Dissertations / Theses on the topic 'Lumière au cinéma'
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Revault, d'Allonnes Fabrice. "La Lumière dans le cinéma "moderne" : Approche esthétique." Paris 3, 1992. http://www.theses.fr/1992PA030082.
Full textThe preamble sets the topic in its surroundings, light in the cinema and cinematographic modernity. The first part distinguishes different tendencies in modern cinema, where light acts as a documentary principle. On one side "insignificance", the reproduction of a lack of meaning, with directors such as rohmer ou straubhuillet, pialat or cassavetes ; on the other side "the unobvious", the expression of want of meaning, with bresson (homogeneity, opacity) as with godard or garrel (heterogeneity, mystery). A third tendency is examined and classified as classicalbaroque : "the insane", theatrical expression of absurdity or foly with welles, bergman or tarkovski, ruiz. Films are also examined at the very limit between "unobviousness" and "insanity". The subversion of classicism by godard and retheatricalisation by truffaut or rivette are also analysed. Discussed also, are the possuble "pre-modern" tendencies and the question of "post-modernity". The second part outlines the gaps between classicism and modernity. Firstly, between the theatrical and documentary principle(s) of lighting. Secondly, between the transcendental and phenomenal principle(s) of light which is examined through the luminous symbolising of the spirit (with rossellini, pasolini,. . . ). Thirdly, the break-up between feeling and meaning : modernity authorising feelings free of meaning. Fourthly, the parting between the classical light-dark and what modernity has replaced it with
Sibra, Sylvie. "Federico Fellini et la lumière : poïétique du monde sensible pour une lumière qui s'offre à voir et à écouter." Toulouse 2, 2008. http://www.theses.fr/2008TOU20012.
Full textThis research is an exploratory pursuit of light in the work of the renowned film-maker Federico Fellini (1920-1993). We’ll discover huge enlightened sceneries that witness to fellini’s very deep creative soul. This study aims gradually to bring some clarifications about the peculiarities of this man and his productions, through the study of light, that meets our eyes and even our ears! Fellini’s Writings, not only, show the strength and the poetry of the images, the generative nature of this exceptional great-hearted creator; but also, the absolute moments of grace released from human interaction. That marks fellini’s print for eternity. Fellini is one of the film-maker who succeeded to reveal boldly but subtly the interior and the exterior reality of men, of society and of the whole world that surrounds us, through the light. A light which makes the most improbable, credible and the most touching moments of the cinema. This light looks at the heart of innocence and thus, makes human beings face the world. This thesis is lived as an experience that’s wondering about the fellinien’s light that has marked the times and not only an era or a century
Vernet, Antoine. "L'ombre et la lumière. Sociologie économique de l'activité cinématographique : travail et carrière chez les techniciens de la lumière." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100217/document.
Full textThis dissertation deals with issues of labor market organization in the motion-picture industry, especially for the labor market of technicians. Three workteams are studied: the camera crew, electric crew and grip crew. As a whole, they constitute what is sometimes referred to as the “image department”. We explore the link between work and career in a context of fluid employment relations. Drawing from interviews, observations and a database allowing us to reconstruct collaboration networks, we explore what a career means for those technicians. The international comparison allows us to put into perspective the weight of national regulations on the form of careers and on the individual strategies of actors. The first part of the dissertation shows how the structure of collaborations sustains a social world in which individuals share conventions and norms, and, at the team level, routines. We show how activity and relations between people on set evolve in the larger context of careers. The second part of the dissertation deals with the question of entering the labor market, showing the role of social networks. The means used to recruit people, especially team leaders, structures opportunities for people. The third part of the dissertation focus on the french case to study the struggle of cinematographers to see their work recognized. In particular, we study the role of professionnal associations and of a new intermediary on the labor market
Brunet, Annabelle. "La part d'ombre du vidéographique : image-lumière, image-matière, refilmage, cinéma et altérations." Paris 1, 2007. http://www.theses.fr/2007PA010576.
Full textLanglois-Marcotte, Dominic. "Adaptation cinématographique de la nouvelle Femme de lumière de Claude Vallières : scénario, film, démarche de création et réflexion sur la lumière dans le film noir." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28116/28116.pdf.
Full textSeo, Takashi. "La représentation du Japon dans le cinématographe Lumière." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010519.
Full textIn this thesis, we address the problem of the interpretation and understanding of the cinematic image, analyzing films by the Cinematograph Lumière, especially films shot in Japan. Here we must confront several points of view to differentiate various translations, such as a historical perspective and a sociocultural perspective. Our current point of view of the images of Japan taken by two French operators in the late 19th century is really far from the point of view of a spectator at the time of the Cinematograph. This distance is a major interest of the thesis, because no one, when confronted with a foreign culture, can escape from his own point of view based on his own culture
Bourgois, Guillaume. "Poétique de la divergence : le cinéma d'Oliveira à la lumière de Pessoa (et de Godard)." Paris 8, 2012. http://www.theses.fr/2012PA084002.
Full textThis research work analyses Manoel de Oliveira’s films in the light of Fernando Pessoa’s poetry and several of Jean-Luc Godard’s films released in the eighties and nineties. The study uses a central theorical concept, the concept of divergence, which enables to understand the originality of Oliveira’s, Pessoa’s and Godard’s poetics, by showing that the works of these three artists are based on differentiations, derivations and conflits – by which their creations try to reveal the complexity of reality. The first part underlines the way the action of divergence in Oliveira’s, Pessoa’s and Godard’s works jeopardizes traditionnal concepts (subject, space, time, movement), which forces the resarch work to avoy a synthetic classical point of view. The second part analyses the use of text by the three artists and show that they use it in a cinematographic way : each of them puts the text itself in motion by differential variations. The third part focuses on the political implications of divergence. It shows how Oliveira and Pessoa work out a differential modelling of portuguese history, by which they concur with Godard’s "Film socialism" ’s theory on Europe’s future – especially regarding the political dimension of film editing
Landrieux, Valéry. "Les Représentations de la banlieue dans le cinéma français de fiction et documentaire, des frères Lumière jusqu'à la fin du muet : aspects idéologiques et esthétiques." Strasbourg 2, 2002. http://www.theses.fr/2002STR20005.
Full textBergami, Goulart Barbosa Pablo. "Le malaise dans la culture à la lumière de la narrativité cinématographique contemporaine." Paris 7, 2013. http://www.theses.fr/2013PA070038.
Full textThe present thesis questions the current «malaise» of western culture based on a methodological approach organized around film analysis. Cinematographic works are thus defined as objects of study for a psychoanalytic anthropology, as key elements in the construction of contemporary mythology. Within this frame of reference, a method of formal analysis which highlights the emergence of a specifically contemporary narrativity enables us to characterize this audiovisual domain as a tool for the transmission of cultural values, ideals and prohibitions, but also as a model of enunciation orienting individual subjectivation processes. This methodology serves a critique of the notion of "post-modem subject" (correlated to the thesis of the "decline of fatherhood"), which is at the heart of a great number of psychoanalytic works on the current state of western culture. This theoretical positions dualism and negativism are exposed. In opposition to it, a multiple and dialectical understanding of contemporaneity is proposed. This perspective tries to put forth the creative potential of a culture which unveils itself as rich, less constrictive and unified than it might have been in the past, but which is not less efficient in providing structure. It also demands that we question the basic ideas on which the psychoanalytic theory of culture is founded, and it calls us to develop such theory towards greater complexity and openness to interdisciplinary dialogue
Baldacchino-Gauthey, Martine. "Vers l'abstraction de l'image cinématographique : (Quatre films de fiction d'Europe du Nord de 1978 à 2000)." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080028.
Full textLighting transcends it's entity which is to "Render objects visible". But what is the artistic experience and what are the intentions of a director who desires to communicate his subjectivity? What is this light that can render the invisible visible when according to Carl Theodor Dreyer :For the director, it's about the ability to share to the spectators one's own artistic experiences or interior feelings. Through abstraction it is possible to realize this because it replaces the truthful objective by it's own subjective interpretation. However, if the abstraction has to present itself on the screen, we must start to search for new principles of creation. I will emphasize that I am referring here only to the image*.To communicate one's own emotions is possible through abstraction according to the Danish director, because abstraction allows to transcend objectivity.To what conditions may lighting and it's inflections induce an abstraction of the image? How may one translate such an abstraction? What are the signifiers of an abstract lighting?This research analyze the tonality of the lighting of "Stalker", "Europa", "Three colors : Blue" and "The man without a past". Four films from northern Europe that are grouped around similar themes. The directors Andreï Tarkovski, Lars Von Trier, Krzysztof Kieślowski, Aki Kaurismäki, influenced by Carl Theodor Dreyer, are connected without a doubt to his vision. This thesis is set to demonstrate how the abstraction of an image is possible through a certain plasticity of lighting effects which is susceptible to express a virtuality, a dissonance, a magnetism and an enclosing. This paper interrogates directors of photography and the directors of the corpus on the demonstrated feelings generated by the aesthetics of lighting. Finally it brings to the surface multiple heterogeneous times working light that are behind of the abstraction of image. *DREYER Carl Th, Réflexions sur mon métier, réédition Cahiers du Cinéma, 1997, Paris, p 105
Girardi, Bertrand. "L'imaginaire lumineux : un corps de l'image entre fiction et documentaire : le style kubrick." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30013.
Full textPicture which is pictural, photographic, cinematographic or televisual wathever numeric should compose with light composent. However, it is not a matter of light inside picture without colling its materialized representation : the luminous. Indead once impressed with the scope light becomes the picture reality, a materiality. That means a transitority like a emanation between presence and absence. Than we could considerer luminous factuel or luminous of lighting. These huge materialities belong to same object or sememe (luminosity) and constitute a new type of hearth in the space of reception. Can the luminous and its shadow be of an unspecified utility in the entire distinction between fiction and documentary ? The setting in analysis of luminous in Stanley Kubrick films propose to read fictionnal films under a new approach and to apprehend documentary film according to new criterials. The spectator can gain a new glance there in the filmic language. More ever, the setting in front of luminous element like signs linguistic image, rise the importance of imaginary in filmic discourse reception. Becoming conscious, through perception of the luminous of more or less relationship with reality or imaginary, can help to get a better understanding of the world (mental, imaginary or reality)
Kuo, Li-Chen. "Le noir comme invention du cinéma : matière, forme, dispositif." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA118/document.
Full textEven though black is the antipode of light it is nevertheless inseparable from the world of cinema. What is black in cinema? A figure of shadow or darkness in the image that is also present as such. Black without representation and with its singular physical reality. This blackness is above all a technical condition which is hidden but which plays a decisive role in the production of optical illusions and the creation of fiction. It is also omnipresent in the entire process of making the cinematographic image. Black plays with light and conditions visibility and invisibility. In this sense it invents cinema. Black also offers another way of understanding what cinema is and how it works. This study will first deal with the material aspect of photography: photochemical blackening and the ideas it suggests as a process of image formation and dissolution. I will then portray the different effects produced by black- the black shape a rhetorical and mechanical tool. When it intervenes as a form in the image, of the image, and between the image. Finally, I will discuss how black can be an invading device of the screen and the projection space and reveal its role as a visual spectacle apparatus: the construction of an access to illusion and revelation. Each part of this outline will be dealt with in a historical, technical and aesthetic way. We will see in particular in artistic and experimental attempts that the emphasis on black makes it possible to reveal the characteristics of the cinematographic medium or even to re-invent cinema. This quest for blackness is revealed as a quest for the nature of cinema. A nature that the film industry is trying to erase. Black makes you see but it makes you see differently
Mahfoud, Abdelhamid. "Calligraphie, cinégraphie : étude de la relation entre le cinéma et les arts du tracé." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA146.
Full textThis research attempts to envisage the art of cinema as a cinegraphic art, that is to say, according to the definition herein, as a space of moving images unfolding themselves to the gaze through energetic impulses that animate its component parts. In order to draw forth this scriptural substance and to ascertain its implications for the language of cinema, this research detours into two realms of thought on the image, which have traditionally elevated the art of drawing into a prominent art form, thus manifesting aesthetic preoccupations and notions of language which we perceive as diverging from those that led Western cultural history to invent cinema. What then becomes of cinema when endowed by these thoughts? Conversely, what can cinema offer them as a technique, a device and a subject? The first detour, by posing questions of movement, gesture and time, journeys through Chinese calligraphy and pictorial art to question cinema as a recording machine, bound to a conception of conservation, memory and of the event. The second detour, by posing questions on light, gaze and space, journeys through Muslim calligraphy and pictorial art to question cinema as an optical machine, bound to a conception of mimesis, depth and of showing. These detours serve as a theoretical grounding for thinking about our everyday relationship to images (mainly digital), a relationship that changes exponentially and reconfigures our way of seeing, reading and touching images; according to a strictly cinegraphic mode
Azzouz, Aziza. "L'espace domestique : dialectique intérieur [/] extérieur à la lumière de la filmographie de Nouri Bouzid (1986-2006) : L'homme de cendres : cas d'analyse." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20040/document.
Full textThe study of space, in particular the domestic-space, presents several interests and tends for a long time to become a key concept in human science researches, which concentrate more and more to study the individual in his shares, organizations, relationships… At the end of the last century, considered as century of big changes having upset the environment and the functioning of the human beings, and with the beginning of a new millennium which continues to be worked by the same mutations, it belongs to us as researcher to wonder about the impact of those changes on the social and spatial family structure to determinate what changed and what resisted for change. Taking the cinematographic image as a medium, we try to show the sense of socio-spatial and identity movements, through the analysis of the modes of occupation and appropriation of domestic space and its surroundings, in the mirror of Nouri Bouzid filmography (1986-2006)
Bellucci, Lucia. "Le droit promotionnel et les aides d'État à la production cinématographique en Italie et en France, à la lumière de la construction européenne et des négociations sur le commerce international des services." Paris 1, 2004. http://www.theses.fr/2004PA010016.
Full textSalami, Shahnaz. "Enjeux et perspectives de la politique du droit d'auteur en Iran à l'heure de la globalisation et à la lumière du droit français et international : exemple du cinéma." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2112.
Full textThe recognition of copyright in Iran encounters significant difficulties in globalization times when international standardization of copyright clashes with national issues : such is the assumption that we will endeavor to check in the first part of our thesis. First, a study of copyright in Iran will show that the Iranian cultural policy concerning literary and artistic property is inspired by the French approach to copyright. Secondly, an analysis of international positive law will see cultural, political and economic issues that explain why the Iranian legislator tends to strike a balance between the Iranian distinctiveness and international positive law through a series of reforms. Finally, this study will illustrate the difficulties the Iranian legislator has to face in order to find a harmonization between international conventions on the one hand, and level of development of the country on the other. The second part of this thesis analyzes the development of film piracy and counterfeiting, the rise of black market and network evolution in the informal economy of communication, that all impede the efforts to comply the Iranian copyright with international copyright. Film piracy deserves to be seen as closely interwoven into the social, political, cultural and economic environment of today's Iran. This is the idea on which this part of our thesis is based. Through the technological, economic, social and political history of Iran's cinema, this study aims at discovering the reasons for the development of pirate activity in Iran, its consequences for the Iranian film industry and Iranian society. Through this analysis on piracy, this thesis finally presents it as an underground and misunderstood way of developing cultural globalization in Iran in the shadows. In filigree, this analysis shows how business network which pirate market films embody an « underground economy » organizing an underground cultural globalization in Iran
Veillet, Julie. "Lumière sur les espaces dans les réécritures de Marco Micone : étude de Silences (2004), Migrances (2005) et Una Donna (2005)." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29318/29318.pdf.
Full textPedrosa, Leonardo Bomfim. "Moderno descoberto por filmes que pensam o cinema de Lumière ao pós-guerra." Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/2034.
Full textThe goal of this research is to find the modern possibilities signalized by Cinema, itself, along the period that runs from its appearance, with Louis Lumière in 1895, until the representation crisis in the post-war period, marked by the oeuvre of filmmakers such as Orson Welles, Alfred Hitchcock and Jean Renoir. Via this research, we aim to have a better understanding of the ways in which the idea of 'modern' in films encounters the realist essence imposed by various theorists, such as Ricciotto Canudo and André Bazin, on the theme.
O objetivo da pesquisa é encontrar as possibilidades modernas que o cinema mesmo sinalizou ao longo de um período que vai do seu surgimento, com Louis Lumière em 1895, à crise da representação no pós-guerra, com obras de Orson Welles, Alfred Hitchcock e Jean Renoir. Dessa forma, queremos compreender de que modo a ideia de moderno presente nos filmes encontra a essência realista que diversos teóricos, como Ricciotto Canudo e André Bazin, impuseram ao tema.
Bourdoulous, Armelle. "Réorganisation et enrichissement du fonds documentaire "Pays et cinéma"." [S.l.] : [s.n.], 2002. http://www.enssib.fr/bibliotheque/documents/dessid/rsbourdoulous.pdf.
Full textMalek, Rai͏̈f. "Amenagement d'un espace scenique au risque du cinema : decor et lumiere à l'oeuvre dans "Metropolis" et "M le Maudit" de Fritz Lang." Toulouse 2, 1995. http://www.theses.fr/1995TOU20045.
Full textThe space treatement (scenery and light) is often the origin of the expressive power and essential foundation of all film work. Therefore, the architectural stage space is of a great importance in a cinematic story. Some elements, such as scenery and light, besides action, can surely have widely contribution in the creation of the appropriate atmosphere. Following this direction, this thesis shows, through "metropolis" and "m le maudit", how fritz lang attributes to the scenery and light a kind of "expressive elasticity" wich allows them to be adapted to numerous situations. This is achieved by : the choice and the nature of the mediums where the action takes place, its appropriate convertings and its cinematic distributions. Acting in this way, he makes with this two elements faithful agents in the confirmation of the story and ideal generators of atmosphere, which stimulate directly the audiences and their feelings. This first analytical part of the thesis is based on another descriptive one where we proceed, for the two films, to generic presentation, summary of the scenario and technical cutting of sequences and shots
Germann, Christophe. "Diversité culturelle et libre-échange à la lumière du cinéma : réflexions critiques sur le droit naissant de la diversité culturelle sous les angles du droit de l'UNESCO et de l'OMC, de la concurrence et de la propriété intellectuelle /." Bâle : Paris : Bruxelles : Helbing Lichtenhahn ; L.G.D.J. ; Bruylant, 2008. http://catalogue.bnf.fr/ark:/12148/cb41238511j.
Full textTohline, Andrew M. "Towards a History and Aesthetics of Reverse Motion." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438771690.
Full textLaigneau, Charlotte. "Émotions lumineuses : la poésie de la lumière en mouvement." Thesis, 2019. http://hdl.handle.net/1866/23938.
Full textCe 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.
Marzloff, Alice. "La cinématographie-attraction à Montréal à la lumière de la législation (1896-1913)." Thèse, 2016. http://hdl.handle.net/1866/16134.
Full textCinématographie-attraction / kine-attractography has for a long time been associated with the origins of cinema. But in 1978, an academic controversy created a rift in cinematic historiography and these works were subsequently deemed to be a separate object of study, one distinct from institutional cinema. This thesis will focus on kine-attractography in the setting of Montreal from the use of the Lumière Cinematograph projector in 1896 to the founding of the Quebec Board of Censorship in 1913. The legislative context surrounding these new forms of ‘amusement’ will be discussed (bills were modified or created to address legal questions). This thesis will investigate these events within the relevant historical, geographical and cinematographic contexts. It will then consider three aspects of kine-attractography that differ from those in cinema: manufacturing (which includes the way cinematic works were financed, shot and later modified), exhibition (the matter of where and how these works were shown) and reception (the ways these works were evaluated or judged). We will discuss how kine-attractography was initially overseen by diverse groups of people (from those who financed or shot the moving pictures, to the owners of ‘amusement’ theatres, to the policeman or fireman who was present at each projection), and then subsequently overseen by recognized institutions, government representatives included. We will explore the issues which accompanied its institutionalisation relative to these various groups by studying articles and ads in Montreal’s newspapers, legal texts, official pronouncements, diocese speeches, catalogues published by manufacturing companies, and the moving pictures themselves.
Camacho, João Carlos Orta. "Os Alunos de Lumière - Experiência de inclusão do Cinema na Didática da História da Cultura e das Artes." Master's thesis, 2018. http://hdl.handle.net/10362/59485.
Full textThe present study stems from the Supervised Teaching Practice, carried out within the framework of the Masters Degree in Teaching History in the 3rd Cycle of Basic Education and Secondary Education. It was developed at the Miguel Torga Secondary School, in Monte Abraão / Massamá, in the municipality of Sintra, with a class of the 11th year of Secondary Education, in the discipline of History of Culture and Arts. In this project we deal with the introduction of the learning of, and with, Cinema, using this disciplinary area in a didactic way, to try to understand the potential of its inclusion in the discipline of History of Culture and Arts for the understanding of contents, relevance of cinematographic art itself, and benefits for the improvement of the resulting visual literacy. The strategies and methodologies developed consisted of syntheses of the previous theoretical and practical contributions, being adapted to the class, privileging the character of historical source of the films, and the procedural and constructivist nature of a learning of this nature. Through the methodological options taken and the results obtained, we demonstrate the possibilities of introducing the Cinema and its contributions to the formation of the students' historical knowledge in History of Culture and Arts.