Dissertations / Theses on the topic 'Cinéma et poésie'
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Weyl, Daniel. "Théorie critique et pratiques expérimentales du texte : poésie, litterature, cinéma." Paris 8, 1989. http://www.theses.fr/1989PA080420.
To mature the concept of text as an aesthetical production not reducible to the semantical representation, we will postulate two functionnings of language. A) semantical and stable (of which communication comes from). B) semiotical and latent (of which signifyance comes from). The principle of the last one is displacement, that we have widened to the double plan of th signified (metonymical or antonymical association) and the signifying (anamorphosis), each one endowed with a specifical dynamism, which is powered by some tendancy of the subject : refusal of the ignorance in language mistake, censorship of the personal taboo in freudian slip, etc. That tendancy is belonging to the structure of the lack of knowledge, of which we give a semiological definition and not a psychological one, endeavouring to allow for modern epistemological requisites. Then we will attemp to establish that the text semiotic powering is the general taboo - not limited to sex -, able to bring about the so called aesthetical emotion when it semiotically expands into complex and latent network of associated taboos, providing a high seductio- nal semantical plan mediates it
Perrais, Agnès. "Lyrisme et politique en cinéma : Duras, Garrel, Godard, années 1970-1980." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0338/document.
This dissertation articulates the concept of lyricism and a political approach of the real in cinema. In order to study more specifically the issues of « poetry cinema », it proposes a reading of the literary theory of lyricism through a critique of the conceptual polarization of subjectivity. Starting with a study of the interdependence of poetics and politics in Hölderlin, Rimbaud and the Surrealists’ works, I put forward the notion of « objective lyricism » to understand how film can move away from the discursive paradigm of activism and forge a critical evaluation of political issues by way of their esthetics. By analyzing a number of films by Marguerite Duras, Philippe Garrel et Jean-Luc Godard, all made in the years just after 1968, when activism receded, I show how their formal legacies influenced the depiction of politics by withdrawing the narrative structure to the profit of a logic of sensation. Furthermore, I intend to demonstrate how in Marguerite Duras’ films political subjectivation is achieved by a lyrical voice rooted in a radical thinking of negativity. If the resurgence of a romantic legacy and of the cryptic side of surrealism in Philippe Garrel’s films lead to an experiential approach of politics, the re-actualization of the surrealist theory of the image-as-interaction and Rimbaud’s principles of the subject’s decentering push Jean-Luc Godard to a dialectization of lyricism, articulating a sensitive positivity to an objectifying critique
Pisanelli, Flaviano. "Une écriture dissidente : les dernières productions de Pier Paolo Pasolini." Paris 3, 2007. http://www.theses.fr/2007PA030045.
This thesis, entitled A Dissident Writing: Pier Paolo Pasolini’s Last Works, aims to make an in-depth analysis of the dissident nature and character of Pasolini’s works of the 1970’s. Through a semantic and lexicographic investigation – and by employing the method of « concordance » – this work undertakes, in the first part, the study of the poetic language that Pasolini uses in the collection Trasumanar e organizzar (1971), by emphasizing the innovative form and structure which the poet creates through the notion of umorismo and the elaboration of anti-lyrical poetics. This part is followed by an analysis of the posthumous novel Petrolio (1992) and of the film Salò o le 120 giornate di Sodoma (1975). In an attempt to elucidate, on the one hand, the literary, dissident impact and significance of Petrolio, and on the other hand to understand the cruelty of the film language in Salò, as well as the physical and psychological violence that the filmmaker brings to the screen, this analysis emphasizes the close relationship between the literary and film discourse in Pasolini’s work. The last part of the thesis takes into account a group of texts that Pasolini dedicates to the causes of the crisis of Italian neorealist literature, as well as to his reflections on the notions of writing, language (written and film) and form, which lead the poet-filmmaker to confront certain of Roland Barthes’ works (Writing Degree Zero and The Empire of Signs). Finally, a study of Scritti corsari explains the cultural and ideological position of Pasolini, in relation to the historical events of the 1970’s and to the political, social and cultural violence of the “new power” of the consumer society
Kassel, Elena von. "Poésie et sciences sociales, sources du documentaire anglais des années 1930-1950 : l'exemple de Humphrey Jennings." Paris 10, 2003. http://www.theses.fr/2003PA100074.
The introduction focuses on Humphrey Jennings' (1907-1950) accomplishments, and what studies have been done on him, and how he is relatively unknown in France. The first part evokes Jennings' life, his literary and artistic engagements, including the crucial roles he played in the British surrealist movement, the founding of Mass Observation and his compilation on the Industrial Revolution, Pandaemonium. The second part is about Jennings the filmmaker. It begins with a short history of the British documentary film movement and Jennings' first films. With the outbreak of the Second World War, Jennings devoted himself to making propaganda films. Drawing from British tradition, these poetic documentaries had a profound effect on civilians and raised their moral. Today, they remain the most moving and true accounts of that time. Detailed analysis of these films follow. Jennings died accidentally in 1950. But his work is underrated. Some critics even believing his reputation to depend solely on the exceptional circumstances of the war. This thesis assumes the total of Jennings' work as poet, painter and filmmaker in order to establish his place as major artist of the twentieth century
Marcoux, Pascale. "De la pellicule à la plume : poésie et geste documentaire dans Bâtons à message. Tshissinuatshitakana de Joséphine Bacon." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25905.
Tudesque, Andrée. "Marcel Pagnol : aspects bucoliques, poétiques et classiques de son oeuvre." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0137.
AbstractThe notoriety of Marcel Pagnol is no longer to be attested to, but it is clear academics do not generally show any consideration for him. This magician of words, this storyteller heir to the Provencal oral tradition, plays as a virtuose with speech, and his creation is the result of literary interferences. The different perspectives of the work of Marcel Pagnol, which has its source in his classical training, have determined this research, which focuses on analysis of some of his writings. Thus, this aims at recognizing his symbolic capital and contribution to literature. The classicism that permeates the education he received has guided all his literary, theatrical and cinematographic achievements; consequently, it determined his reception because the character of his work, enriched by the ancient heritage and the Provençal cultural patrimony, is to have reached universality. This thesis focuses on aspects of his creations, which reflect not only his education, but especially the ability of the author to use different genres such as the pastoral and its ramifications, which range from poetry to novel and to theater, then to film with which he will maintain close and complementary relations. Influenced by Music, Latin and Provençal culture, Marcel Pagnol diverged from the beaten track of literature of his time, by putting his creative originality at the service of poetry, prose, theater and film
Fiant, Antony. "Otar iosseliani : tel un demiurge a la surface du film." Caen, 2000. http://www.theses.fr/2000CAEN1291.
Kim, Hye-shin. "La poéticité cinématographique et l'acte de création à partir de Mauvais sang de Leos Carax et d'Arthur Rimbaud : réflexion sur une conjonction artistique entre le poète et le cinéaste, entre la poésie, la littérature et le cinéma." Paris 3, 2005. http://www.theses.fr/2005PA030093.
This thesis is not intended to practice an already established theory. It is born from an inquiry about some new conjunctions, so far little explored, “between” the act of creation and the creative reception, “between” traditional interpretation of the logos and the perceptual observation of the opsis, and “between” ‘poeticity' pertaining to the images for the eyes and a quest for an analytical device targeting the particularity of cinematographic images. We have made our central question of a non-conventional, de-estheticizing, creative goal, which seeks to recover the vital force pertaining to the poetico-cinematographic images among others and protect it. For this purpose, we turned to Rimbaud's poetry and Carax's cinema. To come by an analysis suitable for their unique creative style of exalting the poetic power of the image, we suggest three analytic steps: emotion, perception, and creation/interpretation. By means of this, we'd like to understand concretely how a new world is created, one made of other images bursting out of “Me” onto the surface of the ‘screen' (unexplored extent beyond the psychological “me”) – and of magical forces that belong to them. In this unknown space, the immediate possession of those jubilant moments and then, their loss, their wandering, and their failure, are all equally original
Shi, Xin. "Le style poétique au cinéma : recherche en poétique à travers la réalisation du documentaire-fiction "Shangai, Nostalgie"." Paris 1, 2009. http://www.theses.fr/2009PA010533.
Maritchik, Youlia. "Les formes hybrides de l' écriture dans le roman contemporain : le verbal et le visuel dans les oeuvres de M. Duras." Paris 8, 2007. http://octaviana.fr/document/134102843#?c=0&m=0&s=0&cv=0.
Duras’s fictional texts and films have got problematical status among literary and cinematographic critics. To investigate writer’s work we should examine the rapport text/film and analyse visual aspects of literature. We also pay special attention to the concept of “hybridité” invented by literary critics. It is used to characterize Duras’s texts by means of such notions as “cinematographic” and “poetico-narrative” writing. Duras’s writing rejects all visual and poetic techniques, composes, and produces her own criteria of analysis. One of M. Duras’s main concerns was to create images which would liberate the spectator’s imagination. That is why the visual in her works has rhythmical, prosodical nature: the words have unlimited possibilities of proliferating mental images. Poetical force of Durassian texts is in the critical power of the language, of the discourse, in their poeticity. That is why “Le Navire Night” can be regarded as a poem (poème) in A. Meschonnic’s sense of the term, which supposes inventiveness, verbal “activity” of the texts, and personal ethics of creation
Hoet, Sébastien. "LA CRITIQUE DE LA SUBJECTIVITEDANS L'ŒUVRE DE ROGER MUNIER." Phd thesis, Université Paris VIII Vincennes-Saint Denis, 2006. http://tel.archives-ouvertes.fr/tel-00175773.
Dodet, Cyrielle. "Entre théâtre et poésie : devenir intermédial du poème et dispositif théâtral au tournant des XXe et XXIe siècles." Thèse, Sorbonne Paris Cité, 2015. http://hdl.handle.net/1866/13605.
Désireuse de s’affranchir d’une approche essentialiste et figée de la poésie au théâtre ainsi que d’une lecture générique, cette recherche envisage selon une méthodologie intermédiale les relations entre théâtre et poésie. En analysant un corpus témoin composé de créations textuelles et scéniques, elle montre comment la présence active de la poésie travaille le théâtre, et partant, elle les précise tous deux par leurs interactions. La première partie établit une généalogie de l’intermédialité du théâtre et de la poésie, et des liens dynamiques entre théâtre et poésie. Tout au long du XXe siècle, poésie et théâtre se sont en effet affirmés comme des « hypermédias » (Kattenbelt), mettant respectivement en jeu divers médias, tandis que plusieurs dramaturges ont développé des poésies théâtrales explorant des processus intermédiaux. Sont dégagées et analysées quatre configurations spécifiques à travers les œuvres et réflexions de Mallarmé et Maeterlinck, de Stein et Artaud, de Gauvreau et Novarina et à travers la poésie transmédiale que Cocteau développe entre théâtre et cinématographe. Consacrée au tournant des XXe et XXIe siècles, la deuxième partie élabore une approche théorique du poème théâtral, qui actualise les relations entre théâtre et poésie. Le poème théâtral constitue un dispositif intermédial qui, selon un modèle élaboré par Ortel et Rykner, articule inextricablement trois niveaux : technique, pragmatique et symbolique. Plusieurs traits précisent ce dispositif : sa radicalité dynamique, sa performativité, sa valorisation de l’écriture comme processus, et sa façon de considérer l’impossible comme moteur théâtral. Des analyses d’œuvres textuelles et scéniques de Kane, Malone, Danis, Régy et Lemoine montrent ensuite comment ce dispositif intermédial est activé et ce que le poème théâtral propose au lecteur et au spectateur comme expérience esthétique. Saisir le devenir intermédial de la poésie au théâtre permet de penser un modèle interartial placé sous le signe de l’hospitalité, où les arts, égaux, dialoguent entre eux et échangent, en faisant travailler ensemble leurs hétérogénéités et leurs altérités.
In an effort to do away with an essentialist, rigid, and generic approach to poetry in dramatic works, this research looks at the relationship between poetry and drama using an intermedial methodology. By studying a sample corpus made up of textual and theatrical works, this thesis shows how the active presence of poetry is at work in theatre, thereby redefining each of the two concepts through the ways in which they interact. The first chapter traces the genealogy of intermediality within poetry and drama, and that of the dynamic connections between drama and poetry. Throughout the twentieth century, poetry and theatre have come to be seen as « hypermedia » (Kattenbelt), each of them bringing into play various types of media. Meanwhile a number of playwrights started developing dramatic poems exploring intermedial processes. This research identifies and analyses four distinct forms in the thought and works of Mallarmé and Maeterlinck, Stein and Artaud, Gauvreau and Novarina, through the transmedial poetry developed by Cocteau at the confines of drama and cinematography. With a focus on works from the turn of the twentieth to twenty-first century, the second chapter offers a theoretical approach to the dramatic poem, that seeks to bring an updated approach to interactions between drama and poetry. The dramatic poem is an intermedial apparatus that, in Ortel and Rykner's view, inextricably combines the technical, the pragmatic and the symbolic. This apparatus is characterised by its dynamic radicalism, its performativity, its focus on the value of writing as a process and the way in which it conceives of impossibility as a dramatic driving force. Analyses of textual and dramatic works by Kane, Malone, Danis, Régy and Lemoine suggest how intermedial apparatuses are triggered and the kind of aesthetic experience the dramatic poem offers to readers and viewers. Contemplating intermedial processes of poetry in theatre allows for the reframing of an interartial model in an inclusive, hospitable fashion, where all art forms are considered equal, engage in dialogue and exchange, and combine their differences towards a common object.
Mbaye, Samba. "Rhétorique du silence dans l'univers dramatique, poétique et cinématographique d'Harold Pinter." Thesis, Besançon, 2015. http://www.theses.fr/2015BESA1010/document.
The main purpose of this research is not only to try to grasp the meaning of the unsaid and the hidden in the artistic work of Harold Pinter, but first and foresmost to show that language can neither have a meaning nor be made out if we do not consider what is lying underneath or if we disregard any reading between the lines. Even if it's obvious that the stage is more often than not under the yoke of words, the gist of any play is to be looked for in silence. In Pinter's dramatic world, silence can be understood as what cannot be said, what is not thoroughly said, what is not clearly expressed, what is not yet said, what will never be said. It can be due to many reasons, a silence may be observed under duress, as it may be made purposefully. The body language is more than important, for what is displayed through it can urge any shrewd spectator to muse upon what is beyond his eyes. Since words and images are not often reliable, the work of any spectator is to ponder over what is shown or said to him. And like any tool of communication, silence requires a text and a context to yield the substance emnodied in it. Any attempt to sever the language of words from that of silence is doomed to failure. Silence per se is the realm of silent words. Before being uttered, any word was first kept in silence. All discourses stem from silence, and whilst some can reach the listener, others need a particular attention, whence our interest in Pinter's early poems. The silence we'redealing with is not a void. It's pregnant with meaning and cannot be avoided as long as we're able to speak or we're potential locutors
Pilard, Nicolas. "Architecture, dessin, discours." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3071.
Contemporary art, through « de-definitions », has evolved in some of its developments, mainly in the conceptual form, into an ever more pronounced use of verbal language, relegating the plastic concerns to the background. Architecture, which seems to be embodied fundamentally through materiality, experiences similar trends. Some architects are positioned on the field of concepts, making speech the primary tool of their research. Based on the idea that plastic thinking and verbal thinking operate under separate arrangements, we studied the work, written and built, of contemporary architects for whom the use of text is prominent in creation. We have identified three forms of discourse, the poetic form - which makes speech a work of art, the theoretical form - convening philosophical concepts, and the mathematical form, which aims at creating a meta-language serving the design - and we tried to understand their respective parts in the project planning
Gosselin-G, Geneviève. "La poésie cinématographique Terrence Malick et la sensation." Thèse, 2015. http://hdl.handle.net/1866/12500.
Qu’est-ce que la poésie cinématographique? Telle est la question primordiale de ce mémoire de maitrise, qui tentera d’y répondre en analysant les oeuvres du cinéaste américain Terrence Malick. Inscrivant par divers moyens cette question dans les réalités de son cinéma, nous déboucherons forcément sur la réponse suivante : il y a poésie cinématographique chaque fois que les formes de la représentation sont ouvertes par une modalité de l’expression ; il y a poésie cinématographique chaque fois que le sensible n’est plus manifestation de l’intelligible, mais la matière et le mode de sa production dans le temps ou plutôt dans le devenir. Décrire cette poésie, ce ne sera possible qu’en décrivant l’expérience que nous avons du régime de sensations des images et des figures propres au cinéma de Malick. Il s’agit de faire venir le monde en présence en rendant justice aux noyaux de sens enfouis dans le visible, justice rendue par le partage d’une description du sensible. Nous verrons alors que, chez Malick, cette poésie se manifeste par une phénoménologie de la lumière et de la gravitation. Nous verrons également l’importance du sonore dans l’apparaitre de ce monde sensible qui, à travers les voix ouvertes, la matérialisation des bruits et la musique, forme une partition musicale totale faite de métamorphoses et de devenirs. Encore, cette poésie s’approche de la sensibilité des premiers romantiques allemands qui, par leur résistance au langage et à la raison absolue, déhiérarchisent le monde pour le redéfinir. Seront ainsi définis les éléments constitutifs du cinéma de poésie de Malick, soit la manifestation de la lumière et du mouvement, l’invisible habitant le visible (comme un ailleurs qui l’excède), la réinvention du langage, le système chaotique liant l’homme et la nature, ainsi que le monde duel (de l’ombre à la lumière et de la lumière à l’ombre). Ce mémoire propose donc une approche d’inspiration phénoménologique du cinéma de Malick, qui le présente comme « toujours en train de se faire », dans une immédiateté cherchant à penser dans, à travers, mais aussi au-delà du cinéma.
What is cinematic poetry? This is the fundamental question that this master’s thesis will attempt to answer by analyzing the works of American film-director Terrence Malick. By positing this question in different ways within the realities of his films, one will inevitably reach the following conclusions: cinematic poetry occurs where the forms of representation are opened by a modality of expression; cinematic poetry occurs when the sentient is no longer a sign of the intelligible, but of the matter and of the mode of its production over time, that is, in its evolution. Describing this poetry will only be possible by describing one’s experience of the sensation-cluster of images and of figures proper to Malick’s films. This involves making the world come into existence by doing justice to the core of meanings buried in the visible, a justice rendered by the sharing of a description of the sentient. It will be argued that, in Malick, this poetry manifests itself through a phenomenology of light and gravitation. Also shown, the importance of sound in the emergence of the sentient world, which, through open voices, through materialization of noises, and through music, develops into a total musical score consisting of metamorphoses and destinies. Furthermore, this poetry resembles the sensibility of early German romantics who, through their resistance to language and to absolute reason, destroy the hierarchy of the world in order to redefine it. The constituents of Malick’s cinema of poetry, namely the expression of light and movement, the invisible inhabiting the visible (like an elsewhere that exceeds it), the reinvention of language, the chaotic system linking mankind and nature, as well as the dual world (from darkness to light and from light to darkness) will thus be defined. This master’s thesis therefore suggests an approach of Malick’s cinema inspired by phenomenology, which presents it as being “always underway”, in an immediacy seeking to think within, through, but also beyond cinema.
Desjardins, Patrick. "L’image qui parle : comment traduire l’altérité par l’adaptation de la poésie au cinéma ?" Thèse, 2012. http://hdl.handle.net/1866/8665.
The visual aspect in the Illuminations of Rimbaud brought us to ask us if it was possible to adapt these poems to the cinema. There were of course several researches on the cinema of the 20s which investigated the poetic creation. Other researches were led to find tracks of poetry in a little more conventional narrative movies. Although these studies are very interesting, we wanted to aim towards a more radical approach. Our research work aimed at finding the means to make an adaptation of completely autonomous poem of the original work. Although we bend over the Surrealist texts by the intervention of Man Ray, we also studied more recent attempts of adaptation of poems to the cinema. We discovered a link between these adaptations and the notion of otherness. That is why we decided to deal with our subject under the angle of the otherness of the philosophic point of view. Moreover, three movies which we retained for our research work present situations of marginalization. The marginalization is one of the aspects of the otherness which interest us. The first chapter of this thesis is intended to establish what we mean by otherness. In the second chapter, we approach the adaptation of the poetry to the cinema in connection with the otherness. We adapted eighteen poems of the Illuminations of Rimbaud under the shape of a scenario in the second part of this thesis to try to investigate what we established in our theoretical part.
Leclerc, Philippe. "Le traitement de l’espace dans Badlands et Days of Heaven, de Terrence Malick." Thèse, 2011. http://hdl.handle.net/1866/5338.
This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films.
Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
Laigneau, Charlotte. "Émotions lumineuses : la poésie de la lumière en mouvement." Thesis, 2019. http://hdl.handle.net/1866/23938.
Ce mémoire, présenté sous la forme d’une recherche-création, sonde les forces de la lumière et de l’ombre en mouvement. Nous nous inspirons des travaux d’Henri Alekan et de Fabrice Revault d’Allonnes pour mettre en avant une méthode de travail de la lumière, qui repose sur deux étapes essentielles: l’étape de l’éclairement qui correspond à une hiérarchisation des éclairages, et celle de la lumination qui correspond à une dramatisation de la lumière. Cette méthode, considérée dans un cadre classico-baroque, ouvrira la porte à des analyses portant sur les variations de la lumière. Nous explorerons deux techniques utilisées par les directeurs de la photographie: la conception d’un «path» lumineux et la pratique du changement à vue. Ces deux techniques seront étudiées à partir du travail de divers directeurs de la photographie, tels que Vittorio Storaro et Darius Khondji. Elles seront également employées dans la création qui accompagne ce mémoire, afin d’en saisir les subtilités, et d’appréhender les difficultés reliées à la pratique de la direction de la photographie. La création sera donc une véritable exploration pour moi et un apprentissage pratique et théorique des possibilités et contraintes de la lumière et de l’ombre. C’est finalement dans une démarche qui oscille entre tâtonnement et recherche que je tenterai de comprendre le potentiel poétique de la lumière et de l’ombre.
This thesis, presented as a research-creation project, sounds the power of the light and the shadow in movement. Inspired by the writings of Henri Alekan and Fabrice Revault d’Allonnes, we will point out a work method used to shape the light, that rests upon two essential steps: the first step is called éclairement, and calls on a hiérarchisation of the light sources. The second step is one of lumination, that is equivalent to a dramatisation of the light. The method, considered in a classico-baroque context, will open the door to some analysis of the light’s variations. We will explore two techniques used by cinematographers: the conception of a light «path», and the changement à vue. We will study these two techniques through the work of various cinematographers, such as Vittorio Storaro and Darius Khondji. We will apply these two techniques in a creation that is linked to this thesis, to better comprehend the subtleties of the light in movement, and understand the difficulties that come along with the practice of cinematography. Thus, the creation will be a true exploration for me, and a practical and theoretical learning process about the possibilities and the complexity of light and shadow. This stammering and hesitating approach intends to understand the poetic potential of the light and the shadow.
Arsenault, Nadia. "La divine comédie de Stan Brakhage : une lecture du film lyrique The Dante Quartet." Thèse, 2011. http://hdl.handle.net/1866/8343.
The Dante Quartet by Stan Brakhage is a personal adaptation of The Divine Comedy of Dante who took the form of an abstract movie made from hand painted images on recycled footage. Acting as a palimpsest in which each layer reveals characteristic features of Brakhage's work and the influence of different poets and artists on it, The Dante Quartet also includes some features of ekphrasis. In this thesis, I work with the heuristic assumption that The Dante Quartet is an ekphrasis, specifically a reverse ekphrasis. This thesis looks at what remains of the pre-text after the transfer from one medium to another. Given the temporal interval between these two works, I will also discuss of certain contemporary influences to Brakhage's work. As the filmmaker based his work on vision phenomena (especially on hypnagogic visions in that movie), the point will be made regarding Brakhage's thinking about this, thought that he describes in his manifesto Metaphors on Vision.
Samson, Andrée-Anne. "Du littéraire sans littérature : la logique de la parole dans l’œuvre de Pierre Perrault." Thèse, 2009. http://hdl.handle.net/1866/4422.
This memoir stems from the central paradox which defines the writings of Pierre Perrault : the fact that apart from his cinematographic work, he writes literary texts all the while refuting the status of writer as well as the category of literature. Analysis of the poetic discourse in the poems of Gélivures and the essays from De la parole aux actes demonstrates that Perrault is able, by grace of the imaginary of speech, to write while symbolically withdrawing from literature, which he whole heartedly criticises. This memoir calls on the idea that language plays a significant role on the crossroad of history and society. The first chapter deals with the significance of what is voiced by Perrault and what this implies. The subjects treated in particular are the semantic aspects which encompass the omnipresent motive in his work including the metaphoric ties between one’s voice, one’s memory and one’s identity. The second chapter reflects upon more discreet manifestations of one’s voice, namely, the contributions Perrault makes through his work to what is voiced. Addressed are intertextuality, page layout, and quotation. Perrault’s desire to take his leave to speak is studied in the final chapter. His writing is envisioned as a struggle to defend a voice which is linked directly to his quest for identity that inspires a strongly polemic style and the search for an enunciation which leads to action.