Dissertations / Theses on the topic 'Cinema verite'

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH<br>Includes bibliographical references (leaf 48).<br>1985 in partial fulfillment of the requirements for the degree of Master of Science in Visual Studies. This thesis consists of two sections: Truth and Lies, and the making of Everything Must Change. Truth and lies traces several developments made in the evolution of the documentary cinema (both technological and ideological) and explores their effect upon the manner in which the world before the camera has been transformed onto film over the course of the past ninety years. During this period, the documentarian has labored under the constraint of having to present a more or less objective view of his subject, and historically this objectivity has been considered synonymous with "truthfulness"; the filmmaker has not been allowed to present subjective truth. In the eyes of critics, subjectivity and bias were lies. The premise throughout this discussion is that documentaries indeed are subjective statements, and that as the tools available to the documentarian become more and more transparent, this inherent subjectivity becomes increasingly masked. This paper contends that a possible solution to this dilemma might be for filmmakers to include contextual clues to subjectivity within the scope of their work . The second section, the making of Everything Must Change, outlines the process of shooting and editing my thesis movie, and examines how a certain degree of contextualized subjectivity has been included specifically within this work. The thesis is comprised of a written text and a 42 minute video copy of my thesis film, Everything Must Change.<br>by Michael A. Majoros.<br>M.S.V.S.

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

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

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

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

Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.

Nel primo capitolo il focus viene posto su un’introduzione del concetto di femminismo, così come la sua applicazione nell’arte e nella fotografia, per poi analizzare i motivi del suo sviluppo e come esso veniva interpretato dalle artiste. Viene sottolineata l’importanza dello sguardo femminile in un ambiente in cui la maggior parte delle volte lo sguardo maschile veniva preso come canone fisso da utilizzare e considerare, e viene evidenziato l’immenso apporto tematico portato dalle artiste nel mondo della fotografia e dell’arte. Nel secondo capitolo vengono presi in analisi tre casi studio diversi per osservare sfaccettature delle tematiche femministe e del modo in cui esse si amalgamavano con l’arte. Il primo esempio proposto è quello della fotografa Barbara Kruger, con la sua aderenza al femminismo più politica e aggressiva, fatta di fotografie con scritte e slogan provocatori sotto forma di cartelloni, il secondo caso studio preso in esame è quello di Cindy Sherman, che nelle sue fotografie analizza il tema del femminismo attraverso un’analisi sugli stereotipi dell'immagine, tutti interpretati da lei stessa. Infine l'ultimo caso studio presentato è quello di Verita Monselles, attiva in Italia, che si impegna in una critica dei valori dominanti che vedono la donna come oggetto passivo, rigirandola e trasformando gli uomini in fantocci e lasciando quindi la figura femminile come unica parte vitale della fotografia. Infine il terzo capitolo si dedica a un approfondimento sulle Guerrilla girls, un gruppo di artiste attiviste formatosi inizialmente a New York, delle femministe anonime che vogliono combattere il sessismo e il razzismo nel mondo dell’arte e vogliono portare l’ineguaglianza di genere e razziale come focus nelle discussioni, esponendo discriminazioni e corruzione attraverso poster, libri, cartelloni pubblicitari e apparizioni pubbliche.

Le corps du spectateur est au centre d’une antinomie récurrente dans les théories de l’art, l’œuvre doit d’abord émouvoir l’esprit et, dans la relation qu’elle établit avec son observateur, le corps n’est qu’un intermédiaire qui ne doit pas être trop sollicité. Cependant, certaines œuvres semblent remettre en cause cette relation et altérer le statut du spectateur en cherchant à surprendre l’esprit pour émouvoir le corps. Définir le cinéma comme paradigme d’un dispositif d’immersion fictionnel s’inscrivant dans une chronologie en dehors de toute spécificité historique, permet alors de considérer autrement la position de face à face entre l’œuvre projetée et son spectateur en les incluant dans la structure même du dispositif. L’œuvre projetée apparaît comme variable d’un système clos, lui-même laboratoire de l’exercice de la perception humaine dont les conditions sensationnelles expérimentales rejoignent les conditions réelles dans certains cas particuliers. L’étude de trois sensations distinctes isole certains cas spécifiques et conduit à l’établissement et à l’observation des différentes altérations que subit le statut du spectateur dont le corps est également partie prenante de la réception de l’œuvre.De l’analyse du vertige, défini comme sensation complexe, émerge la filiation du paradigme exploré ainsi que la possibilité de contourner cette dichotomie cartésienne. Les larmes et leur dualité, le rire et la tristesse, redéfinies comme symbole d’un complexe de sensations, attirent l’attention sur la possibilité d’une double appréhension d’une œuvre d’art, l’une psychologique, l’autre physiologique. Enfin le dégoût, une sensation simple, pose le cas limite dans lequel l’esprit du spectateur est piégé et où seul son corps lui permet d’appréhender ce monde qui le submerge<br>The spectator’s body is at the centre of a recurring antinomy in the theories of Art, the work must first move the mind and, in its relation with its observer,the body which is a mere medium not to be too much appealed to.However,some works of Art seem to challenge this relation and alter the spectator’s status by trying to surprise the mind to move the body. Defining cinema as the paradigm of a fictional immersion device, inscribed in a chronology outside any historical specificity,makes it possible to consider differently the face to face position between the projected work and its spectator by including them within the structure of the same device. The projected work looks like the variable of a closed system which is itself a laboratory for the exercise of human perception whose experimental conditions come close to real-life conditions in some particular cases. The study of three distinct sensations isolates some specific cases and leads to establish and observe different alterations undergone by the spectator’s status whose body is also part and parcel of the reception of the work.From the analysis of vertigo,defined as a complex sensation , the relation of the explored paradigm rises as well as the ability to get round that cartesian dichotomy.Tears and their duality,laughter and sadness,redefined as a symbol of complex sensations draw attention to a potential double apprehension of a work of Art, both psychologically physiologically.Lastly, disgust, a simple sensation,sets a borderline case in which the spectator’s mind is trapped and where only his body enables him to grasp the world he is submerged in

Il sofisticato processo di lavorazione delle olive e di produzione dell’olio, è da sempre materia di studio ed in perpetua evoluzione. L’oliva, raggiunta la maturità tra novembre e dicembre, è utilizzata sia per il consumo diretto che per la trasformazione. Raccolte le drupe e trasportate con i dovuti accorgimenti in oleificio, queste devono essere lavorate nel minor tempo possibile per evitare l’innescarsi di una serie di azioni enzimatiche che alterano la qualità ed i sapori dell’olio. Il presente elaborato, consta di tre sezioni, la cui parte principale si compone di un repertorio terminografico italiano-cinese relativo alle fasi di raccolta, post-raccolta, lavorazione delle olive e produzione di olio, arrivando, dunque, alle classi commerciali riconosciute. La prima parte, redatta a scopo introduttivo, è suddivisa in tre capitoli. Partendo dal presupposto che varietà e tecnologie influenzano la qualità dell'olio, guideremo il lettore ad acquisire la consapevolezza che sia fattori biotici che tecnici influenzano le caratteristiche del prodotto finale. Del primo capitolo sarà oggetto il lungo processo di produzione dell’olio: dall’albero alla bottiglia ci preoccuperemo elencare una serie di linee guida che descrivano i processi produttivi ma soprattutto i parametri sensibili, i fattori a rischio e i dovuti accorgimenti per la salvaguardia dell’extravergine. Nel secondo capitolo vedremo come varietà e stato di maturazione delle olive contribuiscano in maniera attiva alla differenziazione delle caratteristiche compositive dei diversi oli. Partendo da una prima descrizione botanica dell’olivo, passeremo in rassegna le più conosciute varietà dell'Olea Europaea, della quale, si contano oltre 2000 varietà nel mondo. Attenzione particolare sarà posta alle più rinomate specializzazioni produttive Pugliesi (ed italiane in generale), e al patrimonio varietale cinese. Il terzo capitolo è dedicato alle caratteristiche del mercato internazionale dell’olio di oliva e alle politiche in materia di qualità. La seconda parte del presente elaborato è rappresentata da un repertorio terminografico di ottanta schede che includono i lemmi più significativi relativi alle fasi di raccolta e lavorazione delle olive ed alle classi merceologiche degli oli. Per ogni vocabolo sono state compilate due tipi di schede: una terminografica, con lo scopo di studiare i concetti, le loro denominazioni e descriverne il corretto uso; ed una bibliografica indicante il documento o la risorsa da cui saranno citate testualmente o desunte le definizioni o i contesti d'uso. A seguire, due glossari. Il primo vedrà protagonista un elenco alfabetico dei lemmi italiani esaminati, ai quali seguiranno la traduzione cinese ed il relativo pinyin. Per il secondo glossario, invece, si partirà dal pinyin, seguito dal carattere cinese e dalla relativa traduzione italiana. La terza ed ultima parte della tesi, prevede un commento linguistico volto ad illuminare il lettore circa le particolarità dei lemmi presi in esame per la compilazione delle schede terminografiche.

This Doctoral Thesis POST TENEBRES LUX: ABBE, investigates the interdisciplinary video art in the international artistic context, echoing the creative origins of the multidisciplinary concept in Monte Verità, (Switzerland). Where in the inter-war period it served as a refuge and model for the creation of a new paradigm of society, which would later crystallize in the hippie movement in the USA, and that would spread throughout the world. From this we deepen in the different artistic disciplines that have served as support to hybrid and interdisciplinary techniques, from dance-videodance, performance, and audiovisual installation, addressing the theme of expanded cinema and expanded video. All this gives rise to a method of analysis for the creation and characterization of characters, which we have developed throughout our video art project, using the transpersonal psychology and the enneagram, as manifested in the research itself and which is executed in the videocreation.<br>El inconsciente en su función reguladora parece encontrar vías de comunicación con la parte consciente a través de la expresión plástica ya que ésta es un vehículo apropiado para la generación de símbolos. Dichos símbolos brotan del individuo para quedar plasmados en el exterior. Así se convierten en algo que existe fuera de él posibilitando la asimilación de parcelas oscuras de la mente. Esta tesis explora los orígenes del eneagraman como símbolo en origen con una dinámica de movimiento dancístico así como su relación con las artes visuales y las terapias transpersonales. La pregunta de investigación que planteamos es: ¿Es el videoarte una disciplina que posibilita el crecimiento artístico y personal?, ¿Es este símbolo un instrumento para desarrollar en las artes visuales una investigación profunda del ser humano? ¿Cómo exploraron a través de esta y otras dinámicas interdisciplinares los artistas sus efectos en la creación? ¿Es posible extraer arquetipos personalizados para la creación de coreografías, video danza, video arte y otras técnicas audiovisuales? ¿Qué artistas se han servido de ello?<br>La present tesi doctoral POST TENEBRES LUX: ABBE, investiga el videoart interdisciplinar en el context artístic internacional, fent-se ressò dels orígens creatius del concepte multidisciplinari a Monte Verità, (Suïssa). On en el període d'entre guerres va servir de refugi i model per a la creació d'un nou paradigma de societat, que després cristal·litzaria en el moviment hippie a USA, i que s'estendria per tot el món. A partir d'això aprofundim en les diferents disciplines artístiques que han servit de suport a les tècniques híbrides i interdisciplinàries, des de la dansa-videodansa, la performance, i la instal·lació audiovisual, abordant la temàtica del cinema expandit i el vídeo expandit. Tot això dóna pas a un mètode d'anàlisi per a la creació i caracterització de personatges, que hem desenvolupat al llarg del nostre projecte de videoart, mitjançant l'ocupació de la psicologia transpersonal i l'eneagrama, com es manifesta en la pròpia investigació i que és executada en la videocreació.<br>Heredia Perea, B. (2017). POST TENEBRES LUX : ABBE. El videoarte interdisciplinar y Monte Verità. Un método de análisis para la creación y caracterización de personajes, mediante la psicología transpersonal y el eneagrama [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90645<br>TESIS

(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]

(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy by Publication (PhD)<br>Queensland College of Art<br>Full Text

La tesi doctoral tracta sobre la producció cinematogràfica realitzada pel moviment anarcosindicalista a Barcelona durant la Guerra Civil espanyola (1936-1939). Un corpus total de vuitanta tres títols, malgrat a l'actualitat només es conserven quaranta i quatre cintes i no totes complertes.<br/>La investigació està centrada en la recopilació i catalogació exhaustiva de tota la filmografia existent: reportatges de guerra, documentals de propaganda i pel·lícules de ficció. Se ha realitzat l'anàlisi de tots els films i s'ha elaborat una classificació cronològica i temàtica per establir una caracterització de la filmografia anarquista en els seus aspectes temàtics i estilístics. Finalment, s'ha fet una valoració del interès i la seva singularitat de en relació amb la cinematografia de la Guerra Civil.<br>La tesis doctoral trata sobre la producción cinematográfica realizada por el movimiento anarcosindicalista en Barcelona durante la Guerra Civil española (1936-1939). Un corpus total de ochenta y tres títulos, aunque en la actualidad sólo se conservan cuarenta y cuatro cintas, no todas ellas completas.<br/>La investigación se centra en la recopilación y catalogación exhaustiva de toda la filmografía existente: reportajes de guerra, documentales de propaganda y películas de ficcción. Se ha realizado el análisis de todas las películas y se ha elaborado una clasificación cronológica y temática para poder establecer una caracterización de la filmografía anarquista en sus aspectos temáticos y estilísticos. Finalmente, se ha hecho una valoración sobre el interés y la singularidad de los filmes en relación con la cinematografía completa de la Guerra Civil.<br>The subject of this dissertation is the film production carried on by Anarcosindicalist movement in Barcelona during the Spanish Civil War (1936-1939). It represents a total of eighty three titles, but only forty are found today, and not all of them completed.<br/>The investigation is centered in the recollection and exhaustive catalogation of the total existed filmography: war reports, propaganda documentaries and fiction films. The study includes an analysis of all the films and a chronological and thematic classification of the anarquiste filmography, in order to be able to establish its thematic and stylistic aspects. Finally, the dissertation also includes an evaluation of the interest and uniqueness of the films in relation to the total filmography produced during the Civil War.

The major novels of Walker Percy are examined for evidence of cinematic stylistic techniques to gain insight into the ways in which Percy achieves his narrative objectives. In particular, his use of "framing" techniques which distance the reader from the characters as well as of cinematic images indicate the kinship between Percy's writing and cinema-verite. Like the cinema-veritist, Percy seeks to alter perception of the boundaries between reader, writer, and character, the seer and the seen. Percy's preoccupation with cinema is shown to reflect his philosophical concerns as a Catholic novelist. The metaphors of film, projection, and acting represent modern man's inability to achieve an authentic existence, which can be achieved only through faith. The pervasiveness of cinematic language and image has finally for its object the debunking of cinematic myths.

"This dissertation .... looking at the work of four early ABC filmmakers: Max Donnellan, Tom Manefield, Bill Steller and Storry Walton, who variously produced, directed and created the early ABC documentary series, Chequerboard (1969-1975) and A big country (1969-1992)"--Chapter one.