of technologies for externalizing human memory beyond writing, painting, and sculpting. These modes of visual representation, namely photography and cinema carried with them a purported objective representation of reality, which has been used to create classifications, divide people groups, and construct grand historical narratives used to marginalize those that do not fit within the hegemonic center. Looking to the works of writer W.G. Sebald, and filmmaker Chris Marker, we see a complication of the divide between visual and verbal texts, as each artist deconstructs their own medium’s conventions. Using theories of ekphrasis to draw connections between verbal and visual representation, we see how Sebald and Marker explore notions of memory, identity, and history as they struggle with the impossibility of representing the great traumas of the twentieth century.

La thèse est dédiée à une question théorique précise: l'hybridation de la forme filmique, entre le cinéma et les autres arts. Dans ce cadre théorique j’ai pris en compte le travail de certains auteurs du cinéma français: Jean-Luc Godard, Alain Resnais, Alain Robbe-Grillet, Chris Marker et Agnès Varda. La thèse est composée de cinq chapitres. L’introduction est une panoramique sur le concept d'hybridation: la dérivation du mot, les différents types d’hybridation, soit au niveau de la forme du film soit plus en général dans le champs des arts. Le deuxième chapitre se focalise en particulier sur l'hybridation de la forme filmique avec le théâtre, en particulier la relation entre l'hybridation et l'adaptation et la transposition. Les films analysées sont Mélo et Smoking/No Smoking d'Alain Resnais, surtout pour les rapport avec l’hybridation du cinéma avec le théâtre dans le cadre de films qui peuvent apparaître simplement comme des adaptation des pièces théâtrales et la travail sur la scénographie; à suivre l'analyse de Tout va bien et Le Gai Savoir de Jean-Luc Godard, par rapport aux relations de l'oeuvre du cinéaste avec le théâtre politique de Piscator et Brecht, plus en détail au niveau de la mise en scène. Le troisième chapitre se concentre sur les relations entre cinéma et photographie, surtout sur la capacité de l'image fixe d'influencer l'image dans le flux du cinéma. On analyse plusieurs films dans lesquelles la présence de la photographie, en tant que objet théorique, caractérise les parcours narratifs (L'année dernière à Marienbad, Resnais et L'immortelle, Robbe-Grillet), films photographiques, comme Si j'avais quatre dromadaires (Marker) e Salut les cubains (Varda), ou films qui ont comme objet principal une photo (Ulysse et Une minute pour une image, Varda) ou qui assument une photo comme centre d'intérêt exclusif d’une spéculation politique (Letter to Jane, Godard) ou sociale et personnelle (Je vous salue, Sarajevo, Godard). Le quatrième chapitre est focalisé sur les relations entre cinéma et bande dessinée. On analyse soit les films qui ont à la base ou comme inspiration une bd, surtout dans les cas de film qui cherchent de traduire les formes visuelles de la bd sur l'écran, comme Alphaville (Godard) et ses rapports avec Dick Tracy. Mais aussi on parlera des films mélangeant animation et prises de vues réelles (I Want to Go Home et La vie est un roman, Resnais). Le cinquième chapitre est sur les relations entre cinéma et arts plastiques. Ici le discours se focalise sur trois points. Le collage comme forme hybride dans le champ des arts plastiques, surtout analysé dans les films de Godard (Pierrot le fou). Le tableau vivant (Passion, Godard - L’eden et après, Robbe-Grillet) et l’acte de création (Glissements progressifs du plaisir, Robbe-Grillet) comme éléments d’hybridation perce qu'ils créent une interruption du temps dans le flux du film. Dans le dernièr chapitre je m’occupe de l'hybridation du cinéma avec la communication de masse et les nouvelles technologies. Ici on trouve une analyse des influences du style communicatif du 1968 (affiches et publicité), en détail on verra ça dans les films de Godard (British Sounds). Après comment la télévision, le télécommande, la vidéo et le synthétiseurs vidéo ont modifié certains éléments du style cinématographique (Numéro Deux, Godard et Sans Soleil, Marker) . Aussi on verra comment internet a inspiré films comme Level Five (Marker), et les relations de ce film avec le cd-rom de Immemory. Et finalement comment les espaces d’exposition ont modifié la façon de voir les films (Voyage en Utopie, Godard).
L'elaborato è una tesi sulle interrelazioni fra il cinema e le altre arti, focalizzandosi sull'ibridazione fra forme artistiche. Nell'isolare i processi di ibridazione “intenzionali”, o meglio che abbiano una matrice creativa che miri a mutazioni stilistiche nel cinema, ho isolato tre periodi caldi, a mio parere determinati dalla volontà di ibridazione del film con altre forme artistiche: le avanguardie, il cinema moderno e postmoderno. Pur essendo difficilmente definibili, i caratteri che hanno richiamato la mia attenzione nel campo della contaminazione fra le arti determinano chiaramente tre passaggi chiave di queste macrotendenze nelle quali individuo le parole chiave dell'evoluzione della forma ibrida: rompere, citare e incorporare. Attraverso questi aspetti si rivela un percorso che dalla rottura portata dalle avanguardie passa attraverso i processi di citazione tipici della modernità, fino all'incorporare in maniera quasi totale l'oggetto (che in alcuni casi non ha più le caratteristiche di un inserto ma diviene il centro trasfigurato di una nuova opera). Per la scelta degli autori ho individuato un'area geografica, la Francia, e preso in considerazione una selezione di registi formatisi negli anni Cinquanta, periodo molto fertile per la cinematografia francese. A questo punto ho individuato quelli che nel loro percorso artistico si sono rapportati con forme espressive diverse dal cinema e che si sono rivelate determinanti per il loro stile: Jean-Luc Godard, Alain Resnais, Chris Marker, Alain Robbe-Grillet, Angès Varda. Il primo capitolo si apre con un'analisi su tre tipi di interazione fra cinema e teatro: adattamento, trasposizione e ibridazione. Nell'analisi degli aspetti di teatralità e dell'aspetto centrale della determinazione di un'ibridazione del film con il teatro c'è una ricerca sullo spazio che vada in direzione di un'artificialità, un'ordine, una preparazione, una forma contratta e centripeta. L'analisi si concentra sull'opera di Alain Resnais in particolare su Mélo e Smoking/No Smoking, due film che non nascondono le loro istanze teatrali e le sviluppano ibridando il linguaggio cinematografico. Il secondo autore preso in esame è Jean-Luc Godard di cui analizzo Tout va bien per la costruzione dello spazio che richiama ad un certo teatro politico (Piscator, Brecht, Living Theatre) e Le Gai Savoir per la capacità di aprire da uno spazio teatrale focalizzato sull'attore dimensioni immaginarie rese visibili dal cinema. Il secondo capitolo tratta l'ibridazione con la fotografia, analizzando la natura dell'immagine fotografica rispetto a quella filmica. Alla base di questa sezione c'è una domanda: cos'è che, dello statuto dell'immagine fotografica, incide sul cinema e sui suoi processi narrativi ibridandone la forma? Ho individuato la temporalità, in quanto la pensosità della fotografia si oppone al dispositivo a scorrimento del film. Inoltre la fotografia conserva per sua natura un carattere testimoniale che, all'interno del film, può costituire al contempo un peso ed un valore aggiunto, a seconda della qualità del film e delle scelte del regista sotto un profilo artistico; pertanto il suo valore materico, pur soltanto evocato, assume un grande peso nell'economia della narrazione e per il portato teorico di cui carica l'opera. La prima analisi si concentra su L'année dernière à Marienbad, film in cui la fotografia incide come ulteriore canale temporale su un un'opera ambigua, tanto che il suo valore testimoniale viene messo in discussione. Segue l'analisi di film in cui nella costruzione dell'immagine vengono utilizzate delle scelte estetiche riferibili alla fotografia turistica (L'immortelle, Alain Robbe-Grillet) e il ritratto (Daguerréotypes). Le ultime due sezioni sono dedicate una alla fotografia come centro da cui si snoda il film o unico oggetto su cui si costruisce il film (Une minute pour une image, Agnès Varda - Je vous saloue, Sarajevo e Letter to Jane, Godard) o come unità del film che si sostituisce al fotogramma, riprendendo la tesi di Dubois sul cinegramma (Si j'avais quatre dromadaires, Marker e Salut les cubains, Varda). Il terzo capitolo tratta l'ibridazione fra cinema e fumetto analizzando gli aspetti della nona arte più vicini e più lontani dal film. La ricerca ritrova un particolare punto d'interesse nella resa della continuità temporale e del movimento, vedendo in alcuni registi delle scelte determinate dal fumetto nel voler mantenere la fissità dell'immagine e talvolta anche del profilmico (come avviene in Alphaville). Per quanto riguarda i punti di convergenza abbiamo invece un principio di stilizzazione che è relativo in primis alla costruzione dei personaggi, che talvolta li rende fruibili ma al limite della caricatura. Il quarto capitolo tratta l'ibridazione fra cinema e arti visive fondamentalmente attraverso tre aspetti: il collage sia come forma visiva che come soluzione formale nella costruzione di uno spazio o di un evento (analizzato principalmente nell'opera di Godad); il tableau vivant in quanto elemento visivo che incide sulla continuità finzionale del film (L'eden et après, Alain Robbe-Grillet) o che tende a creare un ambiente fittizio nel quale l'osservazione del film divenga come una sorta di osservazione poetico-analitica del quadro (Passion). E l'atto di creazione come momento dedicato strettamente all'arte, che si presenta come un'interruzione della narrazione. Il quinto capitolo tratta l'ibridazione portata dalle nuove tecnologie, pertanto verranno presi in esame i canali e i dispositivi di comunicazione che dagli anni Sessanta in poi hanno condizionato l'estetica cinematografica. In prima istanza verrà presa in esame la comunicazione di lotta e pubblicitaria degli anni Sessanta in relazione ai film realizzati nello stesso periodo, per introdurre un'unione fra le forme visive cinematografiche e quelle fruibili all'interno della metropoli; in seconda istanza l'aspetto più legato all'avvento della televisione e del telecomando come elementi determinanti dell'estetica cinematografica (la registrazione audiovisiva che non separa canale audio e canale video, il fermo immagine), infine la rete internet e gli spazi mediali, per affrontare il tema della migrazione del film in spazi diversi dalla sala cinematografica, il che ne determina anche le caratteristiche estetiche. In questo caso si tratta appunto di ibridazione data dall'ambiente circostante e dai dispositivi. La tesi è un percorso analitico che non punta all'esaustività, ma ha l'ambizione di sollevare delle questioni teoriche per interrogarsi sui confini e l'essenza di ciascuna arte a partire dal cinema. Il discorso è applicato ad alcuni autori, ma attraverso dei riferimenti il lavoro può essere potenzialmente ampliato ad altri autori ed ad altri domini artistici.

Esta pesquisa busca, tendo como eixo principal Chris Marker e o filme Le fond de lair est rouge, fazer uma retrospectiva histórica dos principais debates na experiência do cinema-militante francês. Com um caráter introdutório e a partir daí construir alguns apontamentos iniciais para uma interpretação crítica do filme. Através desta aventura político-cinematográfica comentar um fragmento do que se oculta atrás das barricadas da memória.
This research aims, having as an leit-motif Chris Marker and the film Le fond de l\'air est rouge, making a historical retrospective of the major debates on the experience of French militant cinema, introductory in nature and serving as first notes to a critical interpretation of the film. Through this cinematics and politics adventure it trys to make a comment on a fragment of what is hidden behind the barricades of memory.

Par le biais de deux groupes de production issus de la même base, Slon (1968-1973) et Iskra qui lui succède, cette thèse interroge les modalités d'intervention politique d'une partie des acteurs du champ cinématographique français, de la fin des années 1960 à la fin des années 1980. Ce travail s'attache à la notion de collectif de cinéma militant, telle que forgée au cours de la période au prisme de la production, de la réalisation et de la circulation des œuvres issues de ce contexte. La formation du collectif militant passe d'abord par l'élaboration de modèles de productions spécifiques s'opposant au fonctionnement de l'industrie cinématographique. Difficile à accorder aux contraintes du champ, la recherche structurelle menée par les groupes formés dans l'après 1968 est constante jusqu'au début des années 1980, période à laquelle les acteurs du cinéma militant entament un mouvement inverse d'institutionnalisation. La confrontation des œuvres produites dans ce cadre, répondant aux temps forts du mouvement social, avec les pratiques revendiquées montre la diversité des voies d'engagement en cinéma ainsi que la difficulté de mettre en pratique l'idéal collectif. Certains films révèlent aussi une disproportion entre les ambitions des structures de production et leurs capacités d’action. La manière dont Slon et Iskra organisent la diffusion d'un catalogue constitué de nombreux films réalisés dans d'autres cadres fait émerger des pratiques qui n'ont pas été prévues dans leurs tâches originelles. Mobilisant de nouveaux acteurs au sein du groupe comme à l'extérieur, la distribution impacte fortement le fonctionnement du collectif. C'est finalement au moyen de cette activité que les membres d'Iskra parviennent à adapter la structure aux mutations du paysage audiovisuel français jusque dans les années 1980
This thesis questions the modalities of political intervention among protagonists of the French cinematographic field from the late '60s until the late '80s, through the study of the two production groups derived from one and the same basis, Slon ( 1969-1973), followed by Iskra. This work concentrates on the concept of collective activist cinema, faithful to its definition forged during the given timespan, through the prism of production, of the execution and circulation of works produced in this context. The development of the activist collective firstly goes through the elaboration of specific production patterns in opposition with the functioning of the film industry. Difficult to reconcile with the inherent constraints of the film industry, the structural research led by groups fonned after 1968 is a constant until the early '80s, when cinema activists initiate a reverse movement, towards institutionalization. The confrontation between the movies accomplished in this background in response to the key moments of the social movement and according to the claimed policies, shows both the diversity of ways in the commitment through cinema and the difficulty in turning the collective ideal into hard facts. Some of the works studied also reveal the discrepancy between the ambitions of their production structures and their actual capacity for action. The way Slon and Iska organize the distribution of their catalogue made up of numerous products realized in contexts other than the initial, gives rise to new schemes which were not anticipated among their original tasks. Mobilizing new human resources from both inside and outside the group, the distribution had a huge impact on the manner the collective functioned as a whole. It is by the means of this very activity that the members of Iskra finally adapt their structure to the shifts occurred in the broadcasting field ail along through the '80s

Ce travail comparatiste a pour objet de mettre au jour les gestes et les rouages de la mémoire dans la littérature occidentale des XXe et XXIe siècles. Afin d'établir les enjeux de la création à l'époque de l'informatisation et de la disparition de masse, il étudie la manière dont les grands généalogistes (Zola, Nietzsche, Faulkner) soumettent l'archive aux détours de l'anachronisme et de l'oubli, avant d'aborder la dimension "machinique" de la mémoire. Au travers de l'œuvre protéiforme de Chris Marker et de la pensée de Benjamin, se donne à lire le travail d'une mémoire tisserande, accentuant la fêlure tout en raccommodant les accrocs du temps, prothèse assurant à la fois la conservation des données et rompant la chaîne de la transmission, qui exige que la lecture se fasse elle-même appareillage. C'est à l'aune d'une telle épistémo-critique, au croisement de la littérature, de la philosophie et des arts de l'image, que sont examinés les dispositifs romanesques de J. G. Ballard, W. G. Sebald, Jacques Roubaud, Hélène Cixous et Ricardo Piglia
This thesis seeks to shed light on memory's gestures and machinery in 20th and 21st century western literature. In order to analyze what is at stake in contemporary creation, in the paradoxical era of computerization and mass disappearance, this work studies the way great genealogists (Zola, Nietzsche, Faulkner) push archives along the winding roads of anachronism and oblivion, before addressing the "machinic" dimension of memory. Chris Marker's protean oeuvre and Benjamin's philosophical thought reveal the work of a weaving memory that deepens time's fissure as it stitches up its tears. Thus, memory also acts as a prosthesis that ensures the conservation of data even as it breaks up the chain of transmission, thereby requiring that our reading become an epistemo-critical apparatus. This thesis, operating at the intersection of comparative literature, philosophy and visual arts, examines the novelistic devices of J. G. Ballard, W. G. Sebald, Jacques Roubaud, Hélène Cixous and Ricardo Piglia

I följande essä kommer jag, med ensamheten som tematisk ledstjärna, att fördjupa mig i mitt pågående projekt Ett teckens signalement som filmades i Israel och Palestina under våren och sommaren 2013. En essäfilm som mycket väl representerar mitt sätt att arbeta med ett slags slumpmässigt framväxande narrativ, där en vag förnimmelse om vad jag vill åstadkomma i lätt planlös manér leder mig runt på en främmande plats. Jag kommer också att sporadiskt beröra mitt tidigare projekt Genom ett sinnes landskap, som är en essäfilm jag slutförde strax innan jag reste iväg. Genomgående i denna essä kommer jag att använda mig av Carlos Castanedas berömda samtal med yagui-indianen don Juan. Ett möjligen något okonventionellt referensmaterial i ett uppsatssammanhang, då denna litteraturs trovärdighet blivit hårt kritiserad. I denna essäs fall ser jag dock inget direkt problem med detta, eftersom jag här inte ämnar granska eller värdera någon sanningshalt över huvud taget. Jag tänker använda mig av Castanedas fältstudier eftersom jag utan tvivel anser dem vara ett mycket matnyttigt material vad gäller att snudda vid det abstrakta begrepp som ensamhet faktiskt visat sig vara, och därtill enligt don Juan hörande fenomen som seende och kontrollerad dårskap, vidare utvecklat till ett slags förnimmelse som jag här benämner livskänslan.

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Universidade Federal de Minas Gerais
The research focus on the film-essay Sans Soleil (1982, Sunless), directed by the french filmmaker Chris Marker. It aims to study the possibilities of audiovisual format which mediates the relationship between the subject and the different manifestations of the past. In order to accomplish this objective, this paper analyses two aspects of the film: the formal and the thematic. On the first, the emphasis is about the essayistic structure and Intertextuality levels. On the second, we ponder on historical and spiritual conceptions that compose the narrative. Throughout the study, we keep a constant dialogue with other Marker‟s productions and artists that influenced him, like Alfred Hitchcock and Andrei Tarkovski.
A dissertação se concentra sobre o ensaio fílmico Sans Soleil (1982, Sem Sol), realizado pelo cineasta francês Chris Marker, com o objetivo de estudar as possibilidades do formato audiovisual em intermediar a relação entre o sujeito e diferentes manifestações do passado. Para isso, empreende-se uma análise conjunta de dois aspectos do filme: os formais e os temáticos. No primeiro, a ênfase recai sobre a estrutura ensaística e os níveis de intertextualidade. No segundo, reflete-se acerca das concepções de história e de espiritualidade que compõem a narrativa. Ao longo do trabalho, mantém-se constante diálogo com outras produções do diretor e de artistas que o influenciaram, tais quais Alfred Hitchcock e Andrei Tarkovski.

Cette dissertation tisse une discussion à propos des images-textes , qui à partir du temps et de la mémoire font éclater des rencontres et tensions dans La Jetée photo et ciné-roman, film et livre, de l’écrivain contemporain et aussi, réalisateur français, Chris Marker. Je cherche à comprendre comment se produisent les rencontres et les tensions entre le film et le livre. J’utilise comme méthodologie la notion de rhizome de Deleuze et Guattari. J´essaie de créer une cartographie composée de plateaux , soutenue par la lecture de philosophes modernes français, par des théoriciens du cinéma, de la photographie et de la littérature. Les plateaux sont ici considérés comme des possibilités, comme des intensités qui vibrent et forment un rhizome sans unité présumée, mais dans une multiplicité non linéaire qui condense une approche théorique. Je pense le film et le livre La Jetée du point de vue de l'indiscernable, comme images-textes , car à mon avis, ils sont en même temps l’un Et l'autre -images et textes. Et j’aborde l´approche du temps et de la mémoire parce qu'ils sont les thèmes principaux de ces objets d'étude. Je n'ai pas l'intention d'épuiser les possibilités de ces langages, parce qu’ils sont nombreux, mais je profite de ces entrées et sorties, propres à une cartographie rhizomatique pour créer un agencement entre le cinéma et la littérature, em essayant d’étendre l’horizon esthétique de ces arts, mettant en évidence ce qui, dans le film et le livre La Jetée ne sont pas apparents.
Esta dissertação versa sobre imagens-textos , que, a partir do tempo e da memória fazem irromper encontros e tensões em La Jetée photo e ciné-roman, filme e livro, do contemporâneo realizador-escritor francês Chris Marker. Busco perceber como se dão os encontros e tensões entre o filme e o livro. Utilizo como pressuposto metodológico a noção de rizoma de Deleuze e Guattari. Intento criar uma cartografia composta por platôs , sustentada por leituras de filósofos modernos franceses e por teóricos do cinema, da fotografia e da literatura. Os platôs são entendidos como possibilidades, como intensidades que vibram e formam um rizoma sem unidade presumida, numa multiplicidade não-linear que condensa uma abordagem teórica. Penso o filme e o livro La Jetée no âmbito do indiscernível , como imagens-textos , pois, a meu ver, são ao mesmo tempo um e outro - imagéticos e textuais. E abordo o tempo e a memória por serem temas principais dos objetos de estudo. Não pretendo exaurir as possibilidades de explorar essas linguagens, pois são muitas, mas aproveito as entradas e saídas, próprias de uma cartografia rizomática, para criar um agenciamento entre cinema e literatura, mirando expandir o horizonte estético de tais artes, trazendo às vistas o que no fílmico e no literário de La Jetée não estão aparentes.

La thèse analyse la relation entre le cinéma et l'anachronisme. En partant des enjeux de la notion d'anachronisme en termes d'écriture de l'histoire et de discours autour de la mémoire, ce travail se propose de traiter certaines pratiques cinématographiques présentant une relation étroite avec une volonté de réflexion sur les temps et les chronologies. A partir d'une pratique spécifique comme le film-essai, dont on analyse les caractères en sens esthétique, un discours se dégage sur les liens entre le cinéma et le temps, entre la pluralité des formes de l'image et un temps anachronique capable de questionner les formes, les histoires, les lectures, les rapports. Si les Histoire(s) du cinéma (1988-97) de Jean-Luc Godard posent la grande question du sens du cinéma, de sa pluralité dans un réseau dense et complexe, Tokyo-Ga (1983) de Wim Wenders questionne les relations entre un cinéma passé et des formes plus actuelles, entre une mémoire du cinéma et la recherche difficile d'un présent de l'image. Chris Marker, avec Sans soleil (1982) et Level Five (1996) croise le cinéma, les images et leurs transformations aux rapports complexes entre passé, présent et futur, dans un contexte où le temps peut se déployer selon les formes de l'image. Dans certains de ses essais, Alexander Kluge assigne une importance stratégique aux images de tout type, mais aussi aux relations entre les images que nous produisons et notre histoire. Tous les parcours analysés font surgir certaines questions théoriques relatives aux pratiques du regard : toute image est le signe d'un agencement complexe entre l'histoire et notre travail à partir de là, selon une pratique plurielle des images
This thesis analyzes the relationship between cinema and anachronism. Starting from anachronism as an important topic in history writing and memory discourses, this work intends to deal with some film practices with a strong will if reflection about time and chronologies. Starting from a specific practice as the essay film, analyzed from an aesthetical point of view, a topic comes out about the links between cinema and times, between a multiplicity of image forms and an anachronic time questioning forms, histories, interpretations, links and relationships. If Jean-Luc Godard's Histoire(s) du cinéma (1988-97) questions the sense of cinema itself, his plurality in a dense, complex network, Wim Wender's Tokyo-Ga (1983) interrogates some links between past cinema and more actual film forms, between a memory of cinema and the difficult search for the image's present, actual time. With Sans soleil (1982) and Level Five (1996), Chris Marker crosses cinema, images and their transformations with the complex links between past, present and future, in a context in which time can be presented according to the images forms. In some of this essays, Alexander Kluge gives strategie importance to images of every sort but also to the relationship between the images we produce and our history. All the analyzed films develop some theoretical questions about gaze's practices : every image is the sign of a complexe relationship between history and our starting from history, in accordance with a plural practice of the image

Nous proposons dans ce travail de comparer les stratégies respectives de l'écriture et du cinéma qui apparaissent au sein d'œuvres qui portent sur les luttes révolutionnaires des années 60 aux années 80, essentiellement la révolution cubaine, la guerre du Vietnam et la résistance palestinienne. Notre corpus est constitué par ce que nous proposons d'appeler les « œuvres engagées critiques » : les textes de Genêt et les films de Godard, Varda et Marker. Nous abordons aussi des œuvres de fiction qui manifestent une pente documentaire, en particulier les films de Godard de la seconde moitié des années soixante et certaines pièces de Gatti. Nous évoquons également certains documents réalisés à des fins informatives ou militantes (articles, reportages, essais, films) qui revendiquent un regard subjectif (Henri Alleg, Pierre Guyotat, Michèle Ray), qui refusent le dogmatisme (Sartre) ou qui s'attachent à des aspects non directement politiques des pays visités (Madeleine Riffaud). Quelle est la spécificité des « œuvres engagées critiques » ? Celles-ci s'emparent d'un conflit (fonction de l'engagement) tout en incluant une dimension critique et artistique ; critique dans la mesure où elles s'interrogent sur les possibilités et les propriétés du discours idéologique, interrogation qui passe par l'examen des productions idéologiques des pays du tiers-monde, et artistique dans la mesure où elles manifestent une intention de renouvellement des représentations. Notre travail propose trois moments : les caractéristiques du témoignage critique, la rhétorique de la critique, et l'invention d'une poétique politique
We suggest in this work to compare the respective strategies of the writing and the cinema which appear within works concerning the revolutionary fights, from the 60s to the 80s, mostly the Cuban revolution, the war of Vietnam and the Palestinians resistance. Our corpus is composed by what we call the "critical commitment works": the texts of Jean Genet and the films of Jean-Luc Godard, Agnès Varda and Chris Marker. We also approach works of fiction which show a documentary slope, in particular the films of Godard of the second half of the sixties and some theatre plays by Armand Gatti. We evoke also certain documents realized for informative or militant purpose (articles, reports, essays, films), which claim a subjective glance (Henri Alleg, Pierre Guyotat, Michèle Ray), which refuse the dogmatism (Sartre) or which emphasize aspects who are not directly political (Madeleine Riffaud). What is the specificity of the "critical commitment works" ? These seize a conflict or a war in a purpose of commitment, while including a critical and artistic dimension: critical as far as they question the possibilities and the properties of the ideological speech, by examining texts and movies of the fighting countries, and artistic as far as they show an intention of renewing the representations. Our work proposes three moments: the characteristics of the critical testimony, the rhetoric of criticism, and the invention of a political poetics

This Creature, Bride of Christ is a composition for soprano, alto flute, viola, marimba, and computer running custom software for live interactive performance in the Max/MSP environment. The work is a setting of excerpts from The Book of Margery Kempe, an early autobiographical manuscript depicting the life of a Christian mystic. The thesis discusses the historical, sociological, and musical context of the text and its musical setting; the use of borrowed materials from music of John Dunstable, Richard Wagner, and the tradition of change ringing; and the technologies used to realize the computer accompaniment. A score of the work is also included in the appendix.

Chrisp Street Market in London, the first pedestrian shopping district in the UK, will be redeveloped into a contemporary version of a pedestrian shopping district. The design employs the 'mixed-use' building typology often used to make public life 'active' and 'lively', by attracting the population to participate in consumer society in public space, at a time when the role of overconsumption in the acceleration of climate change within sectors like the fashion industry is becoming increasingly problematic. This project explores the potential of hacking into the imagined new development of a shopping distrct, learning the ways in which the urban design creates a consumer society and the capitalist framework under which it operates, in order to imagine a hacked proposal of a garment manufacturing district in which an alternative creative-productive society is created. In this imagined hacked proposal, labour is rendered hyper-visible, the attempt to decolonise fashion is made, and the value of materials from clothes down to the yarn is recaptured.

In Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign, 1954-1968 I examine the significance of the Nouvelle Vague directors’ engagement with the world beyond metropolitan France, through formal analyses of seminal films by Jean-Luc Godard, Chris Marker, Alain Resnais, and Jean Rouch, as well as close readings of archival documents pertaining to their promotion and reception. I contend that the directors of the Nouvelle Vague were concerned with the shifts in national, transnational and colonial dynamics that marked their era. I demonstrate that their texts and films are structured by a dialectical relationship between a gaze turned outwards onto the world beyond metropolitan France, and a gaze turned inwards, onto the French. In my first three chapters, I inscribe the Nouvelle Vague in a cultural longue durée by examining its formal and thematic continuities with the tradition of French ethnography; the inter-war artistic movement, Surrealism; and the cinéma vérité documentary tradition of the early 1960s. I illustrate that the films of the Nouvelle Vague were fundamentally shaped by their directors’ engagement with the decolonization of the French empire. In my final chapter, I reexamine the most conspicuous example of foreign influence on the Nouvelle Vague, American cinema, in light of my preceding demonstrations. I determine that there are two levels of foreign influence on the Nouvelle Vague, and that the influence of American cinema was above all textual and superficial, whereas a grappling with the end of the French empire was, though far less conspicuous, fundamental to the form of the Nouvelle Vague films themselves.

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2014
Going through three distinct paths, Visual Arts/Photography, the invention of the Essay and Poetry, this theorical-practical dissertation is followed by an artistic project which is formed of photographs and textual creations. The series that make up the practical work is intimately connected to the reflection surrounding photography matters and its subjectivity, being this a form of communication and information transmission or the lack of it. It is building an archive where in one side exists a photographic record of the reality, although very close to oneiric environments and, in the other side, a fragmented textual record of experienced dreams. Since the emergence of photography its reflection is divided in two segments, the technique and the “emotion”. It is especially in interest to detach the photography role as an extension of the memory where the registration of what exists in that moment becomes, before long, part of the past, of what existed. Photography allows doing this journey in time, allows to keep present matters of the past. Keeping a strong autobiographic character, this work builds a net of visual and textual information narrowly connected to the interior and to the individual memory, almost like it would be a fragmented poetic contemplation, conserving a conducting wire between the several pieces that it is composed by

Acompanha um DVD com 3 videos relativos ao Trabalho de Projeto: eraser river ; i remenber ; vanishing, apenas consultáveis na Biblioteca da FBAUL com a cota CDA 197 - ULBA018409
Objects of Memory is a master's dissertation in Multimedia Art with a theoreticalpractical nature, which we analyze the concept of memory associated with the postcard’s object. Starting from the aggregation of dichotomous concepts such as memory / myth and Gestalt / narrative unit, we explore relationships based in a construction of the visuality having as resource the static image and the moving image, which intersection is made from the photography with the video. For an interpretation of the postcard and its artistic faculties as an object, we evoke the Mail Art approaching the use of postcards by the Fluxus Group and by artists such as Robert Filliou and Ray Johnson, who in the late 1950s used postcards as artistic objects to communicate with other artists around the world. Gathering the works of Alain Resnais, Chris Marker, Marcel Broodthaers, Orhan Pamuk and Óscar Muñoz, we observed possible relations with the concept of memory within the scope of the project, specifically the work methodology inserted in narrative and visual discourse. For the Objects of Memory final project, we have been developed three videos - Eraser River, Vanishing and I Remember - each one representing a postcard to be projected through a device. From the intersection of images we explored a working methodology that allowed to create visual events with the purpose of transforming theperception of the postcard as a whole. For this, we connected static images (photography) with images in motion (video) through the process of cut, collage and assembly to ensure a logical and perceptive speech in the body’s postcard. Although independent, each one of these videos tries to express the concept of object of memory preserving, in this way, a relation with images of the past which appear analogous to the transformation of a still image into a moving image