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Dissertations / Theses on the topic 'Mise-en-scene'
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Antoinette, Alicia. "Massenet's Thaïs: A Comparison Between the Stagings in the Livret de Mise en Scène F-Pbh T 8 (1) and the Metropolitan Opera's 2008 Production." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12974.
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The evidence found through comparing and contrasting staging manuals strongly suggests that Massenet might have been involved in the staging of his operas. Several important differences, which include the implications of the use of a chair versus a bed in the final scene, are presented through a comparison of the final duet of Massenet's Opera Thaïs in a restaging from the livret de mise en scène F-Pbh T 8 (1) with the Metropolitan Opera's 2008 production. In addition, a probable date between the premiere in 1894 and the revision in 1898 for the livret de mise en scène F-Pbh T 8 (1) is deliberated. Three staging manuals for Thaïs are examined, which were found to contain the same information, and these findings are contrasted with four staging materials for Massenet's opera Manon and several other staging materials for works by various composers.
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Morpelli, Stéphane. "Mise en scene, espaces et temps de l'audio-vision." Aix-Marseille 1, 2006. http://www.theses.fr/2006AIX10044.
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Cette thèse propose l’association de deux outils, un théorique et un artistique, dans l’objectif de comprendre comment le sens vient dans le film ; C’est dans cette perspective que nous associons l’appareil critique audio-vision développé par Michel Chion avec une praxis artistique dite de mise en scène au cinéma. Ces deux notions permettent de comprendre et donc de dégager ce qui fonde l’expression de l’art cinématographique. Avant d’aborder comment la pratique de mettre en scène se réactualise au cinéma, cette thèse aborde comment cette dramaturgie est apparue dans l’art. Puis, cette recherche identifie les différentes articulations entre les espaces du visuel et du sonore qui structurent le cinéma parlant un corpus filmique trans-historique et trans-esthétique étaye nos travaux sur la mise en scène, les espaces et les temps de l’audio-vision. Cette thèse met en lumière l’intérêt de la prise en compte de ces éléments structuraux de la mise scène dans l’analyse filmique.
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Brioude, Mireille. "La mise en scene du "je" dans l'oeuvre de violette leduc." Paris 8, 1991. http://www.theses.fr/1991PA080563.
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L'oeuvre de violette leduc offre une nouvelle perspective sur l'ecriture du "je", a travers duex types de tetes: les recits fictionnels a la premiere personne publies des 1946, et les recits autobiographiques dont la batarde est le premier volume (1964). Le caractere provocateur et spectaculaire du style ainsi que l'utilisation ludique du pronom "je" incitent a lire l'histoire d'une vie comme une "mise en scene". Sous ce "je" se cachent de multiples personnages et roles mis en valeur par une utilisation des figures temporelles et spatiales qui bouleversent la linearite classique du recit autobiographique. L'auteur, devenant le metteur en scene de ce "je", veut signifier les etats paroxystiques de la folie et du desir, favorisant ainsi la metamorphose du "je en histrion. De ce fait le lecteur est force de sortir de son etat de recepteur passif pour participer activement a la mise en scene du "je". Les theories modernes du sujet, ainsi que celles de la reception, servent de point d'appui a cette etude pour degager une methode d'approche du texte autobiographique ouverte a toutes les manifestations esthetiques dont il s'inspire, et, parmi celles-ci, le theatre<br>This study focuses on the new perspective on the first person narrative found in violette leduc's work. This work falls into two broad categories: first person fictional narratives published from 1946 on and autobiographical narratives, starting with la batarde (1964). The provocative style and spectacular situations associated with the playful use of the first person leads to an interpretation of violette leduc's life story as a "mise en scene". However, the first person pronoun conceals a variety of masks and roles dramatized by temporal and spatial devices disrupting the classical linear autobiographical narrative. The author as director of this performance of the "i" exposes paroxystic states, such as madness and desire, thus accomplishing the metamorphosis of the first person into a histrionic. The reader is thus obliged to give up his usual passive attitude in order to take active part in the dramatization of the "i". In this study, modern theories of the subject are used together with reception theories to develop an approach to autobiography which links it with other forms of artistic production, including theater
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DANAN, GEORGES PHIL. "La mise en scene contemporaine du theatre francais du moyen-age." Université Marc Bloch (Strasbourg) (1971-2008), 1992. http://www.theses.fr/1992STR20014.
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Dundjerovich, Aleksandar Sasha. "Theatricality of Robert Lepage : a study of his transformative 'mise-en-scene'." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302114.
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Banu, Georges. "Pratiques de la memoire dans la mise en scene du xxe siecle." Paris 3, 1987. http://www.theses.fr/1987PA030187.
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La question de la memoire au theatre reste indissociable de l'apparition du metteur en scene. C'est lui qui la pose de maniere systematique, car il y trouve une des principales sources de renouvellement du theatre. La these degage une architecture de la memoire au theatre, architecture a trois etages. Stanislavski fonde sa reforme sur le recours a la memoire des affectes, memoire de l'acteur, ensuite ses successeurs proposent de trouver appui dans la memoire des gestes ou la memoire du lieu, la memoire de l'art du theatre. Un troisieme volet represente la voie d'artaud et sa quete d'une memoire de l'homme, memoire des origines. Cette architecture constituee avant la guerre se retrouve ensuite, une fois que le declin du theatre de l'histoire entraine la resurgence du theatre de la memoire. Avec strehler la nostalgie pointe et l'experience subjective du temps devient essentielle, ensuite avec mnouchkine on cherche a retrouver les formes anciennes du theatre et avec gruber ou vitez on construit une fiction mnemonique. La these demontre le fonctionnement de cette architecture de la memoire dans le theatre du xx-e siecle. Les deux parties suivantes analysent les retombees de cette vision d'ensemble au niveau des differents elements du theatre : le corps, le costume, le lieu. Le petit reflete le grand, car l'acte theatral represente un ensemble dont chaque element est soumis aux memes mutations que le tout. La derniere partie est consacree au travail de deux des plus importants metteurs en scene contemporains, strehler et brook, artistes qui ont entretenu des rapports differents avec la memoire au theatre. Leurs pratiques sont exemplaires a cet egard. Si, au debut du siecle, le metteur en scene cherche a retrouver la memoire c'est parce qu'il envisage le theatre comme une activite majoritaire; aujourd'hui , au contraire, c'est parce qu'il le concoit comme une activite minoritaire<br>The question of memory in the theatre is inseparable from the appearance of the director. The director asks the question of memory systematically beacuse it is for him one of the principal sources which permit to renew the western theater. Through the thesis an architecture of memory in theatre become visible, an architecture with three levels. First stanislavski founds his reform on the use of the affective memory-the memory of actor. Then his successors propose to base themselves on the memory of gestures or the memory of theatrical space - the memory of the theater like art. A third way is represented by artaud and his reserach of a memory of man - mzmory of the origins. This architecture built before the second war reapperas after, with the fall of the theater of history and the resurgence of a theater of memory. With strehler the nostalgia is pointed out and subjective experience of time become essential. Then with mnouchkine it's the return to the ancient signs of theater and with gruber or vitez the construction of a mnemonic fiction. The thesis make visible the process of this architecture of the memory in the theater of the xxth century. The two parts which follow contain an analysis of the consequence of this total vision on different elements of theatre : body, costume, space. The small reflects the big because theatrical action is a whole of which every part is transformed in the same way as the totality. The last part of the thesis is dedicated to two of the most important directors of the contemporary period : strehler and brook whose relations with memory were different. Their practices on this point of view can be analysed as significant examples. If the director, in the beginning of the century, try to find the memory it's because he considers theater as an activity for a majority; today, on the contrary, it's because he considers it as an activity for a minority
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Schulz, David V. "Spectacular feasts : Herbert Beerbohm Tree and the mise-en-scene of consumption /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/10215.
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Ghosn, Catherine. "L'influence du no sur l'ecriture et la mise en scene de paul claudel." Toulouse 2, 1997. http://www.theses.fr/1997TOU20115.
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Dans quelle mesure le no a pu jouer sur l'ecriture et la mise en scene des pieces de claudel posterieures a 1922, date a laquelle il assiste pour la premiere fois au no do-jo-ji au japon? deux methodes nous permettent de mener cette etude. Tout d'abord, celle de jean duvignaud (sociologie du theatre) qui met en relation etroite la creation dramatique avec la pratique sociale. Les changements de l'ecriture de claudel au contact du theatre japonais apparaissent dans des differences de forme et de contenu. De meme, la trame qu'il choisit d'elaborer et de poursuivre dans nombre de ses oeuvres se reduisent a des themes invariants et a des composantes precises, procedant a une sorte "d'epuration" du contenu. La peinture, la musique, le chant, la danse retransposes dans l'unique activite artistique theatrale definissent le no comme un art "total". Cette consideration nous invite a nous interroger sur la forme litteraire choisie par claudel avec la structure du milieu social a l'interieur duquel elle se developpe. Elle necessite une etude des repercussions du domaine social, politique de l'epoque sur claudel pour cerner dans quelle mesure son oeuvre theatrale se modifie au contact de la culture japonaise. Ensuite, nous choisissons la semiotique parce que l'approche d'anne ubersfeld permet de deceler la trame structurelle du texte dans le no et dans les oeuvres choisies de claudel. En suivant le modele theorique propose, il est possible de retirer du texte sa structure dramatique et son schema actantiel. La mise en pratique de ce systeme permet de mettre en evidence le discours dominant de l'oeuvre. Confrontees aux pieces de claudel posterieures a 1922, les analyses definissent dans quelle mesure les deux theatres se croisent et a quel niveau le no a pu jouer sur leur composition<br>How did no influence claudel's writing and stagings, after 1922 (when he attended for the 1st time the no do-jo-ji)? 2 methods can help us. First of all, j. Duvignaud's one (sociology of theatre) that connects dramatic art with social practise. And after, a. Ubersfeld's one (semiotic of theatre) because it finds out the structure of the play for no and claudel's ones. Claudel's plays are compared with no plays to find out in which measure no has interfered with them
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Lynch, Julie. "FROM CHARACTER TO CLOTH: Analysing Costume Design on Screen." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9955.
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From Character to Cloth: Analysing Costume Design on Screen examines five key components in costume design for screen. The five chapters include: Observation: Analyses how designers make appropriate and balanced design choices by utilising accurate and curious observation methods. It explores how rigorous observation can enrich research outcomes, textual comprehension and design interpretation. Collaboration: Considers and evaluates director and designer practices and relationships. The study focuses on four internationally recognised creative partnerships including: Baz Luhrmann and Catherine Martin, Luchino Visconti and Piero Tosi, Tim Burton and Colleen Atwood, Martin Scorsese and Sandy Powell. Character and Function: Investigates how the performer’s physicality, their individualism and character interpretation are supported by costume and how the costume impacts on the performer’s dramatic arc. It considers the process of how performers and designers collaborate when developing a costume, and measures how colour influences the audience’s understanding of character. Design Styles and Themes: Examines how unique design styles are created utilising layered and ambiguous design choices. Four films are analysed, including: Death in Venice, Brazil, The Wizard of Oz and Mildred Pierce. The study looks to identify the different style elements and how they are combined creating each film’s individual style and character. Mise-‐En-‐Scène and the Costume: Observes the costume’s emotional and visual impact within the moving screen composition. It explores how costume can manipulate emphasis and focus and how it has the ability to underscore storytelling and communicate subliminally. The research and analysis in screen costume design is cross-‐referenced with the writer’s 28-‐year career as a designer for live performance.
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STOULI, ABDELLAZIZ. "Contribution a l'etude de la mise en scene en classe de langue (francais langue etrangere en milieu endolingue)." Grenoble 3, 1988. http://www.theses.fr/1988GRE39035.
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A l'aide de trois situations pedagogiques differentes, (interaction a theme impose), (interaction b, theme negocie), (interaction c, theme libre), nous avons tente de mettre en evidence le role que joue le degre de contrainte au niveau du discours dans une classe de langue. Il s'agit ici de l'enseignement du francais langue etrangere, en milieu endolingue. Dans le cadre de cette demarche, plusieurs aspects du discours ont ete traites. En premier lieu, dans le cas ou le degre de contrainte est le plus important (theme impose), l'accent a ete mis sur le discours de l'enseignant, en l'occurrence les strategies que ce dernier met en oeuvre pour inciter la classe a participer. Dans le cas ou le theme sujet est negocie, entre enseignant et apprenants, nous avons etudie les repercussions relatives a la specificite de l'activite "jeu de role". Enfin en troisieme lieu, ou le degre de contrainte est le moins eleve, l'analyse du discours a ete effectuee en fonction de differentes situations clefs.
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Wärme, Robert. "Stranger than fiction : En studie kring berättarstruktur i en film." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3739.
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Denna uppsats är en narratologisk analys av berättarstrukturen inom filmen Stranger than fiction. Uppsatsen inleder med en terminologi samt en teoridel kring vad som är berättarstruktur. Utifrån detta analyserar jag filmen för att grundläggande redogöra kring hur den är berättad genom att först beskriva filmens totala fabula för att sedan analysera vad som egentligen förmedlas och på så sätt även komma fram till en slutsats kring filmens totala berättarstruktur. Resultatet visar på att Stranger than fiction är berättad genom flertalet olika nivåer som visar på två olika berättare inom två olika diegeser som förmedlas genom samma berättare. Detta resultat leder till en tematisk diskussion ett postmodernt ontologiskt syfte som genom filmens komplicerade narratologiska struktur försöker förmedla budskapet ”lev det liv du vill ha” samt ”livet blir viktigt först när döden gör sig synlig.
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Rayani, Makhsous Mehrdad. "Audience and mise-en-scène : manipulating the performative aesthetic." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/audience-and-miseenscene-manipulating-the-performative-aesthetic(204e3bf1-f057-4d06-b633-6e25579fe379).html.
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The objective of this thesis is to examine the impact audiences have on the director’s process of creating a mise-en-scène and to understand the ways in which we might begin to understand and articulate such impact. I argue that the influence audiences have on theatre directors' mise-en-scenes have been ambiguous, and therefore there is a lack in a systematic approach to theatre-making. Through a detailed investigation on the arbitrary methods employed by a selected group of theatre directors, I propose that a communicative approach in capturing audiences’ expectations is necessary in shaping mise-en-scenes, directly and indirectly. More specifically, this thesis makes explicit these cognitive processes through a technical investigation, a mechanism which I propose and have graphically represented that can be used to harness the impact audiences have on theatre-making. In this thesis, the historical role and influence of the audience is discussed in Chapter One. This is followed by focusing on different of aspects of the audience, such as the attraction and captivation of audience, reception and perception of audience, and audience and culture. In Chapter Two there are two sections to define dramaturgy and mise-en-scène. I also argue that there are three key points in the communication between the audience and the theatre group: (i) audience pleasure, (ii) deadness, and (iii) distance. I present a diagram in order to suggest the relationship between the director, audience and mise-en-scène with an emphasis on their pathways in receiving audiences’ expectations. The diagram is developed throughout the thesis. In Chapter Three the study is motivated primarily by the individual styles and mise-en-scenes of Augusto Boal, Eugenio Barba, Peter Brook and Robert Lepage. Here I explore specifically the ways in which they have imagined, created, and performed mise-en-scenes, and the role audiences play in impacting their mise-en-scenes. Chapter Four is based on three case studies with the final suggested diagram at the end. As part of my research, I created and examined three case studies to support the hypothesis that audiences have an important impact on directors’ mise-en-scenes, i.e. how and why the director controls and manipulates theatrical elements. In conclusion, four main pathways for receiving audiences’ expectations are suggested.
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Lallement, Emmanuelle. "Au marche des differences. . . Barbes ou la mise en scene d'une societe multiculturelle : ethnologie d'un espace marchand parisien." Paris, EHESS, 1999. http://www.theses.fr/1999EHES0004.
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Barbes est un secteur commercant du 18 eme arrondissement de paris, situe entre le quartier de montmartre, celui de pigalle et celui de la goutte d'or, qui se caracterise par une forte densite commerciale et un melange remarquable d'individus. Des magasins tati au marche dejean, des bazars et autres solderies du boulevard barbes et rochechouart au marche aux tissus du + quartier saintpierre ;, toutes ces formes commerciales constituent une situation marchande tout a fait particuliere dans la ville que chacun s'emploie a nommer + barbes ;. Par un travail d'enquete de terrain, l'objectif est ici de definir anthropologiquement la specificite de ce morceau de ville qui n'est ni un quartier, ni un simple marche, de donner sens a la dynamique relationnelle a l'oeuvre et de degager une logique d'ensemble. En decrivant les espaces et les relations sociales qui s'y deroulent, il apparait que l'echange marchand induit ici une maniere specifique de se comporter, definie d'une part par l'egalite formelle des partenaires en presence et d'autre part par la caricature de toutes les differences possibles. Se mettent alors en place des relations de type + multiculturel ;. Dans ce barbes cosmopolite et marchand, l'alterite de chacun devient en effet spectacle pour tous et vendeurs comme clients jouent le jeu d'un certain multiculturalisme. Dans cette mise en scene d'une + societe multiculturelle ;, comme on est en fin de compte tous plus ou moins un jour ou l'autre venus d'ailleurs, comme on peut, le temps d'aller faire ses courses, etre different a sa guise et a son humeur, chacun a bien sa place ici, tout aussi legitime et pas moins anormale que celle du voisin. Mais reste que c'est justement a barbes que se deploie cette sociabilite liee a l'echange, dans un morceau de ville un peu fictionnel et entierement dedie au spectacle de la societe marchande<br>Barbes is a shopping area in the 18th district of paris. It is situated in the neighbourhoods of montmartre, pigalle and goutte d'or. It is characterized by a very high number of shops and a striking mixture of different types of people. Shops such as tati and the dejean market, bazaar style general stores and other discount stores all rub shoulders on the barbes and rochechouart boulevards next to the material market in the saint-pierre area. All these different kinds of shops make up a very specific shopping area which everyone calls "barbes". Through field research, the purpose of this study is to give an anthropoligical definition of the specificities of this part of paris, which is neither a neighbourhood strictly speaking, nor just a simple market, to explain the dynamic of the social relationships. By describing the places and the social relations that occur there, it appears that the exchanges which take place in this particular environment lead to a specific type of behaviour, defined on the one hand by the fact that each participant is on an equal footing with the other, and on the other hand, by the caricature of all the possible differences. There are therefore multicultural exchanges. At barbes, a multicultural and shopping environment, the otherness of individuals becomes a kind of show for everyone. Salespersons as well as customers play a game of a multiculturalism. In this staging of a "multicultural society", since we all, at the end of the day, come from elsewhere, when we go shopping we can be different according to our moods, and so everyone can find his place at barbes. Everyone has a justified reason for being there. Nevertheless it is only at barbes that this sociability is possible, linked to exchanges, in a part of the city which is rather imaginary and completely dedicated to showmanship in the consumer society
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Sandakly, Fadi. "Contribution a la mise en uvre d'une architecture a base de connaissances pour l'interpretation de scene 2d et 3d." Nice, 1995. http://www.theses.fr/1995NICE4863.
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Cette these se situe dans le cadre des travaux de l'equipe pastis a l'inria sur le probleme d'interpretation de scene. Notre contribution s'est concretisee par l'etude, la realisation et la validation d'une architecture generique d'interpretation de scene. La phase d'etude s'est deroulee en deux etapes. La premiere consistait a definir les connaissances d'un systeme d'interpretation et a identifier celles qui sont generiques et communes a toutes les applications. L'objectif de la deuxieme etape etait de definir les formalismes adequates a l'expression et l'exploitation des connaissances descriptives et des connaissances operatoires du systeme. La phase de realisation consistait a definir l'architecture fonctionnelle d'un systeme d'interpretation et une architecture logicielle et a integrer les connaissances generiques. L'architecture logicielle choisie est un blackboard hierarchique a controle par requetes et par evenements. Deux applications ont ete developpees pour valider notre travail. La premiere est l'interpretation de scenes de satellite par fusion multi-capteur. La deuxieme est l'interpretation de scenes 3d d'interieur
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Newton, Larissa Ann. "Mise-en-Scene as (pre)text; an insistence on a negotiated space for the creating of new theatre works." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/17960.
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The purpose of this exploration is to reflect on the activity of writing for performance, with the focus specifically on the generation of the dramatic text, and to further the notion of mise en scene as prescribed by Pavis. (Pavis, 1983: 25) This is in relation to the making of a new South African play entitled Reach, written by myself, Lara Foot Newton and directed by Clare Stopford. The exploration looks at a model of theatre making where the writer is present during the rehearsal phase. I propose that there is a pre-mise en scene, which exists as pre(text) for the dramatic and performance texts. This pre - mise en scene pre-figures or alludes to the possible "object of knowledge u (Pavis, 1983 : 25) before its manifestation. This pre - mise en scene is the first encounter with the negotiated space of writing for theatre ; of writing the dramatic text ; of a first writing of the performance. The exploration is divided into three parts: Part 1. Mise en scene as ( pre)text. A network of associations which are negotiated into the dramatic text. With reference to Pavis ((Pavis, 1983 : 25) and Brook (Brook, 1993 : 52) Part 2 : Mise en scene as (p r e)text and the dramatic text. The co-dependent relationship which exists between mise en scene as (pre)text and the writing of the dramatic text within a negotiated space. With reference to Harold Pinter, in his Nobel prize lecture in 2005 entitled Art, Truth and Politics where he describes how sound, light and dialogue collude to give birth to character in relation to his two plays The Homecoming and Old Times ) Part 3 : Mise en scene as (pre)text, the dramatic text and the performance text. The relationship which exists between mise en scene as (pre)text and the dramatic text, and mise en scene in relation to possible meaning and interpretation within the performance text. With reference to the notion of dramaturgy (Meyrick, 2006 : 281) and to workshopped plays by director Barney Simon.
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Carter, Chris P. "Animated Mise-en-scene and aesthetic harmony: An expansion of the traditional principles of animation to 3D computer animation." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93800/1/Christopher_Carter_Thesis.pdf.
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3D Computer Graphics (CG) has become the dominant medium for modern animated feature films. It is widely understood that traditional principles of animation developed in the 1930s at the Walt Disney Studio remain applicable to this new medium and heavily influence the range of aesthetic motion styles in contemporary animation. Via a frame-by-frame textual analysis of four animated feature films, this thesis tests and confirms the validity of the principles of animation and expands upon them by reinterpreting the Disney principle of appeal as aesthetic harmony, which delineates the way in which character posing and transitions between poses contribute to the animated motion styles that animators work in today.
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Borg, Gyllenbäck Ossian. "The Visual Conveyance of Narrative : From A Cognitive Perspective." Thesis, Södertörns högskola, Medieteknik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39066.
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This qualitative study aims to explore, from a cognitive perspective, the influence visuals have on conveying the game's narrative and how this engages the player. The focus being to further the understanding of how both visuals and narrative affect the overall experience. Motivated by the underrepresentation of visuals and narrative studies within game research. At the centre of the study is a thematic analysis of qualitative data collected from face to face interviews in a home and school environment, where players shared memorable moments experienced while playing a game. The interviews were complemented by data from popular forums, with the same focus. Helping the analysis of the data were cognitive theories into how our minds process and interpret information, an analysis which resulted in five main themes with corresponding code, which represented what appeared central for the creation of the memorable moment. There were, however, always more than one element within the game which provided and engaged the player in the narrative construction of the memorable moment, which served to highlight the importance of considering all aspects of the design, as all affected our meaning making. Central to engaging the player's narrative construction was the intrinsic motivation of curiosity, in tangent with our desire to learn. Exactly how different visuals elements affected the player's narrative construction did not become apparent during the analysis, as a fine line existed between what element provided for different memorable moments. Most notably was that all of the themes and codes could be tied back to engagement, as all of them served to engage the player's meaning making. A discovery that in turn, lead to the creation of a framework for future studies, which, while supported by cognitive theories, aims to enable the discovery of what and how different aspects engage the player in the experience.<br>Målet med denna kvalitativa studie är att, utifrån ett kognitivt perspektiv, utforska inflytande det visuella har på att förmedla spelets narrativ och hur detta engagerar spelaren i upplevelsen. Fokuset är att utveckla förståelsen för hur det visuella och narrativet påverkar den övergripande upplevelsen, vilket är motiverat av underrepresentationen av studier med fokus på det visuella och narrativet inom spelforskning. I centrum av studien är en tematisk analys av den kvalitativa data som samlats in från intervjuer i en hem och skolmiljö, där deltagarna delade minnesvärda stunder från när de spelade spel. Intervjuerna kompletterades med data från populära forum med samma fokus. Kognitiva teorier om hur man bearbetar och tolkar information, fick ge stöd till analysen av spelarnas meningsskapande som resulterade i fem huvudteman med motsvarande koder, som representerade det som framstod som det centrala i skapandet av de minnesvärda stunderna. Det fanns dock alltid mer än ett element i spelet som bidrog och engagerade spelaren i den narrativa konstruktionen av det minnesvärda ögonblicket, vilket lyfter fram vikten av att uppmärksamma alla aspekter av designen, eftersom alla påverkade meningsskapandet. Centralt för att engagera spelarnas narrativa konstruktion var vår inre motivation av nyfikenhet, i kombination med vår vilja att lära oss. Exakt hur de olika visuella elementen påverkade spelarens narrativa konstruktion framkom dock inte under analysen, eftersom gränsen mellan vilka element som bidrog med de olika minnesvärda stunderna, var hårfin. Det tydligaste exemplet av detta är att alla teman och koderna kunde knytas tillbaka till engagemang, eftersom alla bidrog till att engagera spelaren meningsskapande. En upptäckt som i sin tur ledde till skapandet av ett ramverk för framtida studier, som vars mål är, med stöd av kognitiva teorier, att möjliggöra upptäckten av hur de olika aspekterna engagerar spelaren i upplevelsen.
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Gaugue, Anne. "Géopolitique des musées en Afrique tropicale : la mise en scène de la nation." Paris 8, 1995. http://faraway.parisnanterre.fr/login?url=http://www.harmatheque.com/ebook/les-etats-africains-et-leurs-musees-la-mise-en-scene-de-la-nation-14615.
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Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.
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Zhao, Shumeng. "The Boy Who Draws Cats: 3D Animation As a Medium For Telling Culturally-specific Ghost Stories." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461265497.
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Gibbs, John. "'It was never all in the script...' : mise-en-scene and the interpretation of visual style in British film journals, 1946-1978." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298747.
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Zozzoli, Jean-Charles Jacques. "Da mise en scene da identidade e personalidade da marca : um estudo exploratorio do fenomeno marca, para uma contribuição a seu conhecimento." [s.n.], 1994. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285054.
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Orientador: Nelly de Camargo<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-19T17:12:36Z (GMT). No. of bitstreams: 1
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Previous issue date: 1994<br>Resumo: As denominações e figuras, que diferenciam bens materiais, serviços, idéias, organizações... e a maior parte de suas mensagens, manifestam-se fortemente em nosso cotidiano, participando ativamente da modelização do ambiente que nos cerca e no qual atuamos.Porém, num nível tecnológico, o fenômeno da marcação comercial é ainda situado por muitos, quase que exclusivamente,no plano do signo inerte, encontrando-se relegado à ordem da assinatura. Procura-se portanto, nessa Dissertação, a partir da constatação de que a marca (signo social) é resultado de um trabalho, investigar algumas das formas de seu discurso. Analisa-se pois, na própria constituição das emissões da marca (de bens materiais, serviços, idéias e instituições... e da Marca como um todo), bem como nas suas reelaborações quando da recepção, processos de produção, circulação, troca e consumo de bens tangíveis e intangíveis, mascarados sob a produção, circulação, troca e consumo de bens simbólicos, dentro de um campo -lugar de uma social idade intersubjetiva - que integra marcos do contexto econômico, tecnológico, social, político e culturaL..., incluindo a. historicidade da situação e sua "normativização" pelo Direito. Para tanto, ao proceder a uma leitura interativa que estude os processos operatórios e significadores da marca "comercial e/ou institucional", recorre-se à averiguação das enunciações da e sobre a marca que mais parecem se destacar nesse universo. As reflexões desenvolvidas, permeadas, entre outras, principalmente pelas considerações de Baudrillard e Blikstein sobre o signo, são conduzidas, em função das formas de expressão examinadas, em duas instâncias: - na da enunciação enunciada, ie.: das marcas enunciativas no enunciado (Semiótica da Escola de Paris), - na -mais larga -das condições pragmáticas da enunciação (ato de linguagem) onde se apreciam as regras do agir em seu contexto histórico-social (Análise do Discurso), Evidenciam-se particularmente: - uma representação visual da articulação da categoria semântica marcado / não marcado, - a co-propriedade "linguageira" da marca, - uma apresentação histórica e descrições jurídica e econômica da marca. Em especial suas relações com inovação, qualidade, concorrência; seu valor subjetivo e sígnico, dando destaque à duplicidade de seu consumo (material / sígnico); uma discussão sobre sua "industrialização" (marcas de distribuidores x marca de fabricante, franchising, licensing), - o levantamento das principais posições dos profissionais que convivem com ela, e uma apresentação das ideologias de valorização de produto e marca, bem como das funções da marca, - a cumplicidade do consumidor, - a marca mercadoria, produto social de sentido, mito, com especial relevância da importância do verbal e não verbal em sua constituição, dos efeitos semi-simbólicos - principalmente no caso do crocodilo LACOSTE, dos duplos circuitos dos atos de linguagem da marca, dos lados manifestos e ocultos da marca, - a constituição da marca como Ser e seres, com sistemas axiológico, cênico e dramático próprios, e abordagem de sua identidade e personalidade acompanhada de um levantamento dos padrões de comunicação da marca. A marca "comercial e/ou institucional" revela-se, pois, nesse trabalho, um multimeio complexo, que se engendra por meio de sua disposição em discurso ¿ mise en scène - sob as mais diversas formas, bem além da simples dimensão de sua plasticidade<br>Abstract: Our daily lives are strongly influenced by the denominations and figures which differentiate material assets, services, ideas, organizations and most of their messages. Their participation in the shapping of the environment we tive in and work at is active. And yet from a tecbnological point of view, the phenomenon of the commercial brand is still seen by many almost exclusively as if the sign were inert left at the mercy of its signal. Considering that the brand (social sign) is the result of a work this Dissertation investigates some of the forms of its langnage. From the constitution itself of the emission of the brand (from material assets, services, ideas and institutions, and from the Brand as a whole) as well as its re-elaborations when received this work analyses production, circulatio, exchange and consumption processes of tangible and intangible assets which are hidden by production circulation, exehange and consumption of symbolical assets. The study is within a field - an area of inter-subjective social instinct ¿ which integrates outposts of economical, technological, social, political and cultural context, including the historicity of the situation and its regulation by Law. In order to make an interactive reading which studies the operative and signifying processes of the "commercial and/or institutional" brand the aid used is the verification of the enounciation from and about the brand which seem to be more emphasised in such a universe. Our retlections which are based upon Baudrillard and Blikstein's considerations about the sign, among others, have been directed towards two instances in order to consider the forms of expression examined. They are: 1. The enounced enounciation, i.e.. the marks which are enounciative in the enouncement (Semiotics from the School of Paris); 2. The most broadly pragmatic conditions of the enounciation (language act), in which we consider the rules of acting in its social-historical context (Discourse Analysis). The work evidences more particularly - a visual representation of the articulation of the semantic category marked / non marked; - a co-propriety of the language of the brand; - an historic presentation as well as juridical and economical descriptions of the brand, especially its relation with innovation, quality and competitiveness; its value as a sign as well as its subjetive value, with special focus on the duplicity of its consumption (material as well as a sign); also a discussion about its "industrialisation" (distributors brands vsi manufacturers brands, franchising, licensing); - a listing of the main position of the professionals who get along with the brand and a presentation of the valuation ideologies for product and brand as well as the functions of the brand; - the consumer's complicity; - the brand which is goods, a social product of meaning and myth especially considering the importance of what is verbal and non-verbal in its constitution; of the semi-symbolic effects, especially in the case of the LACOSTE crocodile; of the double circuits of the brand's language acts; of the manifest and hidden sides of the brand; - the constitution of the brand as Being and beings which have their own moral value, scenic and dramatic systems, and the approach to the identity and personality, followed by a listing of the patterns of communication of the brand. This work reveals the "commercial and/or institutional" brand as a complex multimedium which is engendered by means of its disposition in the discourse - mise en scène - and that appears in a varied range of forms which goes beyond the mere dimension of its plasticity<br>Mestrado<br>Mestre em Multimeios
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Galvane, Quentin. "Automatic Cinematography and Editing in Virtual Environments." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAM033/document.
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La libre diffusion de modèles 3D de qualité ainsi que la mise à disposition de nombreux moyens facilitant la création de contenus animés ont permis de populariser la production d'oeuvres cinématographiques 3D.A l'heure actuelle, on peut cependant observer un manque important d'outils permettant de traiter la cinématographie (placement des caméras pour l'enregistrement des plans) et d'effectuer le montage de tels contenus (sélection des plans et transitions entre caméras). La création d'un film nécessite la connaissance d'un grand nombre de règles et de conventions.La plupart des systèmes d'animation ne disposant pas de ces connaissances, le besoin de méthodes automatiques qui pourraient, au moins partiellement, assister l'utilisateur dans son entreprise créative, se fait de plus en plus ressentir. A travers cette thèse, nous abordons à la fois la gestion automatique de la cinématographie ainsi que le montage des plans générés.L'utilisation de caméras pour retranscrire les actions et événements se déroulant au sein d'un environnement dynamique est une préoccupation importante de beaucoup d'applications graphiques. Dans le contexte de la simulation de foule, nous présentons une nouvelle approche qui aborde le contrôle simultané de plusieurs caméras filmant un groupe de cibles. Nous proposons un système se reposant sur le modèle de "comportements guidées" développé par Reynolds. Celui-ci permet de contrôler et coordonner localement un ensemble de caméras évoluant dans un environnement afin de filmer les différents événements s'y déroulant.Le montage d'un film est une tache particulièrement complexe et méticuleuse qui nécessite de profondes connaissances du domaine. L'automatisation de cette tache requiert donc la formalisation de cette expertise. En utilisant la méthode de montage linéaire - ou "continuity editing" ; il s'agit de la technique de montage la plus utilisée - comme référence pour l'évaluation du montage, nous présentons une nouvelle approche au montage automatique d'animations 3D se reposant sur une méthode d'optimisation. En s'appuyant sur une hypothèse semi-Markovienne, notre méthode utilise la programmation dynamique afin de calculer efficacement les solutions.A partir de notre première contribution, nous proposons ensuite une nouvelle approche à la création de "replay" cinématiques qui utilise à la fois les informations narratives et géométriques extraites du jeu pour automatiquement calculer la trajectoire de la caméra. En combinant ce système avec notre framework de montage, notre solution génère rapidement les replay de sessions de jeu.Enfin, en prenant inspiration de pratiques couramment utilisées dans l'industrie du cinéma, nous proposons une nouvelle approche à la planification de mouvements de caméra. Notre solution assure le réalisme des trajectoires en contraignant les caméras sur des rails virtuels. La position et l'orientation de la caméra sont optimisées dans le temps le long du rail pour satisfaire différentes propriétés visuelles. Les plans générés sont ensuite envoyés à notre framework de montage qui génère alors la séquence cinématographique<br>The wide availability of high-resolution 3D models and the facility to create new geometrical and animated content, using low-cost input devices, open to many the possibility of becoming digital 3D storytellers. To date there is however a clear lack of accessible tools to easily create the cinematography (positioning and moving the cameras to create shots) and perform the editing of such stories (selecting appropriate cuts between the shots created by the cameras). Creating a movie requires the knowledge of a significant amount of empirical rules and established conventions. Most 3D animation packages do not encompass this expertise, calling the need for automatic approaches that would, at least partially, support users in their creative process. In this thesis we address both challenges of automating cinematography and editing in virtual environments.Using cameras to convey events and actions in dynamic environments is a major concern in many CG applications.In the context of crowd simulation, we present a novel approach to address the challenge of controlling multiple cameras tracking groups of targets. In this first contribution we propose a system that relies on Reynolds' model of steering behaviors to control and locally coordinate a collection of autonomous camera agents evolving in the dynamic 3D environments to shot multi-scale events.Editing a movie is a complex and tedious endeavor that requires a lot of expertise in the field. Therefore, automating the process calls for a formalization of this knowledge. Using continuity editing -- the predominant style of editing -- as a benchmark for evaluating edits, we introduce a novel optimization-based approach for automatically creating well-edited movies from a 3D animation. We propose an efficient solution through dynamic programming, by relying on a plausible semi-Markov assumption.Building upon our first contribution we then propose a novel importance-driven approach to cinematic replay that exploits both the narrative and geometric information in games to automatically compute camera paths. Combined with our editing framework, our solution generates coherent cinematic replays of game sessions.Finally, drawing inspiration from standard practices in the movie industry, we introduce a novel approach to camera path planning. This solution ensures realistic trajectories by constraining camera motion on a virtual rail. The camera position and orientation are optimized in time along the rail to best satisfy visual properties. The computed shots constitute relevant inputs for the editing framework which then generates compelling cinematographic content
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Gilsoul, Nicolas. "L'architecture emotionnelle au service du projet etude du fonctionnement des mecanismes scenographiques dans l'." Phd thesis, AgroParisTech, 2009. http://pastel.archives-ouvertes.fr/pastel-00005540.
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Cette recherche questionne les mécanismes scénographiques de l'Architecture émotionnelle au niveau de leur conception (ambiantale, spatio-temporelle) et de leur perception (érosion, métamorphoses). Concentrée sur sept oeuvres mexicaines de Luis Barragan (entre 1940 et 1980), elle interroge la pertinence d'un héritage des principes de composition et du processus de conception de l'Architecture émotionnelle pour un projet contemporain alternatif. L'hypothèse générale est que pour travailler sur les émotions du visiteur, l'Architecture émotionnelle s'assure de sa participation consciente et inconsciente, le transforme en acteur en anticipant (provoquant) ses mouvements et lui offre un territoire de liberté. Deux questions se posent alors : 1) quelles sont les modalités spatiales de l'implication sensible du visiteur ? 2) dans quelle mesure le scénario processionnel imaginé par Barragan fonctionne-t-il toujours aujourd'hui et pourquoi ? Les résultats de la recherche sont triples. Au niveau théorique, ils contribuent d'une part à la connaissance de l'œuvre de Luis Barragan et d'autre part à la problématique de la conception et de la perception des ambiances. Au niveau pratique, ils révèlent des principes de composition scénographique et établissent une typologie d'ambiants qui constitueront une aide à la conception afin de mieux intégrer l'homme dans sa dimension sensible dans un projet futur alternatif.
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Buckle, Luke. "Contemporary Neorealist principles in Abbas Kiarostami's filmmaking (1997-2005)." Thesis, University of Hertfordshire, 2012. http://hdl.handle.net/2299/9036.
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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.
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Santaolaya, Cesteros Clara. "Nosotros, el pueblo: figuraciones de la toma de la calle en la historia del cine." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/670779.
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Este trabajo de investigación se propone realizar un particular recorrido por la historia del cine a través de la figuración de la toma de la calle, es decir, a través del gesto mediante el cual la masa se hace presente y reclama para sí misma la dignidad de pertenecer al pueblo, de ser el pueblo. Tomar la calle es, en este sentido, un acto supremo de enunciación colectiva con el que las sociedades se autodeterminan y afirman, mediante la reunión de sus cuerpos, movimientos y gestos plurales, que, en ese momento, pasan a actuar de concierto. Esta tesis tratará de analizar cómo los pueblos se han representado a sí mismos en uno de sus gestos más determinativos, a través del estudio de diversas películas pertenecientes a tres de las principales corrientes cinematográficas: el clasicismo, la modernidad y la contemporaneidad. La intención de esta investigación será, pues, atisbar, en esas mismas imágenes, ciertos aspectos sintomáticos, y acaso esenciales, de las sociedades que las han ido ideando y filmando a lo largo del devenir de la historia.<br>This research work intends to give a particular overview of the history of cinema through the appearance of street demonstrations; that is, through movements by which the masses show their presence and reclaim for themselves the dignity of belonging to the people, of being the people. In this sense, street demonstrations are therefore the ultimate act of collective statement by which societies self-determine and assert themselves through the gathering of pluralistic bodies, movements and actions which, at that moment, work together. This thesis intends to analyse how peoples have represented themselves in one of their most determinative gestures through the study of various films belonging to the three main cinematic currents: the classicism, the modernity and the contemporaneity. The intention of this research is therefore to observe, in these images, certain symptomatic and perhaps essential aspects of societies that have been devised and filmed over the course of History.
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Collaço, Fernando Martins. "Luiz Fernando Carvalho e o processo criativo na televisão : a minissérie Capitu e o estilo do diretor." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284547.
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Orientador: Gilberto Alexandre Sobrinho<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T09:36:10Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: Este estudo centra-se na minissérie Capitu, dirigida por Luiz Fernando Carvalho, roteirizada por Edna Palatnik, Euclides Marinho, Daniel Piza e pelo próprio diretor, e que foi veiculada pela Rede Globo de Televisão em 2008, visando uma compreensão sobre o estilo do diretor. Interessou-nos investigar o processo criativo de Luiz Fernando Carvalho, em relação às suas escolhas para o processo de adaptação do romance Dom Casmurro (1899), de Machado de Assis, que resultam no texto audiovisual. Tratamos, dessa forma, de observar a trajetória artística do diretor, as linhas de força do romance apontadas pela crítica especializada e a possível projeção para a televisão, a preparação do elenco e da equipe de produção, as particularidades da narrativa audiovisual, o conceito de encenação e seus desdobramentos na obra e, por fim, os possíveis diálogos estabelecidos entre o produto final e as práticas artísticas do Neobarroco<br>Abstract: This study focuses on the series Capitu, directed by Luiz Fernando Carvalho, scripted by Edna Palatnik, Euclides Marinho, Daniel Piza and the director himself, aired by Rede Globo de Televisão in 2008, seeking an understanding about the director's style. We were interested in investigating the creative process Luiz Fernando Carvalho, related to his choices for the adaptation of the novel Dom Casmurro (1899), by Machado de Assis, that results in the audiovisual text. Thus, we observed the director's artistic trajectory, the main force lines of the novel noted by critics and a possible projection to television, the preparation of cast and crew, the specifics procedures of audiovisual narrative, the concept of staging and its development in the series and, lastly, the possible dialogues established between the final product and the artistic practices of Neobaroque<br>Mestrado<br>Artes Visuais<br>Mestre em Artes Visuais
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Jahre, Hedvig. "Ett Fönster Till 80-talet – En visuell analys av nostalgi i serien Sex Education." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21033.
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Vår samtid genomgår stora förändring i allt från digitalisering till klimatpåverkan och ett resultat av detta är vår längtan efter att få uppleva och ta del av innehåll som påminner oss om en svunnen tid. Nostalgiska inslag finns i många delar av vårt samhälle och denna uppsats undersöker hur ett tidigare decennium representeras i en samtida medieprodukt och bidrar till en nostalgisk upplevelse. Idag finns det en förkärlek till en 80-talsnostalgi vilket blir synligt i många nyproducerade filmer och serier. I uppsatsen analyseras hur man i serien Sex Education (2019-2020) har valt att representera 80-talet i en samtida kontext för att skapa en nostalgisk effekt hos mottagaren. Vidare blir effekten av att blanda ett nostalgiskt grepp (nostalgisk mise-en-scene, musik och genrerefenser) med ett nutidsgrepp (den moderna gestaltningen av tematiken) att dessa kontraster skapar en friktion som väcker tittarens intresse. I uppsatsen tillämpas kvalitativ filmanalys, baserad på en kategoriserande modell, på estetik och tematik i serien Sex Education. Syftet är påvisa seriens nostalgiska inslag och belysa hur de skapas.<br>Our present time is experiencing a major change in everything from digitalisation to climate change, and one result of this is our longing to experience and share content that reminds us of another time. Nostalgic elements can be seen in many parts of our society and this essay examines how a past decade is represented in a modern media product and the nostalgic experience it generates. Today, there is a love for '80s nostalgia, which becomes visible in many newly produced films and series. The thesis is based on analyzing how the series Sex Education (2019-2020) has chosen to represent the 80s in a contemporary context to create a nostalgic effect on the recipient. Furthermore, the effect of mixing a nostalgic grip (nostalgic mise-en-scene, music and genre references) with a contemporary grip (the modern form of the theme) is that it creates contrasts which causes a friction that arouses the viewer's interest. The thesis applies qualitative film analysis, based on a categorizing model, to aesthetics and themes in the series Sex Education. The purpose is to demonstrate the series' nostalgic features and highlight how they are created.
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Cetin, Hasan Okan. "Fundamentals Of Architectural Design In Comparison To Filmmaking." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607669/index.pdf.
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The relation between architecture and cinema has begun with the first steps of the technology of moving images at the beginning of the 20th century and it has continued progressively until now by importing various intellectual, representational, and practical devices from each other in order to reconfigure their own systems of knowledge. In this investigation, the fundamental elements of architectural design and principles of their organization are used in the field of cinema as a methodological tool to analyze the compositional features of narrative, mise-en scene and editing/montage. First of all, the end products of both domains are conceived as a form of composition, and in this respect, the compatibility of their design dynamics is examined. Secondly, the fundamental design elements and principles of both architecture and cinema are defined. Finally, in order to redefine the design process of a film and to reveal the existence of fundamental principles of architectural design in the process of filmmaking, a comprehensive and comparative analysis is made between the two fields.
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Nguyen, Van Dinh. "Exploitation de la détection de contours pour la compréhension de texte dans une scène visuelle." Electronic Thesis or Diss., Sorbonne université, 2018. http://www.theses.fr/2018SORUS473.
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L'intérêt porté à la détection de contours pour la compréhension de texte dans une scène visuelle a été croissant au cours des dernières années comme en témoignent un grand nombre d'applications telles que les systèmes de reconnaissance de plaque d'immatriculation de voiture, les systèmes de navigation, les voitures autonomes basées sur la reconnaissance des panneaux de signalisation, etc. Dans cette recherche, nous abordons les défis de la conception de systèmes de lecture de texte de scène automatique robustes et fiables. Deux étapes majeures du système, à savoir, la localisation de texte dans une scène et sa reconnaissance, ont été étudiées et de nouveaux algorithmes ont été développés pour y remédier. Nos travaux sont basés sur l'observation qu'indiquer des régions de texte de scène primaire qui ont forte probabilité d'être des textes est un aspect important dans la localisation et la reconnaissance de cette information. Ce facteur peut influencer à la fois la précision et l'efficacité des systèmes de détection et de reconnaissance. Inspirées par les succès des recherche de proposition d'objets dans la détection et la reconnaissance objet général, deux techniques de proposition de texte de scène ont été proposées, à savoir l'approche Text-Edge-Box (TEB) et l'approche Max-Pooling Text Proposal (MPT). Dans le TEB, les fonctionnalités bottom-up proposées, qui sont extraites des cartes binaires de contours de Canny, sont utilisées pour regrouper les contours connectés et leur attribuer un score distinct. Dans la technique MPT, une nouvelle solution de groupement est proposée, qui est inspiré de l'approche Max-Pooling. À la différence des techniques de regroupement existantes, cette solution ne repose sur aucune règle heuristique spécifique liée au texte ni sur aucun seuil pour fournir des décisions de regroupement. Basé sur ces résultats, nous avons conçu un système pour comprendre le texte dans une scène visuelle en intégrant des modèles a l'état de l'art en reconnaissance de texte, où une suppression des faux positifs et une reconnaissance de mot peut être traitée simultanément. De plus, nous avons développé un système assisté de recherche de texte dans une scène en construisant une interface web en complément du système de compréhension de texte. Le système peut être consulté via le lien: dinh.ubismart.org:27790. Des expériences sur diverses bases de données publiques montrent que les techniques proposées surpassent les méthodes les plus modernes de reconnaissance de textes sous différents cadres d'évaluation. Le système complet propose surpasse également d'autres systèmes complets de reconnaissance de texte et a été soumis à une compétition de lecture automatique dans laquelle il a montré sa performance et a atteint la cinquième position dans le classement (Dec-2017): http://rrc.cvc.uab.es/?ch=2&com =evaluation&task=4<br>Scene texts have been attracting increasing interest in recent years as witnessed by a large number of applications such as car licence plate recognition systems, navigation systems, self-driving cars based on traffic sign, and so on. In this research, we tackle challenges of designing robust and reliable automatic scene text reading systems. Two major steps of the system as a scene text localization and a scene text recognition have been studied and novel algorithms have been developed to address them. Our works are based on the observation that providing primary scene text regions which have high probability of being texts is very important for localizing and recognizing texts in scenes. This factor can influence both accuracy and efficiency of detection and recognition systems. Inspired by successes of object proposal researches in general object detection and recognition, two state-of-the-art scene text proposal techniques have been proposed, namely Text-Edge-Box (TEB) and Max-Pooling Text Proposal (MPT). In the TEB, proposed bottom-up features, which are extracted from binary Canny edge maps, are used to group edge connected components into proposals and score them. In the MPT technique, a novel grouping solution is proposed as inspired by the max-pooling idea. Different from existing grouping techniques, it does not rely on any text specific heuristic rules and thresholds for providing grouping decisions. Based on our proposed scene text proposal techniques, we designed an end-to-end scene text reading system by integrating proposals with state-of-the-art scene text recognition models, where a false positive proposals suppression and a word recognition can be processed concurrently. Furthermore, we developed an assisted scene text searching system by building a web-page user interface on top of the proposed end-to-end system. The system can be accessed by any smart device at the link: dinh.ubismart.org:27790. Experiments on various public scene text datasets show that the proposed scene text proposal techniques outperform other state-of-the-art scene text proposals under different evaluation frameworks. The designed end-to-end systems also outperforms other scene-text-proposal based end-to-end systems and are competitive to other systems as presented in the robust reading competition community. It achieves the fifth position in the champion list (Dec-2017): http://rrc.cvc.uab.es/?ch=2&com =evaluation&task=4
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Benamrane, Nacéra. "Contribution à la vision stéréoscopique par mise en correspondance de régions." Valenciennes, 1994. https://ged.uphf.fr/nuxeo/site/esupversions/f861a6a0-1e2f-489c-8859-05c0368d8969.
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La maîtrise de la vision 3D est le préalable de la vision artificielle des machines; la stéréovision s'appuie sur l'appariement de primitives issues des deux images de la même scène 3D. Dans ce mémoire, les primitives choisies sont les régions, plus facilement détectables que les segments et les points. La mise en correspondance des deux images est basée sur deux méthodes originales, segmentation (division-fusion) d'une part et d'appariement d'autre part. La segmentation est obtenue par optimisations locales et une hiérarchie de critères d'homogénéité. La segmentation traduisant chaque image en un arbre d'adjacence, la mise en correspondance est obtenue à l'aide d'une fonction à paramètres multiples: photométriques, topologiques et morpho-géométriques sous forme d'un graphe relationnel où est recherchée une compatibilité maximale (ensemble de règles) d'hypothèses d'appariement traduites par ce graphe d'appariement. Par ailleurs, calibrage et incertitudes des points homologues sont analysés et les résultats comparés à ceux obtenus par diverses autres méthodes.
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Diniz, Felipe Maciel Xavier. "Desenquadramentos no novíssimo cinema brasileiro : o Fora de Campo como Dobra da Mise-en-Scène nos filmes de André Novais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/177578.
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Esta tese se mostra como um estudo sobre a natureza da relação entre o fora de campo e a mise-en-scène no contexto do Novíssimo Cinema Brasileiro. Tendo como base para um estudo de caso a experiência cinematográfica do diretor mineiro André Novais, nosso intuito foi o de compreender, nos termos de um plano de imanência, os movimentos que amparam as discussões sobre as encenações e seu fora de campo. Para aprofundarmos o pensamento sobre uma dada indissociabilidade entre as instâncias do fora de campo e da mise-en-scène nos filmes de Novais, aplicamos a ideia da dobra, que, atualizada por Deleuze, opera na coexistência entre o dentro e o fora ao problematizar um espaço que se configura indiscernível. A partir daí, investimos na tese dos desenquadramentos, trazida por Deleuze no livro A Imagem Movimento (2009), e suas reverberações em relação às dimensões relativa e absoluta do fora de campo. Torna-se, portanto, necessário aproximar tais aspectos a determinadas concepções formais atreladas aos filmes que estudamos. É então que apostamos em figuras de linguagem, como as metonímias e as dimensões intertextuais e paratextuais, para atestar a presença de um fora de campo relativo, que nos traz exemplos mais concretos e aplicações mais diretas em relação ao espaço fílmico, e refletimos sobre as desnaturalizações e as indecidibilidades para pensar a porção de uma dimensão absoluta do fora de campo, esta mais ligada a uma duração do todo do universo e a um discurso indireto livre. Cabe assinalar que o estudo de caso aplicado à filmografia de André Novais é inserido em um contexto cinematográfico específico: o Novíssimo Cinema Brasileiro. Torna-se, assim, fundamental estabelecermos uma discussão sobre as particularidades de suas concepções estéticas e de mise-en-scène. Na esteira desse movimento, chegamos à compreensão do aspecto documental que invade tal contexto cinematográfico e que é problematizado a partir do deslocamento de um real representado para a sua realização no âmbito simbólico. A partir das teorias lançadas por Bazin, Metz, Badiou e Zizek, chegamos a um real entendido como fantasma, e não como referente. Ao alcançarmos o cerne de uma linguagem aplicada a determinadas formas fílmicas, encontramos a expressão de uma encenação desdramatizada, ligada aos aspectos minimalistas e hiper-reais e à produção de personagens da recusa, enfatizados a partir da incapacidade de adequação às identidades e aos modelos. Tais variáveis nos ajudam a refletir não só sobre as particularidades de uma mise-en-scène, mas também sobre os movimentos disruptivos e desconstrutivos do cinema.<br>This doctoral thesis studies the nature of the relationship between the out-of-field and the mise-en-scène in the context of the Newest Brazilian Cinema (Novíssimo Cinema Brasileiro). Taking the mineiro director André Novais’ cinematographic experience as foundation for a case study, we aimed to understand, in terms of a plane of immanence, the movements supporting the discussion about staging and its respective out-of-field. In order to deepen our thoughts on a certain inseparability between the out-of-field and the mise-en-scène in Novais' movies, we adopt the concept of “fold”, which, updated by Deleuze, establishes itself in the coexistence between inside and outside, while problematizing an indiscernible space. Thereon, we address the thesis of the unframing, brought forward by Deleuze in his book The Movement-Image (2009), and its reverberations around the relative and the absolute aspects of the out-of-field. It was therefore imperative to approach such aspects in relation to certain formal conceptions attached to the movies we study. That is where we employ figures of speech such as the metonymy and the intertextual/paratextual dimmensions, so that we were able to attest to the presence of a relative out-of-field, which brings us many concrete examples and direct applications in relation to the filmic space. Furthermore, we also considered denaturalizations and undecidabilities to conceive an absolute dimmension of the out-of-field, associated with the free indirect discourse and with a duration which is immanent to the whole universe. We should point out that the case study about André Novais’ filmography inserts itself in a specific cinematographic context: the Newest Brazilian Cinema. It was thus fundamental that we stablished a debate about the peculiarities of its mise-en-scène and its aesthetic conceptions. Approaching this movement, we reach an understanding about the documentary aspect which overruns such cinematographic context and which is examined as through the displacement of a represented “Real” up to a realization in the symbolic realm. Aimed with theories laid by authors such as Bazin, Metz, Badiou and Zizek, we end up conceiving the Real as ghost, instead of referent. Achieving the kernel of a language applied to certain filmic forms, we discover the expression of a de-dramatized staging, characterized by minimalist and hiper-realist aspects and by the production of “refusal characters”, unable to conform themselves to predefined identities and models. Such variables help us reflect not only upon mise-en-scène peculiarities, but also upon disruptive and deconstructive cinema movements.
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Issiaka, Diafar. "Scénographies du crime dans quelques nouvelles de Guy de Maupassant." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2022. http://www.theses.fr/2022UCFAL009.
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La présente étude se donne pour but d’analyser les scénographies du crime dans les nouvelles de Guy de Maupassant. Le crime étant au cœur des nouvelles maupassantiennes, le concept de scénographie permet une large analyse dans sa mise en scène. L’ethos permet de cerner le criminel dans son profil mais aussi dans ses agissements, dans ses prises de parole à l’intérieur du texte. L’étude de la scénographie du crime qui s’articule autour de la mise en scène du crime nous permettra de questionner les procédés énonciatifs et narratifs en nous intéressant à la polyphonie, au monologue et au dialogue afin de comprendre le langage du crime et du criminel maupassantien. L’analyse du fait divers a permis de comprendre l’écriture du crime mais aussi nous a montré l’étroitesse du lien qui unit la presse et la littérature au XIXe siècle. Le corpus de cette étude est composé d’un ensemble de nouvelles de Guy de Maupassant. Toutes ces nouvelles reposent sur la mise en scène du crime. Le choix de ces nouvelles réside dans cette mise en scène plurielle liée au principal personnage. C’est ce qui a permis de cerner les questions esthétiques et la poétique du crime en cette fin du XIXe siècle chez Guy de Maupassant<br>The purpose of this study is to analyze the scenographies of crime in Guy de Maupassant's short stories. The crime being at the heart of Maupassant's short stories, the scenography concept allows a broad analysis in its staging. The ethos makes it possible to identify the criminal in his profile but also in his actions, in his speeches within the text. The study of the scenography of the crime which is articulated around the staging of the crime will allow us to question the enunciative processes and the narrative by interesting us in the polyphony, the monologue and dialogue in order to understand the language of the crime and Maupassantian criminals. The analysis of the news item made it possible to understand the writing of the crime but also showed us the closeness of the link which united the press and literature in the 19th century. The corpus of this study is composed of a brunch of short stories by Guy de Maupassant. All these short stories have in common the staging of the crime. The choice of these short stories lies in this plural staging linked to the main character. This is what made it possible to identify the aesthetic questions and the poetics of crime at the end of the 19th century with Guy de Maupassant
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Boivin, Rémi. "À l'écoute de La Plaine. Écologie urbaine d’une scène musicale à Marseille." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0047.
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Ce travail de thèse prend le parti d’envisager les musiques par la ville, comme agencées à leur milieu perceptif et insérées dans une vie sociale au niveau local. Privilégiant une approche écologique et situationnelle de l’expérience musicale à partir d’un espace matériel, contingent et pragmatique, l’enjeu consiste d’abord à éviter au maximum de rabattre l’analyse des musiques sur un périmètre purement médiatique. L’enquête ethnographique rend compte en effet d’un mouvement depuis une expérience du lieu vers une expérience des musiques à l’intérieur d’un même environnement urbain : le dit quartier de La Plaine à Marseille. Car cette localité qui constitue l’une des centralités de la ville n’a pas d’existence administrative mais émerge aux yeux de l’observateur comme un espace densément vécu et en tant que scène culturelle urbaine. Elle est marquée depuis la moitié des années 1980 par de nombreux engagements culturels, elle concentre un grand nombre d’espaces de diffusion musicale et voit depuis le début des années 2010 la mise en œuvre d’un projet substantiel de transformation urbaine visant un renouvellement de sa population. Les nombreux événements et micro-événements organisés régulièrement dans ce quartier, inscrits dans des occasions sociales très diverses et souvent réalisés hors du « temps institutionnel », donnent à voir un large spectre de formes et de configurations aux niveaux perceptif, culturel et social. En nous intéressant au rôle des musiques dans l’institution progressive d’une culture commune à La Plaine et à sa constitution progressive comme un « lieu propre » à Marseille, l’enquête a permis d’interroger l’épreuve que constitue un projet urbain à la forme spécifique de lien social stabilisé<br>The aim of this dissertation is to consider music through the city, as being arranged in its perceptive environment and integrated into social life at a local level. Along with an ecological and situational approach of the musical experience from a material, contingent and pragmatic space, the challenge firstly consists in avoiding, as much as possible, restricting the analysis of music in a purely media space. The ethnographic survey reflects a movement from an experience of the place to an experience of music within the same urban environment: the so-called La Plaine district in the city centre of Marseille, France. This local area which constitutes one of the central hubs of the city has no formal existence at an administrative level but appears to the observer as a living place and an urban cultural scene. Since the mid-1980s, the area has been marked by many cultural developments; there is a large concentration of musical venues and since 2010 is the subject of a substantial urban project seeking to renew its population. The amount of regular and micro events here, arranged for social occasions and often taking place outside the "institutional time", reveals a wide spectrum of forms and configurations at perceptual, cultural and social levels. Focusing on the role of music in the gradual institution of a common and shared culture in La Plaine and its construction as a special location or a "proper place" in Marseille, the survey has enabled to question the challenge that constitutes an urban project to the specific form of social bond stabilized by this place
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Guimaraes, Ferrer Carrilho Maria Clara. "Devenir-paysage de la scène contemporaine. Le dépaysement du drame." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030160.
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En écho avec la réflexion de Gertrude Stein sur le théâtre, la présente thèse explore l’idée de paysage comme moteur, dissident de la trame d’une histoire, de l’action scénique et de l’émotion du spectateur. Quoique récurrente dans le discours théâtral actuel, l’association entre théâtre et paysage ne va pas de soi. Il y a là comme des « noces contre nature » entre deux règnes et deux échelles différentes : la scène théâtrale, règne du drame, bâtie poétiquement et architecturalement à l’échelle de l’homme, et le paysage, règne de la nature qui ne peut se concevoir qu’à l’échelle de l’infini. Des « noces contre nature » qui, pour être fécondes, exigent une double émancipation : celle de la paysagéité hors du cadre pictural d’où elle est née en même temps que celle de la dramaticité hors de la matrice aristotélicienne qui l’a forgée.En partant de l’étude du concept de paysage et de l’évolution du genre pictural paysager, la thèse cherche à mettre en perspective la façon dont la paysagéité s’est immiscée dans l’art théâtral. Dans le sillage du concept de pièce-paysage introduit par Gertrude Stein en 1934, l’écriture théâtrale contemporaine, libérée de la nécessité de raconter une histoire, convoque une scène mentale pour une action qui ne peut se projeter que dans l’espace infiniment petit et infiniment grand de la pensée. Cristallisant les intuitions dramaturgiques steiniennes, l’œuvre de Robert Wilson fonctionne comme un prisme à travers lequel s’affirme l’esthétique scénique paysagère: l’homme et sa parole sont décentrés au sein d’un espace qui s’ouvre vers l’horizon. On en trouve l’écho dans une série d’œuvres scéniques contemporaines – Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels, François Tanguy – qui déclinent à leur façon les critères esthétiques d’un spectacle-paysage que le théâtre de Robert Wilson aura permis de forger.Le devenir-paysage de la scène s’accomplit au prix d’un dépaysement du drame et de son spectateur<br>The present thesis falls within Gertrude Stein’s legacy and explores the concept of landscape as a driving force of scenic action and audience emotion that is independent of the plot.Although it is now common in the theatrical discourse, the association between theatre and landscape is not a given one. It is a sort of “counter-natural alliance” between two different realms and scales. The stage, which belongs to the realm of theatre, is built both poetically and architecturally to the human scale, whereas a landscape, which belongs to the realm of nature, can only be conceived of on an infinite scale. This “counter-natural alliance” can only be fertile if two emancipations occur: that of the landscape from the pictorial frame from which it was born, and that of drama from the Aristotelian matrix which constructed it.The thesis starts from a study of the evolution of the pictorial genre of the landscape and the concept of the same to examine how it infiltrated theatrical art. Contemporary theatrical writing followed in the footsteps of Gertrude Stein’s concept of the landscape play introduced in 1934 and was free of the necessity to tell a story. It conjures up a mental stage for actions which can only be envisaged in the infinitely small and infinitely large spaces of thought.Robert Wilson’s work crystallized Stein’s dramaturgic intuitions. It acted as a prism through which the stage esthetics of landscape was focused; therein, man and speech are decentralized within a space which opens towards the horizon. Many contemporary scenic works echo this, including those of Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels and François Tanguy, who play with the esthetic criteria of the landscape play which Robert Wilson’s work initially forged.The stage becomes a landscape through the disorientation of drama and its audience
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Kila, Roskem Jean-Pierre. "L'émergence d'une scène musicale à N'Djaména : identification des acteurs et des territoires." Thesis, Avignon, 2014. http://www.theses.fr/2014AVIG1135/document.
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La musique occupe une place importante dans les pratiques culturelles des Tchadiens et plus particulièrement des habitants de N’Djamena. Elle s’exprime sous des formes variées : festivals, concerts, caravanes de musiciens à travers les grandes artères de la ville et s’inscrit dans des lieux divers : bars, centres culturels, points de vente, espaces publics. Elle est aussi médiatisée par de nombreuses émissions de radio et de télévision. Notre recherche vise à comprendre les modalités et les implications de cette inscription de la musique dans une ville africaine dont l’image a toujours été liée aux affrontements armés dont elle a été le théâtre. Construite principalement à partir des données ethnographiques, cette thèse a donc pour objet de rendre compte de la dynamique de formation d’une scène musicale à N’Djaména. Elle analyse les logiques d’intervention des acteurs publics et privés, ainsi que la portée de leurs actions respectives dans le développement du monde de la musique. En outre, l’étude des différentes formes d’inscription sociale de la musique, notamment les évènements scéniques a permis d’interroger la notion de recomposition de la ville par les activités musicales en termes d’infrastructures mais aussi en termes de pratiques des lieux urbains par le public. L’un des axes majeurs de cette thèse concerne les formes de sociabilité et les phénomènes d’appartenance liés au mode de vie urbain et observés au sein des clubs d’amateurs de musique. Enfin, l’analyse des pratiques musicales et des attachements du public à la musique a permis de mettre en lumière à la fois l’importance de la musique comme vecteur de la cohésion nationale et la constitution de critères de hiérarchisation collectivement partagés qui attestent de l’existence d’une forme spécifique de « légitimité culturelle »<br>Music is one of the major components of cultural practices in Chad, especially for the inhabitants of N’Djamena. It assumes a variety of forms : festivals, concerts, musical parades across the main streets of the city, and takes place in a variety of venues: bars, cultural centres, retail outlets, squares and public spaces. It also receives media coverage through many radio and TV programmes.The present research aims to understand the modalities and implications of the impact music leaves on an African town whose image has always been associated with armed conflict.The intention of this thesis, largely based on ethnographical data, is to give an account of the dynamics at work in the emergent musical scene in N’Djamena. It proposes a twofold analysis: Firstly, of the logic behind public and private intervention and secondly, of the scope of their respective actions in the evolution of the field of music.Our examination of the different ways music leaves its mark on society, particularly through live performances, has also led us to question the idea that the town is being restructured by music, not only in terms of specific venues but also in terms of how the general public uses urban places.One of the main axes of the present thesis concerns the emergence of new forms of sociability and new social groups originating in the urban lifestyle, as they can be observed in the music lovers clubs.Lastly, our analysis of the public’s various musical practices and forms of attachment to music has highlighted the importance of the latter as a vector of national cohesion; it has also revealed how shared criteria of hierarchisation have emerged, thus testifying to the construction of a specific form of cultural legitimacy
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Ting, Tsou, and 鄒婷. "Inter-Encounter: Event Meets Mise-En-Scene." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/397n2t.
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碩士<br>國立臺北藝術大學<br>美術學系碩士班創作組<br>101<br>Settling in daily life habits and insensibility, when an event breaking off from routine orbit occurs, we experience and react to it as a particular situation. Experience of this nature directly becomes the source of material accumulation for an art creator like myself. I have constantly “encountered” or “witnessed” some events, which were kept alive through the recording of the images at the moment of occurrence. After the act of recording, subsequent artistic transformation follows--using acceptable and readable artistic language, the experiences of the rupture from the daily events are realigned and edited. Perhaps through the withdrawing of specific personal experience or role, the images which prove the existence of the events (of rupture) cease to be merely the re-appearance or re-presentation of the recording (of the events). Instead, they provide another outlet for the possibility of yet another different reading experience. Through the writing of the thesis, I start pondering afresh how works can construct an “encounter” scene in an exhibition and how I can not only record the thinking process but also expand it—all of these become possible because of the correspondence between the reality and certain moment, the rupture and subsequent expansion at the exhibit, leading to a new encounter of an event scene.
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Wang, Chun-Kai, and 王俊凱. "Analysis of Mise-en- "scene" in the Animation Tekkon Kinkreet." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/52168471900654076651.
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碩士<br>國立臺東大學<br>兒童文學研究所<br>100<br>The scenes of a movie are impossible to be neglected because they provide a stage on which the characters perform and the plots develop. If you observe closely, you will find that not only does a detailed and consciously-designed scene provide a stage, but it provides much additional information which the characters and plots can not reach. In addition, a movie is completed due to camera work; therefore, the look of a scene varies depending on how it was shot.
The rich possibilities of the scenes make them as important as the plots and characters in a movie. Based on the text-analytic methods, the thesis will take the animation, Tekkon Kinkreet, as its research focus. The scenes of Tekkon Kinkreet are set in a city which was consciously established by the art crew and in which the characters move. Accordingly, the thesis will analyze how the locations of the scenes are arranged from the perspective of Mise-en-scene. Then, the thesis will examine the relationship of the scenes, the characters, and the plots, according to the construction-surrounded scenes. Finally, from the perspective of Cinematography, the thesis will discuss how the extensive use of long shots, wide-angle lens, and hand-held camera highlights the importance of the scenes.
Through the perspective of Mise-en-scene and Cinematography, the thesis concludes that the scenes of Tekkon Kinkreet are not just still backgrounds, they vary with the characters and the plots. Also, they change as time flows by. They appear and exist like characters.
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Quint, Cordula. "Mise en scene of postmodern groundlessness : perception and subjectivity in Robert Wilson's Hamletmachine." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=232596&T=F.
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"Rewriting the detective novel: A study of "L'Emploi du temps," "Les Gommes," and "La Mise en scene"." Tulane University, 1988.
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The works of the French New Novelists which adapt elements from popular detective fiction illustrate the process of generic evolution and regeneration in which, according to Roman Jacobson, minor or extraliterary forms often provide the materials for renewing older, canonical genres. This study investigates the relation between traditional detective literature and the New Novel and then submits three novels to detective-fiction readings: Michel Butor's L'Emploi du temps, Alain Robbe-Grillet's Les Gommes, and Claude Ollier's La Mise en scene An examination of the works of Edgar Allan Poe and Golden Age detective writers such as Arthur Conan Doyle, Dorothy L. Sayers and Agatha Christie reveals an unusual approach to realism which expresses an awareness of its fictional nature, a strong emphasis on the contributing role of the reader, and a capacity for self-commentary. In their theoretical writings, Butor and Robbe-Grillet express particular interest in these aspects of fiction and often use terms associated with detective literature as a kind of metalanguage with which to discuss their aesthetic concerns The three New Novels which are treated show the way their authors alter the rules of the detective genre, transforming the roles of detectives, criminals, and victims, subverting the teleological flow of the text, innovatively using emblems of detective fiction such as the double and the labyrinth both formally and thematically to enhance the plurality of the texts, and calling attention to the participation of the reader. Thus, the lowly detective story makes important contributions to the New Novel and is itself remade in the process<br>acase@tulane.edu
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Pater, Dominik Lukasz. "Biography and the digital double: the projected image as signifier in the mise en scene of live performance." Thesis, 2011. http://hdl.handle.net/10539/10458.
Full textAbstract:
This research report examines the role of the projected image in the creation of meaning in theatre-based live performance, through the interaction and integration of the projection, the live performer and the staged environment, termed as intermedia performance. The report is based on findings gleaned from my own creative practice and documents a process of practice-led research. It begins by establishing a historical context for this type of creative practice by tracing the development of intermedia performance in the twentieth century. It then takes five of my performance works as case studies, reflecting on the successes and shortcomings of each work in relationship to the stated goal of integrating the projected and live elements of each performance, with major emphasis placed on the analysis of my staged work Heaven and Hell :The Life of Aldous Huxley. In the analysis, a theoretical framework is introduced in the form of Steve Dixon’s digital double, Phaedra Bell’s Dialogic Media Productions and Inter-media Exchange, as well as Philip Auslander’s notion of liveness. The report concludes that the major shortcoming of Heaven and Hell was the tendency of the projected image to overwhelm the live performer both aesthetically and – through mostly temporal constraints – to stifle the potential of the live performance medium in providing a more inclusive and visceral experience for its audience than that offered by exclusively screen-based media. My findings focus on the need to make use of physical computing technologies such as motion sensors in intermedia performance in order to empower live performers and to create more scope for spontaneity and true interaction between the live and the projected.
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Auger, Anne-Marie. "Le nerf du corps : racines, correspondances et contamination des images de folles au cinéma." Thèse, 2012. http://hdl.handle.net/1866/8879.
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Ce mémoire de maîtrise étudie la mise en scène de la folie des femmes au cinéma. Notre hypothèse est qu’il est possible d’appréhender la folie en tant que forme esthétique et ainsi, d’isoler un répertoire de figures essentielles à la mise en scène et à la mise en jeu des corps féminins. En partant d’une définition « fuyante » de la folie, il s’agit de dégager la folle de la pathologie et d’examiner plutôt comment les images peuvent se faire écho et rejouer dans l’Histoire une série de « procédés figuratifs » à l’écran. Nous nous intéressons d’abord au grand bassin imaginaire dans lequel se construit l’iconographie de la folie des femmes au cinéma. Nous montrons ainsi comment la mémoire visuelle de la folie est tirée de tous les côtés par un réseau d’images plus anciennes et soulignons l’importance du spectaculaire dans ce bassin esthétique. Ensuite, nous étudions le mouvement des corps fous au cinéma. Nous démontrons comment la mise en scène de la folie donne accès à un répertoire de formes d’expressions reconnaissables : syncope, rire hystérique, jouissance, chutes, redressements, tics, contractures, etc. Finalement, en nous appuyant sur les notions d’emprunt et de contagion, nous démontrons l’importance du geste dans la compréhension des corps délirants au cinéma.<br>This thesis examines the mise en scène of female madness in film. We believe that it is possible to understand madness as an aesthetic form and thus isolate a repertoire of figures essential to the interpretation and performance of female bodies. Beginning with an “elusive” definition of madness, we can conceptualize it outside of the pathology and consider instead how the images can be reflected in History and replay a series of "representational processes" on the screen. Firstly, we are interested in the great repertoire in which imagination builds the iconography of female madness in film. We show how a network of older images influences from different angles the visual memory of insanity and we stress the importance of the “spectacular” aspect of this iconography. Secondly, we study the motion of bodies in chosen films. We demonstrate how the mise en scène of madness gives access to a repertoire of recognizable forms of expression: syncope, hysterical laughter, ecstasy, falls, tics, contractures, etc. Finally, based on the concepts of mimesis and contagion, we demonstrate the importance of gesture in understanding madness in film.
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AYTAC, DENIZ OZGE. "Costume culture: a traveling exhibition system for the Costume Museum of Canada." 2014. http://hdl.handle.net/1993/23567.
Full textAbstract:
The Costume Museum of Canada (CMC) is the first of its kind in Canada. It works as a comprehensive repository where Canadian clothing and textile artifacts are collected, preserved, and presented. Traveling exhibits are important to the CMC to present the collection to a wider audience; however, the CMC’s financial limitations restrict how they can support traveling exhibitions. This practicum project addresses the desire of the museum for a facility to stage traveling exhibits by the design of a Traveling Exhibition System (TES) for the CMC. The practicum explores the concepts of cultural communication, narratology and mise-en-scene. It will facilitate Canadian cultural education through the exhibition of CMC’s vast collection of costumes and related accessories in a cost effective and sustainable manner. TES will be an exhibit system that can be set up within existing buildings and spaces. The project offers the possibility for the CMC to generate revenue and to facilitate dissemination of Canadian fashion culture and history regionally and nationally.