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Soares, Elisa Maria Gaudêncio 1950. "Cruz Filipe-viagem do tempo do cinema ao interior do tempo da pintura." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2002. http://dited.bn.pt:80/29957.
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Han, Jane. "Passing through time : the intersection of painting and cinema in the works of Julian Schnabel." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:82ffb3f5-02da-4f37-8315-5ba74c33b139.
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This study examines the intersection of painting and cinema through the oeuvre of American artist Julian Schnabel. A controversial painter who came to prominence in the contemporary art world of the eighties, the study begins by contextualizing Schnabel within the art critical debates of the period. Addressing and revising the perceived reputation of the artist, the first chapter re-positions Schnabel predominantly as an inheritor of various traits of post-war American painting, in particular the somatic, affective and existential treatment of the canvas characteristic of action painting. The body of the study proceeds to compare the ways in which Schnabel’s cinematic practice borrows, extends and thus affirms many of his painterly approaches. Examining his four major film works (Basquiat, Before Night Falls, The Diving Bell and the Butterfly and Miral) in tandem with his paintings, these chapters plot major confluences between the two media, in particular Schnabel’s overall use of a subjective, phenomenological method. Crucially, this aesthetic approach is shown to be in the service of an existential as opposed to epicurean aim, as it is most overtly expressed in his use of the objet trouvé and the dedication. The study ends by changing the vector of analysis to trace how Schnabel’s foray into the cinema may have influenced the aesthetic of his paintings, and subsequently how a reproductive medium such as film is able to push the boundaries of painting, not necessarily to announce its death. Ultimately, the goal of this study, beyond the monographic examination of a single artist, is to propose ways in which the medium of film has contributed to an evolving understanding of visual representation. For, unlike the modernist premise, the assumption is that it is precisely through the interaction and absorption of various formats that a medium can change, evolve and expand.
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Souza, Emiliano Daniel de. "Shakespeare, television, and painting." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/93787.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010Made available in DSpace on 2012-10-25T03:24:44Z (GMT). No. of bitstreams: 0
Este estudo trata da adaptação de peças de William Shakespeare à televisão. Abrange, em especial, duas produções da BBC Shakespeare Series, a saber, Antony and Cleopatra (1981), dirigida por Jonathan Miller, e Cymbeline (1983), dirigida por Elijah Moshinsky. Ambas foram filmadas numa época em que a maioria dos produtores e diretores da BBC concebiam a televisão como um meio no qual as produções tinham que parecer mais realísticas possíveis, como numa abordagem fílmica realística. Miller e Moshinsky, por outro lado, fizeram uso de estilização#uma abordagem não realística#em suas produções, tomando pinturas do final do século XVI e do século XVII como inspiração para a composição de cenários, figurinos, iluminação e organização do espaço. Este estudo busca fazer uma análise comparativa de elementos visuais das referidas produções, assim como verificar a presença e a eficácia de estilização como abordagem de se televisionar as peças de Shakespeare.
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Takayama, Luiz Roberto. "Filmar as sensações: cinema e pintura na obra de Robert Bresson." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-11122012-100719/.
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É sabido que antes de se consagrar ao cinema Robert Bresson se dedicou à pintura. Mas é talvez ainda mais significativo o fato de continuar a se definir como pintor, mesmo após ter trocado definitivamente o pincel pela câmera. No entanto, contrariando, a partir disso, uma expectativa natural, não é tarefa fácil identificar referências pictóricas em seus filmes. Donde a suspeita de que as relações entre a pintura e o cinematógrafo de Bresson não sejam assim tão evidentes, devendo, portanto, ser procuradas noutra parte. Tal é a hipótese de que partimos. Propõe-se estudar aqui a obra teórica e cinematográfica de Bresson segundo a relação problemática que ela entretém com a pintura. Procuraremos mostrar que essa relação pode ser entendida através de uma lógica da sensação, tal como Deleuze a encontra em ato na pintura de Bacon e de Cézanne, e que acreditamos também vigorar no cinematógrafo de Bresson. Ora, a essa lógica corresponde uma síntese temporal marcada por três momentos: um primeiro tempo pré-pictural, no qual se trava um combate contra os clichês mentais que cobrem a tela antes mesmo de se começar a pintar; um segundo tempo caracterizado pelo diagrama através do qual a representação é submetida a uma catástrofe; por fim, a expressão do fato pictural, ou seja, a sensação. É principalmente pela estética de Henri Maldiney, tal como ele soube extraí-la das análises de Erwin Strauss sobre o sentir, que buscaremos compreender como a sensação se encontra no centro das preocupações do pintor Bresson.It is well known that before devoting himself to cinema, Robert Bresson was dedicated to painting. The fact he continued to define himself as a painter, even after he had definitively exchanged the brush for the camera is perhaps even more significant. However, contradicting a natural expectation from this fact, it is not an easy task to identify pictorial references in his movies. From there arises the suspicion that relationships between painting and Bressons cinématographe are not that evident, and therefore, should be sought elsewhere. Such is hypothesis that we set out on. We hereby propose that the theoretical and cinematographic work of Bresson be studied herein according to the problematic relationship it maintains with painting. We will try to show that this relationship may be understood by means of a logic of sensation, such as Deleuze finds in action within the paintings of Bacon and Cézanne, and that we believe is also present in Bressons cinématographe. Well, this logic corresponds to a temporal synthesis marked by three moments: a first prepictorial time, in which there is a struggle against mental clichés which cover the canvas even before one starts painting; a second time characterized by the diagram by means of which the representation is submitted to a catastrophe; and at last, the expression of the pictorial fact, that is, the sensation. It is mainly by the aesthetics of Henri Maldiney, just as how he knew to extract it from analyses of Erwin Strauss on feeling, that we will seek to understand how sensation is found as the major concern of the painter Bresson.
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Novaes, Marcus Pereira 1977. "A potência do contraste da cena dramática." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253928.
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Orientador: Antônio Carlos Rodrigues de AmorimDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: O trabalho busca conectar filosofia e arte no campo da educação, pensando a urgência de apontar fissuras de uma constituição moderna fechada em uma estrutura de um sujeito vinculado a saberes autorizados a dizê-lo como verdade. No campo das artes em seu estreito vínculo com as imagens, apostaremos neste trabalho em um tipo de imagem, que chamaremos de imagem-contraste, contraste em uma conexão com a filosofia da diferença, com a qual pensamos ser importante para a intensificação do entre polos: gênero, classificação, juízo. Encontro com esses tipos de imagens que poderia permitir o pensamento, pensar no intervalo, escapando à identificação e ao reconhecimento imediato de gêneros e modelos estéticos universais. Parece possível, no encontro com imagens, termos uma oportunidade de sentir algo diferente, mas que ainda não necessariamente sabemos o quê
Abstract: This work seeks to connect Philosophy and Art into the field of Education, thinking the urgency of pointing fissures of a modern constitution closed in a structure of subject linked to knowledges authorized to say it as a truth. In the field of Arts in its closed link with the images, we bet on this work in a sort of image, that we called contrast-image, contrast in a connection with the philosophy of difference, with which we think to be important to the intensification between poles: genre, classification, judgment. An encounter with this kind of images that could allow the thought to think in the interval, escaping from the identification and the immediate recognition of genres and universal aesthetic models. It seems possible, in the encounter with images, to have the opportunity of feeling something different, which we cannot necessarily know what it is
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Diehl, Eric M. "Death Vegas Valley." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4266.
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My work explores hallucinatory landscapes of the US American West by using a combination of painting styles outside of the Western painting canon. I cross-reference painting and cinema, interweaving video, acrylic paint and the panorama to create a satirical homage to the history and present state of the USA. However, through an earnest devotion to the medium - both painting and cinema - I find my criticisms also yearn to hold onto a belief in a myth I know to be false.
This is an American History conversation about artifice and consumerism through advertising. I use Las Vegas and the Mojave Desert as my metaphor. Las Vegas’ rapidly expanding population has displaced actual plants and animals to replace them with artificial sculptures of the desert cactus and coyote. This desert landscape occupies what was previously Mexico and before that Indigenous lands. TV and hallucinogens play a part in my work - as a means to tap into the psychological staticky holiness of the desert, and I use certain painting techniques to mimic the optical effects of these phenomena. These techniques reference my experience with theater backdrop painting and psychedelic movie posters as well as kitsch hobbyist landscape painting. My focus is the specific territory outside of the National Parks service, the government lands leased to mining companies and housing developers. These are the mystical desert tracts of spacious landscape, just as ecologically important to the whole, yet considered “not quite pretty enough” to warrant a National Park sign or roaming ranger.
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Camarneiro, Fabio Diaz. "Cinema inocente: artes plásticas e erotismo em Filme de Amor, de Júlio Bressane." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-22092016-141955/.
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Em Júlio Bressane, artes plásticas e erotismo são dois dos principais elementos de uma constelação particular que inclui a literatura, o modernismo brasileiro, a canção popular e, é claro, o próprio cinema. Em Filme de amor (2003), Bressane coloca em pauta o corpo nu e a questão do olhar, em uma pesquisa estética ligada a uma tradição pictórica que vai do Renascimento italiano (Sandro Botticelli, Raphael Sanzio) e da pintura espanhola (Diego Velázquez, Francisco Goya) até o realismo (Gustave Courbet) e o surrealismo de Balthus - nome central para o longa de 2003 - passando pela psicanálise (Lacan). Para Bressane, \"cinema inocente\" pode referir-se tanto aos filmes eróticos do Primeiro Cinema quanto ao momento da história das formas cinematográficas em que, dada a falta de referências anteriores, tudo é invenção. Nesse sentido, liberdade formal e liberalidade comportamental aproximam-se para criar uma espécie de utopia, uma \"Arcádia\" pessoal idealizada por seu cinema - época \"inocente\" e mitológica, anterior ao homem provar da árvore do fruto do conhecimento. A questão da melancolia (Benjamin) será central para entender o cinema de Bressane, bem como a ideia da História como fragmento e ruína.Painting and eroticism are two main elements in Júlio Bressane\'s own private constellation that also includes literature, Brazilian modernism, popular Brazilian music, and cinema itself. Filme de amor (2003) deals with the questions of the naked body and the gaze, and connects itself with a large tradition, from Italian Renascence (Sandro Botticelli, Raphael Sanzio) and Spanish painting (Diego Velázquez, Francisco Goya) to realism (Gustave Courbet) and Balthus\' surrealism - a main artist for the 2003 film. Besides all that, it touches psychoanalysis\' issues related to Lacan\'s theory. To Bressane, \"innocent cinema\" may refer to erotic films from Silent Cinema or to the moment in the history of film forms when, as there were no previous references, everything is an invention. So, both formal and sexual freedom came closer and creates some kind of utopia, an own personal \"Arcadia\" idealized by Bressane\'s films: an \"innocent\" and mythological age, previous to man has proved the forbidden fruit of knowledge. From Benjamin, the director learns the ideas of Melancholy and of History as fragment and doom.
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Merino, Serrat Imma. "Subjectivitat i autorepresentació en el cinema d'Agnès Varda." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/109378.
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Agnès Varda ha deixat empremtes visibles de la seva subjectivitat en una filmografia desenvolupada pràcticament en sis dècades. El propòsit és abordar el conjunt de l’obra cinematogràfica de Varda rastrejant-hi aquestes empremtes subjectives, lligades a una manifestació de l’autoria, a través dels comentaris escrits i dits per la mateixa cineasta inscrits en els films; i també fer atenció a les diverses formes d’autorepresentació en relació amb la projecció de la cineasta en diversos personatges de les seves ficcions i la presència física d’ella mateixa a les imatges. Analitzant aquests elements, el text vol considerar les aportacions de Varda a la modernitat cinematogràfica en la mesura que, amb una gran llibertat creativa, ha inventat noves formes posant en qüestió les convencions genèriques, entre les quals la divisió entre documental i ficció.Agnès Varda has left visible imprints of her subjectivity in her filmography developed over the last six decades. The objective of this doctoral thesis is to consider her entire cinematograghic work scrutinizing these subjective imprints and, through the filmmaker’s voice on off commentaries, linking them to a manifestation of authorship and the desire to exemplify that the world is represented through a singular point of view. Attention is called to the diverse forms of self-representation in the projection of the filmmaker through diverse characters as well as her physical presence in images. Analizing these elements, this text considers Varda’s contribution to modern cinematography to the extent that, through great creative freedom, she has invented new forms which question generic conventions, amongst them the distinction between documentary and fiction.
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Pereira, Maria de Fátima Junqueira. "Verdades inventadas - Pinturas de cenas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-21092009-112410/.
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Esta dissertação tem como objeto de estudo a minha produção de pintura entre os anos de 2006 e 2008 e as relações que esta estabelece com as séries produzidas anteriormente durante minha permanência na Alemanha. O vínculo entre estes trabalhos dá-se principalmente através do uso da fotografia - da sua manipulação e posterior releitura através da pintura - que tem como tema as relações com o cotidiano tanto através da Internet como do contato direto com pessoas e coisas. A montagem destas pinturas no espaço é outro elemento importante dentro do processo de trabalho que enfatiza as relações com o espectador e com a lógica interna da própria pintura.This paper has as a study purpose my painting production between the years of 2006 and 2008 and the relations that it established with the series previously produced, during my time in Germany. The link between these works occurs mainly through the use of photograph of its manipulation and the subsequent reinterpretation through painting -, which has as subject the relations with the everyday life, whether through the Internet or through the direct contact with people and things. The montage of these paintings in space is another important element within the work process, which emphasizes the relations with the audience and the internal logic of painting itself.
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Cheval, Olivier. "Le partage de la douleur : une anthropologie figurative du cinéma contemporain." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2139.
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Ce travail part d’une double intuition de Georges Bataille. D’une part, une loi qu’il énonce au Collège de Sociologie : « Les êtres humains ne sont jamais unis entre eux que par des déchirures ou des blessures ». D’autre part, l’idée que les œuvres d’art sont, depuis Lascaux, les traces d’une archéologie de la vie communautaire des hommes, le chiffre d’un non-savoir sur la sphère du sacré qui fait tenir les hommes ensemble, à travers quelques figures-limites (le cadavre, les larmes, l’orgie, le sacrifice). Ces deux intuitions me permettent de définir l’anthropologie figurative comme la discipline qui cherche dans les images une pensée figurale de la communauté, et le partage de la douleur dans le cinéma contemporain comme l’un de ses objets privilégiés. Les pensées contemporaines de la communauté (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) m’autorisent cette hypothèse : le cinéma contemporain a désormais moins affaire à la construction politique d’un peuple qu’à la figuration de communautés trouvant dans l’événement du partage leur seule fin. Or, seul un travail figural peut contrevenir à la solitude du corps souffrant et défaire sa clôture pour l’inclure dans un groupe pathétique qui synchronise des gestes ou assemble des chairs. Le corpus international de films que je constitue autour de la survivance de figures de la communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) ou d’une figuration chorégraphique du soin (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) relève d’un réalisme figuratif qui demande à être étudié non pas sous l’angle d’une politique de l’esthétique (Jacques Rancière), mais d’une impolitique de la beauté. Soit l’idée que l’art est ce lieu où la puissance du pâtir et la puissance du partage, sans faire une politique, autorisent l’espoir d’une communauté prochaineThis work started with two crucial insights from Georges Bataille’s œuvre. On the one hand, Bataille formulated a law on the constitution of community in the Collège de Sociologie: “Human beings are only linked together by wrenches or wounds”. On the second hand, he elaborated the idea that works of art are, since Lascaux, the traces of an archaeology of men’s community life, the code of a “non-savoir” about the sacred sphere which ties men together thanks to some borderline figures (the corpse, the tears, the orgy, the sacrifice). These two ideas allow me to define figurative anthropology as the discipline that seeks a figural thought of community in images, and the sharing of pain as one of its privileged objects. Contemporary thoughts of community (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) allow me to state this hypothesis: contemporary cinema is not pertaining to the political construction of a people but to the figuration of communities which find in this very sharing their sole purpose. Only a figural work can contravene to the loneliness of a suffering body and break its closed isolation into include it in a pathetic group that synchronises gestures and assembles fleshes. The international corpus of films that I put together about the survival of figures of communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) or the choreographic figuration of care (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) comes under a figurative realism which has not to be studied from the point of view of the politics of aesthetics (Jacques Rancière), but of the impolitics of beauty: that is to say that art is the place where the capacity for suffering and sharing, without leading to a political construction, allows the hope of an imminent community
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Maatoug, Safa. "Peinture et cinéma d'animation : investigation en poïétique chromatique." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20050.
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Cette thèse en poïétique chromatique porte sur les relations entre peinture et cinéma d’animation. Elle s’intéresse en particulier à l’œuvre picturale et cinématographique de Florence Miailhe. Fondamentalement, cette thèse repose sur une pratique artistique personnelle, nourrie de nombreuses et diverses expériences ; elle a pour objectif de participer aux approches contemporaines de la création et de la réflexion artistique et dans l’objectif de donner à mon travail une visibilité infinie aux pratiques artistiques cinématographique.Il s’agit d’une recherche expérimentale qui permet d'approfondir des connaissances sur l’originalité de l’expérience des artistes cinématographiques, d’expliquer et d’analyser leurs films, de montrer le sens et l’étude poïétique chromatique de leurs créations et son impact dans le domaine des arts plastiques ainsi dans le cinéma. Ma volonté est de dégager le caractère innovant et d’étudier les répercussions techniques, scénaristiques et esthétiques. Il en ressort que cette investigation se veut prioritairement poïétique sans pour autant négliger les aspects esthétiques et symboliques. Par conséquence, la recherche dépend de penser à la couleur esthétiquement, symboliquement ainsi que sociologiquement. Les enjeux de la couleur ainsi les notions de coloris, d’invention, des créations seront questionnéesThis thesis in chromatic poïétic focuses on the relation between painting and animated cinema. it is particularly interested in Florence Miailhe's pictorial and cinematographic work.This thesis is based on a personal artistic practice, nourished by many different experiences; it aims to participate in contemporary approaches to artistic creation and reflection and in the objective of giving my work infinite visibility to cinematographic artistic practices. It is an experimental research which allows to deepen knowledge on the originality of the experience of the cinematographic artists, to explain and analyze their films, to show the meaning and the poetic study chromatic of their creations and its impact in the field of visual arts and cinema. I want to identify the innovative character and to study the technical, scenic and aesthetic repercussions. This investigation is primarily poetic without neglecting the aesthetic and symbolic aspects. the stakes of color and the notions of color, invention, creations will be questioned
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Gailleurd, Céline. "Survivances de la peinture du XIXe siècle dans le cinéma italien des années 1910 : la peinture aux origines du cinéma ?" Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10227.
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Cette étude centrée sur le cinéma italien propose de décrire les liens prolifiques et complexes qui se sont noués entre la peinture du XIXe siècle, européenne et surtout italienne, et les films italiens allant de 1905 (La Presa di Roma, Alberini) à 1920 (La serpe, Roberti). Du filon historique aux mélodrames des dive, de la figuration enthousiaste de l’Histoire, au lyrisme de la passion amoureuse, un effet pictural hante les images cinématographiques qui portent en elles « le ferment d’un tableau possible » (Eric Rohmer). Il s’agira donc de penser les formes de partage entre cinéma et peinture, suivant l’étude iconographique de motifs (gestes, postures, décors, accessoires) et d’éléments formels (composition, cadre, échelle des plans, montage) ouvrant sur la question des styles, que le cinéma prolonge et altère : néoclassicisme, académisme, orientalisme, préraphaélisme, symbolisme, Art Nouveau. Ces notions d’esthétique permettent un rapprochement entre l’histoire de l’art et l’histoire du cinéma, et ouvrent sur la question de la survivance des images. Au moment où l’on enregistre sa disparition en faveur de l’abstraction, la peinture figurative du XIXe siècle persiste, se prolonge, et survit au cinéma. En retour, le cinéma italien des années 1910 tire une part de sa vitalité d’une matière picturale qui appartient déjà au passé. Cette recherche met ainsi à jour une série de questions permettant à la fois de revisiter un pan de l’histoire du cinéma italien, peu étudié en France, et plus largement de penser la relation du cinéma aux autres artsThis study centers around Italian cinema and proposes to describe the prolific and complex connections that developed between 19th century painting (European and mostly Italian) and the Italian films from 1905 (La Presa di Roma, Alberini) to 1920 (La Serpe, Roberti). From the historical inspiration to the dive melodramas, from the enthusiastic portrayal of History to the lyricism of passionate love, a pictorial effect haunts these cinematographic images in which can be found « the seed of a possible painting » (Eric Rohmer). Therefore, one needs to reflect on what cinema and painting share, following the iconographical study of figurative (gestures, postures, scenery, props) and formal elements (composition, frame, field size, editing) that lead to the question of the styles that the cinema prolongs and alters : neoclassicism, academism, orientalism, pre-Raphaelitism, symbolism, Art Nouveau. These aesthetic ideas allow for a convergence between the history of art and the history of cinema, which opens the question of the images' survival. At a time when 19th century figurative painting was being replaced by abstract art, it persisted and survived in cinema. In return, Italian cinema of the 1910s drew part of its vitality from pictorial material that already belonged to the past.Thus, this research brings to light a series of questions that allow for both a revisitation of a rarely studied period of the history of Italian cinema and more generally to reflect upon the relationship between cinema and other artforms
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Gassin, Alexia. "L’œuvre de Vladimir Nabokov dans le contexte de la culture et de l’art allemands à l’époque de l’expressionnisme." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040225.
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Les études nabokoviennes témoignent de la tendance à laisser de côté la possibilité de l’influence de la culture allemande sur l’œuvre de Nabokov. Ce principe est surtout né des propos mêmes de l’écrivain qui insista à maintes reprises sur le fait que, bien qu’il vécût en Allemagne, il ne savait pas parler allemand et évitait tout contact avec l’univers allemand. Il est vrai que l’émigration russe à Berlin représentait un État dans l’État. Cependant, les frontières entre les mondes russe et allemand n’étaient pas si étanches. Nabokov passa quinze ans à Berlin et ses livres furent traduits et publiés en allemand par une maison d’édition allemande. Des projets d’adaptation à l’écran de ses œuvres se présentèrent plusieurs fois, en particulier pour le roman Roi, dame, valet. Parmi ses œuvres composées à Berlin se trouvent au moins deux romans, Roi, dame, valet et Chambre obscure ainsi qu’une série de nouvelles décrivant l’univers allemand. Tout cela contribue à supposer que le principe établi au sujet de l’ignorance de l’influence allemande sur son œuvre n’est pas si incontestable. Notre travail a pour objectif de lire l’œuvre de Nabokov dans le contexte de l’art allemand contemporain, notamment de l’esthétique expressionniste dont nous étudions trois thèmes majeurs : la déformation du psychisme humain conduisant au dédoublement de soi, l’ambivalence de l’image féminine et la représentation de la grande ville. Un examen approfondi permet de découvrir des liens avec le cinéma muet et la peinture. Le présent travail vise à introduire un nouveau niveau de lecture des œuvres de Nabokov et à reconstruire le contexte culturel berlinois dans lequel ces dernières furent crééesThe Nabokov studies have tended to ignore the possible influence of the German culture on Nabokov’s works. This position springs from the writer’s often quoted words, which stress that, although he lived in Germany, he could not speak German and avoided any intercourse with the German world. Russian emigration certainly constituted a state within the state but the borders between the Russian and German worlds were not so impenetrable. Nabokov spent fifteen years in Berlin and his books were translated and published in German by a German publishing house. There were several projects for screen adaptations of his works, in particular for the novel King, Queen, Knave. While in Berlin, he wrote at least two novels, King, Queen, Knave and Kamera Obskura (Laughter in the Dark for the revisited version by Nabokov), and a series of short stories which describe the German world. All this undermines the principle established about the ignorance of German influence.Our thesis aims at reading Nabokov’s works in the context of the German contemporary art, in particular Expressionist aesthetics. We consider three major issues, namely the distortion of the psyche, which leads to an inner division of the self, the ambivalence of the female figure and the representation of the big city. Thus an extensive analysis allows us to reveal links with German silent cinema and with painting which had eluded researchers so far. The present work aims at introducing a new dimension in the reading of Nabokov’s works and at restoring them to the cultural context of Berlin in which they were created
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Mai, Nadin. "The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22990.
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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.
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Rosinski, Milosz Paul. "Cinema of the self : a theory of cinematic selfhood & practices of neoliberal portraiture." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269409.
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This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.
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Salvadó, Romero Alan. "Estètica del paisatge cinematogràfic : el découpage i la imatge en moviment com a formes de representació paisatgística." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/104479.
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La concepció occidental del paisatge, estretament lligada a la seva representació
pictòrica, ha tendit a crear un imaginari paisatgístic de la unitat i la immobilitat que ha
condicionat una part important de les reflexions estètiques al voltant del paisatge.
L'objectiu d'aquesta tesi és plantejar els principis per una estètica del paisatge
cinematogràfic fonamentada en les dues grans particularitats tècniques del cinema: el
découpage i la imatge en moviment. Basant-nos en el diàleg intertextual entre cinema,
pintura i literatura dibuixem una "altra història" del paisatge on la fragmentació,
l'entrellaçament i la mobilitat són els principals mecanismes de representació
paisatgística.
L'estructura de la tesi, en consonància amb l'esperit de la investigació, parteix de la
situació del paisatge en la contemporaneïtat per, posteriorment, emprendre un viatge
arqueològic a través del temps per tal de localitzar els orígens del découpage
paisatgístic i del paisatge en moviment. A través d'aquesta mirada retrospectiva
s'observa com el cinema reescriu i dialoga per la via cinemàtica amb formes
paisatgístiques que estaven disseminades en els altres arts.The Occidental conception of the landscape –that has been closely linked to its pictorial representation- has tended to create an imaginary of the unity and the immobility. It conditioned an important part of the aesthetic refections regarding the landscape. The aim of this thesis is to consider the principles for an aesthetic of the film landscape, which is based on two technical characteristics of the cinema: the découpage and the moving image. Looking at the intertextual dialogue between the cinema, the painting and the literature, we describe “another history” of the landscape where the fragmentation, the entanglement and the mobility are the principal mechanisms of the landscape representation. According to the spirit of this research, the structure of the thesis starts from the situation of the landscape in the contemporary world to go on a later archaeological journey across the time. This trip seeks to locate the origins of the landscape découpage and the moving landscape. Through this retrospective look, we can observe how the cinema rewrite and dialogue by a cinematic way with the forms of the landscape that were spread out in other arts.
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Cueff, Alain. "De la Dernière Cène aux Marilyn, un examen des sources chrétiennes et de leur incidence dans l'oeuvre d'Andy Warhol." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2017.
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L’œuvre d'Andy Warhol a été évaluée dans le contexte culturel du Pop Art en fonction de certains thèmes : condition de l'image médiatique, héritage duchampien, paradoxes du modernisme, statut de la marchandise, unicité de l’œuvre d'art... Ce faisant, la culture propre de Warhol, déterminée par son rapport à la religion chrétienne, a été largement ignorée. Ces essais interrogent l'articulation d'une culture et d'une pensée religieuses à une pratique et à des motifs modernes à partir d'un changement de paradigme et de perspective. Il fallait vérifier comment ces sources chrétiennes se manifestent dans le détail et en évaluer les conséquences sur l'interprétation. Les questions de l'incarnation et de l'individuation, telles qu'il les traite dans ses portraits, ne sont pas envisageables sans une réflexion sur son rapport à la religion chrétienne. Plus généralement, ce point de vue fait ressortir le rapport complexe de Warhol à la modernitéThe work of Andy Warhol has been evaluated in the context of Pop Art, and scholarship favored a number of themes: the condition of the mass media image, Marcel Duchamp's legacy, the paradoxes of modernism, the status of commodities, the notion of originality of the artwork... So that his specific culture, established in a stringent relationship to Christian religion, has regularly been largely ignored. This dissertation envisions the articulation of a religious culture and thinking to modern praxis and topics. Thus, a change of paradigm and perspective is required. It became necessary to substantiate how the Christian inspiration reveals itself in the work and modify its interpretation. The issues of incarnation and individuation, as Warhol handles them in his series of commissioned portraits, can't be understood without an extended examination of his relationship to Christian theology. More generally, this standpoint does stress Warhol's complex attitude towards modernism
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Marini, Alexandra. "De la camera oscura à la "caméra visible" : éloge du plan-séquence dans l'oeuvre de Sam Szafran." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040096.
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En choisissant d’aborder l’œuvre de Sam Szafran par le biais du cinéma et de la photographie, cette thèse a une double visée : - D’une part, démontrer le principe séquentiel qui domine son œuvre. Szafran, qui a appris à voir au cinéma, ne se répète pas, mais crée des images arrêtées d’une séquence globale; et la photographie, de par sa contingence et sa fragmentation, constitue à cette fin un outil essentiel. - D’autre part, il s’agira d’aborder la question du montage tant du point de vue technique, rappelons que l’artiste est célébré comme le virtuose du pastel à travers le monde, que du point de vue cinématographique. Nous établirons que Szafran — homme de cinéma — emprunte la structure d’un plan-séquence pour composer ses images afin de poser le problème du regard, ou, pour le dire autrement, de rendre la caméra « visible ». Ainsi, en exposant Sam Szafran à ses influences clés, notre étude — qui constitue le premier travail de recherche universitaire approfondi sur l’artiste — entend multiplier les analyses autour des processus réflexifs et méthodologiques du travail du peintre. A partir de sources inédites, convoquant tour à tour l’histoire du siècle et la vie intime de l’artiste, elle ambitionne de jeter un jour nouveau sur ce que l’on considère comme « l’une des œuvres les plus secrètes et les plus poétiques de ce temps » (Jean Clair). Enfin, deux volumes d’annexes complèteront cette réflexion par un large corpus d’œuvres et de documents d’archivesBy exploring Sam Szafran’s work through film and photography, the aim of this thesis is twofold: - To highlight the largely sequential nature of his work: Szafran, who learnt to ‘see’ through the cinema, does not repeatedly create the same images - he creates ‘freeze frames’ in a global sequence; and photography, which by its nature is incidental and fragmentary, is an essential tool for achieving this. - To examine the notion of editing: from both the technical - Szafran is of course world famous for his virtuosic pastels - and cinematographic points of view. We will demonstrate that his images resemble sequence shots, as employed in the modern era by Orson Welles, in order to examine how things are seen, or, in other words, to make one aware of the camera’s presence. Hence, by highlighting Sam Szafran’s key influences, our study - which is the first in-depth university study of the artist - aims to analyse every aspect of the painter’s methodological and reflexive approach to his work. Based on completely new sources, relating to both the history of the 20th century and the artist’s personal life, the study’s main aim is to shed new light on the artist’s oeuvre, which is considered to be ‘one of the most mysterious and poetic of our time’ (Jean Clair). This study will be complemented by two volumes of annexes, comprising a large corpus of works and archive documents
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FIACCADORI, CHIARA. "FRANCESCO SCARAMUZZA (SISSA, 1803 - PARMA, 1886)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10488.
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Il presente studio si propone di ricostruire, in una dimensione monografica, la figura di Francesco Scaramuzza, personalità artistica prolifica che ha determinato nella prima metà dell’Ottocento il nuovo corso della pittura parmense. Interprete e portatore di un Romanticismo atipico, fu debitore, a suo modo, tanto della lezione dei Nazareni quanto, più tardi, della svolta lombarda verso i temi contemporanei, senza mai trascurare l’amata impronta correggesca. L’artista attraversa tre distinti momenti di committenza, dal governo restaurato di Maria Luigia d’Asburgo, dopo la parentesi napoleonica, all’infelice intervallo borbonico, presto sfociato nell’annessione al regno Sardo di Vittorio Emanuele II. Sotto la sovrana austriaca giunge all’apice della carriera, subendo, però, una battuta d’arresto con i Borbone a causa delle sue note simpatie libertarie. Trova una conferma nel nuovo governo unitario, il quale gli affida il compito di illustrare la Divina Commedia, la sua opera più nota e più riuscita, che segnerà, dopo diciassette anni di strenuo lavoro, il punto di arrivo della sua carriera d’artista.This study aims to reconstruct, in a monographic dimension, the profile of Francesco Scaramuzza, a prolific artist who determined the new course of painting in Parma in the first half of the 19th century. Interpreter and bearer of an atypical Romanticism, in his artistic development he was inspired by the lessons of the Nazarenes as much as by the Lombard interest in contemporary subjects, without neglecting the beloved imprint of Correggio’s style. Throughout his career he went through three different patronages, from the restored regime of Marie Louise of Hapsburg, after the Napoleonic period, to the unhappy Bourbon interlude, ended quickly with the annexation to the reign of Vittorio Emanuele II. Under the Austrian sovereign he reached the peak of his career, suffering, however, a setback under the Bourbon government because of his well-known libertarian sympathies. His value was recognized eventually by the establishment of the united Italy, who entrusted him to illustrate the Divine Comedy, his most famous and successful work, which will mark, after seventeen years of strenuous work, the conclusion of his career as an artist.
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Louw, Chloé. "La restauration des films muets en couleurs : le cas particulier des films dits "à trucs" réalisés entre 1900 et 1919." Thesis, Université Paris sciences et lettres, 2020. https://tel.archives-ouvertes.fr/tel-02868002.
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La restauration des films muets en couleurs apparaît dans les années 1970. Au départ effectuée grâce à la photochimie, elle se tourne vers le numérique dans les années 2000. A la naissance du cinématographe, les films étaient peints à la main. Petit à petit, d’autres techniques furent inventées, comme le pochoir, le teintage ou le virage. Ces méthodes, difficilement reproductibles aujourd’hui, sont les témoins d’un autre temps, celui du spectacle cinématographique. Ainsi, si le numérique permet de restaurer une version du film, il ne pourra pas reconstituer l’appareillage du cinématographe des années 1900. De la coloration manuelle à sa restauration actuelle, laboratoires et cinémathèques français et italiens tentent de transmettre un patrimoineRestoring coloured silent films started in the 1970s. First achieved thanks to the photochemical method, it then became digitalized in the 2000s. The point is at the beginning of the cinematograph, films used to be hand-painted. Other methods were progressively invented such as stencils, tinting or toning. All these methods, difficult to handle nowadays, remain as the past witnesses of a bygone time, that of cinematography as a live show. Thus, even though digital devices allow some technicians to restore their versions of the films dealt with, they can't reconstruct the craftsmanship of the cinematograph in the 1900s. From yesterday's hand-painting to today's restoration, French and Italian laboratories and Film Archives try to pass on an heritage
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Susmanscky, Bacal Silvia. "Tadeusz Kantor: La construcción del espacio escénico." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/285731.
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Si bien nuestra primera intención fue dedicar el presente estudio a los maniquíes de Tadeusz Kantor, durante la etapa de investigación el foco centrado en ese particular objeto -que el artista consideraba marginal- se fue ampliando en la medida en que, al inscribirlo en una perspectiva teórica como al resto de los elementos escénicos, los cuerpos artificiales aparecieron como otro signo, si bien peculiar, de un lenguaje escénico que vertebraba a todos los demás.
¿Por qué el artista había elaborado una propuesta espectacular centrada en la visualidad, en los objetos, en el cuerpo del actor -no en el actor- o sus repeticiones artificiales? El marco de la revolución teatral de principios del siglo XX y las décadas siguientes lo explican en parte. Sin embargo, el recurso constante de Kantor a la reflexión teórica durante la creación de sus espectáculos y su práctica paralela de la pintura -que plantea sus propios cuestionamientos- nos permitieron acceder a un terreno más vasto e inexplorado que el de las concomitancias con las vanguardias artísticas pasadas y actuales. En dichos escritos Kantor libra una batalla permanente contra la representación en el campo del arte, prolongando batallas anteriores, pero planteando sus estrategias ocupando, paradójicamente, el terreno de lo supuestamente representable: la realidad y el objeto real.
A esta pregunta siguió otra, inherente a ella: ¿cómo se hizo realidad en la escena una realidad vital que se negaba a representar? Ambas apuntan a dos de las direcciones en que se mira el teatro de Kantor: en primer lugar, al teatro mismo y luego, a los demás discursos que lo atraviesan -plásticos, literarios, estéticos, históricos, éticos y religiosos- sumados a la memoria personal, presente en sus últimas puestas en escena, y el paulatino giro autobiográfico que estas van adoptando. De aquí que hayamos acudido a dichas disciplinas en la elaboración de algunas respuestas.
En consecuencia, se ha dedicado un espacio considerablemente mayor a la segunda pregunta, el “cómo”, en tanto la pregunta sobre el “por qué” inicial alude a los fundamentos de su opción artística, pero del “cómo” deriva la hipótesis de partida: establecer un marco de comprensión en el cual la construcción del espacio escénico, colonizado por la realidad vital a través de los objetos, sea capaz de dar cuenta de la complejidad y la interdisciplinariedad de la creación de Tadeusz Kantor y los dispositivos de que se sirvió para desterrar la representación de la escena y sostener la autonomía de la obra de arte.
Acorde con las dos preguntas acerca de la escena de Kantor, el estudio fue dividido en dos partes. En la primera se intenta responder a la pregunta de “por qué”, incidiendo en el marco conceptual de las rupturas de la escena kantoriana respecto de lo que se entendía por “teatro”, para lo cual se han abordando las nociones de representación versus repetición y de la ilusión teatral. Estas cuestiones hacían necesario especificar a qué clase de realidad pertenecían sus creaciones teatrales, que cumpliera la premisa de no ser representable, que nos ha remitido a los textos de Bruno Schulz, en los cuales se apoya su propia concepción. Está dividida en tres capítulos. El primero gira en torno al eje dicotómico realidad/ representación el cual, según la nomenclatura de Michel Foucault, enfrenta el “orden del espejo” al “orden de la repetición”. Dichos conceptos apuntalan la comprensión de la escena de Kantor en la segunda parte. El artista opondrá la repetición a la mimesis como estrategia para tergiversar las categorías representativas, en especial los aspectos temporales, al enfrentar el tiempo circular de la primera al tiempo cronológico de la segunda. El espectáculo paradigmático de esta estrategia será Wielopole, Wielopole (1985), que desde el título constituye la puesta en escena de la repetición, que sustraía a la creación de la categoría de lo ilusorio y la integraba en una realidad otra, la del campo artístico, en el cual se inscribe la obra total de Kantor.The present dissertation is about the scenic construction of the polish artist Tadeusz Kantor, one of the revolutionaries in the theater of the second half of XXth. Century. His theater is very visual and he developes it in paralel with painting, so we begin on the research from a multidiscilinary point of view. Besides, Kantor’s interests includes other areas of the creation and knowledge, too. Our framework of departure were the semiothics in the theatre in order to read the kantorian scene as a construction bringing the simultaneous destruction of the tradicional drama as the main objective. The theoretical writings by Kantor and others philosophical, criticism, literary, poetic ideas held our writing in order to stablish in which way Kantor had built a non mimethic reality on the stage. Alter this we went on with the analysis of each one of the theatrical signs and we followed them through the metamorphosis of one spectacle to another. At the same time we compared them with the artist’s writings and their influencies in the field of the Polish and European culture. In that comparative course we tried to underline all the time which had been the conceptuals ways and performance strategies always hetherodox in order to dammage the reputation of each one of the mimethic theater supposits and to built his own scene.
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Deves, Cyril. "Une figure emblématique dans les arts du XIXème siècle en France : Don Quichotte." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20118.
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Le Don Quichotte de Cervantès a inspiré tous les domaines artistiques du XIXème siècle (1789-1914). Le choix de regrouper dans un même corpus les arts graphiques et plastiques, les arts populaires, les arts du spectacle et cinématographiques, permet de voir comment les arts s’influencent, se répondent ou s’opposent. Le Don Quichotte est, comme tout sujet littéraire traité dans les domaines artistiques, confronté à son image littéraire, celle créée par son auteur. Notre volonté est de distinguer comment se profilent puis se figent les caractéristiques physiques des personnages principaux au cours du XIXème siècle et ce, principalement en France.Les artistes sont amenés à interpréter le texte. Ils se détachent de l’image littéraire pour s’intéresser aux possibilités plastiques et iconographiques qu’offre le roman de Cervantès. Au-delà de la traduction plastique d’un texte littéraire, l’enjeu est de comprendre comment les artistes parviennent à s’insérer dans la pensée de leur société, c'est-à-dire comment ils arrivent à influer sur la lecture d’une œuvre littéraire. En comparant l’iconographie de don Quichotte à celle d’autres héros, il s’agit de voir en quoi le personnage créé par Cervantès permet aux artistes de se réapproprier cette silhouette et à quelle fin. Son image est largement exploitée dans les domaines de la publicité et de la caricature. L’étude vise à saisir par quels moyens les deux héros vont se retrouver transposés dans une société pour en faire, tantôt la critique, tantôt l’apologie, au gré des contingences politiques, économiques et sociales, voire oniriques ou fantaisistes, c'est-à-dire sans substrat critique et par pure référence ludiqueThe Don Quixote of Cervantes has inspired all fields of arts of the nineteenth century (1789-1914). The choice to group in one corpus the visual arts, popular arts, performing arts and film, let us see how the arts influence, answer or oppose each other. The Don Quixote is, like any literary subject within the arts, confronted with his literary image. Our desire is to distinguish the emerging profiles of the main characters of nineteenth century France and then analyse their physical characteristics.Artists are asked to interpret the text. They detached themself from the literary image and have greater interest in the visual and iconographic opportunities offered within the novel of Cervantes. Beyond the visual translation of a literary text the challenge is to understand how artists manage to fit into the thinking of their society, or in other words, how they can influence the reading of a classic work of literature. By comparing the iconography of Don Quixote through other heroes we can understand how the character allows artists to adapt this figure and for what purpose. His image is widely used in the fields of advertising and caricature. The study aims to understand the means by which the two heroes will find themselves transposed into a society to make, sometimes critical, sometimes complientary comments, according to the political contingencies, or economic, social, even whimsical and fantastical i.e. without a basis of critical reference and amusing
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Salas, González Carlos. "Del cine a las artes plásticas. Relaciones e influencias en las vanguardias históricas." Doctoral thesis, Universidad de Murcia, 2010. http://hdl.handle.net/10803/10886.
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Las relaciones existentes entre el cinematógrafo y las artes plásticas durante las primeras décadas del siglo XX son una de las señas de identidad de un período artístico protagonizado por los movimientos vanguardistas. En efecto, fotografía y cine se unen a pintura y escultura en el maremagno de creatividad y experimentación que vivió el arte al calor de las vanguardias históricas. Pese a ser numerosas y evidentes las influencias que el cine recibió de las artes plásticas en esas primeras décadas del siglo, lo que se quiere abordar en esta investigación no es esta vinculación sino, precisamente, su inversa. De lo que se trata, pues, es de investigar, evidenciar y explicar las influencias del medio cinematográfico en las artes plásticas, a nivel formal, expresivo o iconográfico, influencias que, como es lógico, resultan especialmente significativas en la pintura.The existing relations between the cinematograph and the plastic arts during the first decades of the 20th century are one of the identity signs of an artistic period led by the avant-garde movements. In fact, photography and cinema join painting and sculpture in the maremagnum of creativity and experimentation that art lived with the historical avant-garde. In spite of the fact that the influences that cinema received from plastic arts in these first decades of the century are numerous and evident, what must be faced in this investigation is not this link but, precisely, his opposite. What we are dealing with, thus, is investigating, demonstrating and explaining the influences of the cinematographic means in the plastic arts, at a formal, expressive or iconographic level, influences that, naturally, turn out to be specially significant on painting.
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Bouchindomme, Marie Camille. "Pièges de l'île et de l’oeil au cinéma et en peinture." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030075.
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A travers des oeuvres cinématographiques, picturales et littéraires, d’Homère aux frères Quay, en passant par Strindberg, Bergman et Antonioni, cette thèse se propose d’éclairer différentes facettes de l’insularité sur le plan thématique et formel. Monde clos par excellence, l’île impose à l’oeil de nouvelles trajectoires et le cinéaste, comme le peintre, ont en charge d’organiser le chaos. Les réminiscences d’une oeuvre clé, L’Ile des morts, peinte par Arnold Böcklin à la fin du XIXe siècle, font de l’île le terrain de la perpétuelle reprise et de la citation. Elle se présente alors comme pure représentation : décor, mirage ou projection. Les nombreuses occurrences du piège et de la claustration, tant sous la forme du labyrinthe que dans l’utilisation répétée du dispositif de la mise en abyme, tendent à faire de l’île un lieu de rétention. Mais l’île est aussi une terre maternelle qui invite à de nombreuses formes de régression. Protégée comme l’Eden, elle offre aux visiteurs la douceur de ses contours et favorise le corps à corps amoureux ou le fantasme d’une seconde naissance. Lieu de l’intimité, l’île décline ses formes féminines dans une série de motifs : grotte, maison, barque, qui produit un effet d’inquiétante étrangeté. L’île est alors une matrice qui peut définir l’imaginaire insulaire jusque dans ses fonctions de tombeau. Ce sont ces différents visages de l’île, séductrice et protectrice ou froide et mortifère, que nous interrogeons au fil des représentationsThroughout the study of film, painting and literature, from Homer to the Quay brothers, through to Strindberg, Bergman and Antonioni, this thesis proposes a thematic and formal exploration of the multiple facets of the Island. As a closed world, the island imposes to the eye new trails that film directors and painters have in charge to organise from chaos. The reminiscences of Arnold Böcklin’s centrepiece Isle of the Dead, painted at the end of the 19th Century, set the island as the home of boundless revival and citation. The island thus appears as pure representation: a scenery, a vision or a projection. The many instances of traps and confinement, through thematic labyrinths and the recurring use of mise en abyme, depict the island as a site of custody. Yet, the Island is also a maternal land that invites many forms of regression. Akin to the Eden, it offers visitors its shapely softness consenting to loving embraces or the phantasm of a rebirth. As a place of intimacy, the island displays its feminine forms in various models including the cave, the house and the rowboat; all of which create a disturbing strangeness. The island is then a matrix that defines the insular imagination, comprising its role as a tomb. Seductress and protector or black and organic, these are the various faces of the island that will be explored over the representations
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Garcia, Anne-Laetitia. "Maria Callas en acte : étude historique et rhétorique d'une actio opératique." Paris 3, 2008. http://www.theses.fr/2008PA030107.
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Entre 1947 et 1965, Maria Callas développe à l’opéra non seulement un chant hors norme qui réactive une ancienne technique, le bel canto, mais aussi un art dramatique consommé. L’essence théâtrale du genre opératique jaillit à nouveau sur son plateau : le corps actant s’unit au corps chantant, le voir s’unit à l’entendre. L’étude des cinq mises en scène de Luchino Visconti et des jeux de correspondances établis par le metteur en scène, points de départ de notre réflexion, ouvre des axes permettant de saisir la réception contemporaine et d’appréhender l’efficacité d’hier. D’une généalogie des monstres sacrés et des techniques actoriales à la problématique de l’Ut Pictura Theatrum, des confrontations analogiques avec différentes références des arts scéniques, des beaux-arts et du cinéma ouvrent des perspectives d’analyse et mettent à jour des notions esthétiques fondamentales. Ainsi, la technè rhétorique se révèle un outil précieux pour comprendre la construction de ce corps en acte, particulièrement avec la notion d’actio (mise en voix et en corps d’un discours), au cœur de l’art de l’orateur, de la construction et de la théorisation de jeu tragique à l’âge classique. Dans le questionnement des arts mimétiques qu’une telle étude implique, les notions de sublime et d’amplificatio s’imposent aussi pour déchiffrer une action scénique dilatée, véhémente et styliséeBetween 1947 and 1965, Maria Callas developed not only an unconventional style of operatic singing while reviving the bygone technique of bel canto, but also her consummate dramatic skills. With her, the dramatic essence of the operatic genre sprang forth anew on the stage : the acting body combined with the singing body, ‘seeing’ combined with ‘hearing’. The study of Luchino Visconti’s five operatic productions and of the correspondence effects he contrived as a director – the starting points of our analysis – opens up new paths which enable us to comprehend both today’s reception and yesterday’s efficacy. From a genealogy of public idols and acting techniques to the problematics of the Ut Pictura Theatrum, analogical confrontations with various references from the performing arts, the fine arts and the cinema, reveal prospects for analysis and bring to light fundamental aesthetic notions. Thus, the rhetorical technè turns out to be an invaluable tool so as to understand the construction of this acting body, especially with the notion of actio – the rendering of speech through the voice and the body – at the core of the orator’s art, of the construction and theorization of tragic acting in the classical age. Through the questioning of the mimetic arts involved by such a study, the notions of the sublime and amplificatio are also essential to the decoding of an expanded, vehement and stylized theatrical (/performing) action
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Morisset, Vanessa. "Peinture et cinéma dans l'oeuvre de Mimmo Rotella autour de 1960." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAH037/document.
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Depuis son invention, le cinéma a bouleversé la culture, au point que, de manière récurrente, des études s'interrogent sur l'influence qu'il a eue dans la pensée d'éminents intellectuels, par exemple Michel Foucault ou Erwin Panofsky. Mais qu'en est-il de l'influence du cinéma dans le travail des artistes ? Mimmo Rotella (1918-2006), peintre d'origine calalabraise installé après-guerre à Rome, spectateur assidu et passionné de cinéma, évoque un grand nombre de films dans un corpus d'œuvres réalisées autour de 1960 : des tableaux à base d'affiches de cinéma, de genres essentiellement populaires, décollées dans les rues. Ainsi, dans le contexte de l'apogée des studios de Cincecittà et d'un pic de fréquentation des salles obscures jamais égalé en Europe, l'articulation de la peinture et du cinéma prend à ce moment précis de sa pratique une tournure singulière qui exprime l'élargissement de l'art à des références inattendues. Mais, ce faisant, ses œuvres ne risqueraient-elles pas de n'être que le symptôme d'une pratique culturelle naissante, jonglant avec des références tantôt cultivées tantôt populaires, que plus tard Hal Foster nomme l'indistinction ou Richard Peterson l'omnivorité, ou incarnent-t-elles une réelle démocratisation de l'art ?Articulées autour du moment fort que constitue l'exposition monographique intitulée Cinecittà en 1962, les différentes parties de la thèse éclairent les aspects du travail de l'artiste qui introduisent le cinéma dans le champ de l'art. Deux bornes chronologiques, un voyage aux États-Unis qui le détourne de la peinture en 1952-53 et un séjour en prison en 1964 qui lui fait fuir l'Italie, l'éloigne du milieu romain et le coupe de la suite du déroulement de l'art italien, sont déterminantes pour la nature et le contenu du corpus d'œuvres étudiées.C'est tout d'abord l'arrière plan social et culturel comme contexte d'émergence du geste artistique Rotella qui est brossé. Ensuite, est opérée une caractérisation précise des films choisis à travers les affiches afin de développer la réflexion sur l'intrusion du cinéma populaire dans l'art. Puis, dans la partie centrale, l'exposition Cinecittà est étudiée depuis sa conception jusqu'à sa réception. La suite de la thèse analyse les conséquences de cette exposition dans l'œuvre de l'artiste qui se tourne vers des films plus reconnus qu'aux débuts, notamment en s'attachant de plus en plus aux figures de stars : un autre aspect de la culture populaire émanant du cinéma s'invite alors dans le milieu de l'art, le phénomène sociologique du fan. Mais étrangement, peu de référence sont faites au cinéma italien qui vit son âge d'or au même moment, ce dernier constat ouvrant une réflexion sur la cinéphilie confrontée à la conception de « l'homme ordinaire du cinéma » selon l'expression de Jean-Louis Schefer.Ponctué par des images qui apparaissent en tête de partie et de chapitre, le texte du volume 1 évoque les œuvres et les décrit, avec des renvois à un ensemble de planches en annexe dans le volume 2. Ces incursions iconographiques rappellent combien les oeuvres sont à la source de l'ensemble de la thèse.Ainsi, le corpus étudié est le point de départ d'une réflexion sur la manière dont le cinéma et la culture médiatique se sont introduit dans l'art italien des années 1950-1960, tout en débordant ce cadre : il permet de penser comment, depuis cette époque jusqu'à aujourd'hui, certaines références médiatiques constituent le socle d'une culture commune entre le public et les artistesSince its invention, cinema has transformed culture, to the point that studies have recurrently questioned the influence it has had on the thinking of prominent intellectuals, for example on Michel Foucault or Erwin Panofsky. But what of the influence of cinema in the work of artists? Mimmo Rotella (1918-2006), a painter from Calalabria who settled in post-war Rome, and an avid filmgoer with a passion for cinema, evokes a large number of films in a corpus of works produced around 1960: canvases based on movie posters, mostly of popular genres, torn off the city walls. Thus, at this precise time, in the context of the glory years of the Cincecittà studios and a peak of cinema attendance unequalled in Europe, the relationship between painting and cinema took a particular turn, reflecting a broadening of the art to unexpected references. But in embracing cinema, were Rotella's works not in danger of merely being a symptom of an emerging cultural practice, juggling sometimes cultivated and sometimes popular references, something which Hal Foster would later dub nobrow or Richard Peterson omnivorousness, or do they represent a genuine democratisation of art?Articulated around the high point of the 1962 monographic exhibition entitled Cinecittà, the various sections of the thesis illuminate aspects of the work of the artist who introduced cinema into the field of art. Two moments in time – a trip to the United States that diverted Rotella from painting in 1952-53 and a prison stay in 1964 that caused him to flee Italy, distancing him from the Roman scene and subsequently cutting him off from what was happening in Italian art – are critical to the nature and the content of the corpus of works studied.We begin by considering the social and cultural context in which Rotella's artistic act emerged. We then undertake a precise characterisation of the films he chose through the posters to analyse popular cinema's intrusion into art. Then, in the central part, the Cinecittà exhibition is studied from its conception to its reception. The thesis subsequently examines the consequences of this exhibition in the work of the artist, who begins to turn to more recognized films, for example by focusing increasingly on stars. Another aspect of popular culture stemming from cinema then enters the art world, the sociological phenomenon of the fan, although, strangely, no reference is made to Italian cinema, which in that very period was enjoying its golden age. This leads to a reflection on the love of cinema confronted with the conception of “the common man of cinema” as Jean-Louis Schefer puts it.Interspersed with images that appear at the head of the parts and chapters of the thesis, the text of volume 1 discusses the works and describes them with reference to a set of plates in the appendix in volume 2. These incursions into the iconography recall that the works are the source of the entire thesis.Thus the corpus studied is the starting point for a reflection on the way film and media culture were introduced into the Italian art of the 1950s-1960s, while extending beyond this context: it points to how, from that time to the present day, certain media references have constituted the foundation of a common culture shared by the public and artists
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Zogovska, Elena. "L'enseignement du Français Langue Étrangère en Macédoine à partir de textes littéraires des XIXe et XXe siècles sur Paris." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA045.
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Le texte littéraire avec sa puissance artistique, historique, linguistique, culturelle et sociologique est un support privilégié pour la classe de Français Langue Étrangère. S’appuyer sur la littérature pour enseigner différents aspects de la langue et de la culture françaises – telle est l’idée principale de notre travail de recherche. Mais quel type de texte littéraire choisir ? Paris – la capitale mondiale de l’art et de la culture, Paris – la patrie des écrivains, des poètes et des artistes, Paris – l’endroit le plus visité sur Terre, Paris – le nid des amoureux et des romantiques, Paris rêvé, Paris adoré, Paris fantasmé : avec cette série d’attributs, la Ville-lumière inspirait hier, et inspire encore aujourd’hui, les écrivains et les poètes des quatre coins du monde. C’est un Paris magique, poétique et festif, mais aussi un Paris infortuné et malheureux qui les inspire, les fascine et les pousse à écrire. Un héritage littéraire exceptionnel s’est donc constitué au fil des siècles. Dans cette optique, un corpus littéraire des XIXe et XXe siècles sur Paris, très varié, composé de romans, de chroniques, de recueils de poèmes et de pièces de théâtre, est au cœur de notre thèse. Trois dimensions sont évoquées : linguistique, littéraire et culturelle. L’étude de plusieurs éléments propres à la langue, puis la découverte des spécificités des genres littéraires français, ainsi que la mise en perspective de nombreuses questions relatives à Paris et à ses habitants – tout cela constitue les enjeux de notre travail. Nous démontrons aussi que la littérature ne s’enferme pas sur elle-même, mais qu’elle s’ouvre, va plus loin et embrasse les autres arts tels que la peinture, la photographie et le cinéma. La littérature perce ainsi de nouvelles voies vers la culture française et rend l’enseignement/apprentissage du FLE encore plus dynamique et plus créatif. Différentes approches et techniques sont mises en œuvre afin que ce bagage linguistique, littéraire et culturel soit acquis de la manière la plus efficace possible par les apprenants de FLEThe literary text with his artistic, historical, linguistic, cultural and sociological power is privileged medium for the class of the French as a Foreign Language. Relying on the literature to teach various aspects of the French language and culture is the main idea of this research. But what type of literary text to choose? Paris – the world capital of art and culture, the home of writers, poets and artists, the most visited place in Earth, the nest of lovers and romantics, Paris dreamed, Paris loved, Paris fantasized: with this series of attributes, the City of light in the past has been and today still is an inspiration for writers and poets from around the world. It is magical Paris, poetic and festive, but also Paris unfortunate and unhappy that inspires, fascinates and drives them to write. An exceptional literary heritage has therefore built up over the centuries. In this context, a literary corpus of nineteenth and twentieth centuries in Paris - very diverse, consisting of novels, chronicles, collections of poems and plays - is at the heart of this thesis. Three dimensions are mentioned: linguistic, literary and cultural. The study of many facts about the language, then the discovery of the specificities of French literary genres, as well as putting into perspective numerous questions on Paris and his inhabitants – all these are topics of my work. I also demonstrate that the literature does not lock in on itself, but opens, goes further and embraces the other arts such as painting, photography and cinema. The literature pierces a new path to French culture and makes teaching/learning of the French as a Foreign Language more dynamic and more creative. Different approaches and techniques are implemented so that linguistic, literary and cultural skills are acquired in the most efficient way possible by the learners of French as a Foreign Language
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Rey, Benito Endika. "Los títulos de crédito como marco de la obra fílmica: [1958-1969]." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/350566.
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Los títulos de crédito son secuencias que cumplen con una función estructural del relato fílmico siendo, a su vez, parte representante del hecho cinematográfico. Su carácter de firma autoral e identificador general integra a todo el equipo de producción así como indica rasgos estéticos y narrativos concretos a través del uso del lenguaje gráfico-audiovisual. Son dispositivos delimitados y limitadores que sitúan el texto en el tiempo y en el espacio, determinan y señalan la relación entre el filme y el espectador e implican un carácter de apertura y clausura. Esta tesis plantea que estas secuencias adoptan la función de marco de la obra fílmica; se propone, así, una redefinición de los títulos de crédito a través de la catalogación de los mismos como el marco de los cuadros, el de las ventanas y el de los espejos. Para ello se integrarán diversos aspectos teóricos relacionados con el borde pictórico, el frame teatral o el paratexto literario entre otros. La investigación se aplica sobre el cine del periodo 1958-1969.Film titles are sequences that fulfill a structural function on the narration of the film. They are at the same time a representative part of the film context. Its character as authorial signature and general identifier integrates the entire production unit and indicates specific aesthetic and narrative features through the use of graphic-visual language. They are delimited and limiting devices that place the text in time and space, they determine and indicate the relationship between the film and the viewer and they involve an opening and closing nature. This thesis dissertation suggests that these sequences take on the role of the film frame; thus, it proposes a redefinition of the credits through their cataloguing as the frame of the paintings, of the windows and of the mirrors. For this purpose various theoretical aspects will be integrated such as the pictorial border, the theatrical frame, or the literary paratext, among others. This research is applied to the films of the period from 1958 to 1969.
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Oggero, Elisa. "Une cinématographie et une scénographie d’avant-garde : Carlo Levi et le cinéma (1930-1950)." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1036.
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Ces dernières années, la production littéraire et artistique de Carlo Levi a fait l’objet d’études approfondies et de nombreuses publications. Cependant, une partie de son œuvre a été négligée par la critique et notamment son activité de scénographe, de scénariste et de cinéaste. La collaboration de Carlo Levi avec l’industrie cinématographique commence au début des années trente et se poursuit jusqu’au début des années cinquante. Pendant ces années, Levi a l’occasion de collaborer non seulement avec des artistes comme Enrico Paulucci, Italo Cremona et Carlo Mollino, avec qui il réalise les scénographies de Patatrac et de Pietro Micca, mais aussi avec des hommes de lettres tels que Mario Soldati, Rocco Scotellaro et Alberto Moravia. Cette étude vise à reconstruire le parcours cinématographique de Carlo Levi en s’appuyant sur des documents d’archives de nature et de provenance différente : des scénarios, des synopsis, des story-boards mais aussi des contrats commerciaux, pour la plupart inédits. Sa production filmique couvre tous les genres : du comique au dramatique, du documentaire à la comédie musicale. Notre travail rend accessible une partie méconnue de l’œuvre de Carlo Levi en contribuant ainsi à la redécouverte de l’un des auteurs majeurs du XXe siècleIn recent years there have been many in depth studies and publications on Carlo Levi's literary and artistic works. However, a section of his work, in particular his work in set design, script writing and film making in general, has been largely neglected by critics. Carlo Levi's association with the film industry started at the beginning of the nineteen thirties and extended to the beginning of the nineteen fifties. During these years, Carlo Levi had the opportunity to work not only with famous artists like Enrico Paulucci, Italo Cremona and Carlo Mollino, with whom he designed the film sets of Patatrac and Pietro Micca, but also with men of letters of the stature of Mario Soldati, Rocco Scotellaro and Alberto Moravia. The aim of this study is to trace Carlo Levi's career in cinema using information found in archived documentation of various types and from various sources: from sets, synopses and story-boards but also in previously unpublished commercial contracts. The films that he produced cover all genres: from comedy to drama and from documentaries to musicals. Our work makes a hereto unknown section of Carlo Levi's work accessible, thereby contributing to the rediscovery of a major 20th century author
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Grene, Ruth. "The Colonizers and Their Colonized." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/99233.
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This study is concerned with the Self/Other dichotomy, originally formulated by scholars of South Asian history in the context of European imperialistic treatments of the peoples whom they colonized for centuries, as applied to Mexican history. I have chosen some visual, cinematic, and literary representations of indigenous and other dispossessed peoples from both colonial and post-colonial Mexico in order to gain some insights into the vision of the powerless, (the 'Other'), held by the powerful (the colonizers, whether internal or external), especially, but not exclusively, in the context of race. Some public and private works of Mexican art from the 18th , 19th. and the 20th centuries are used to understand the perceptions of the Other in Colonial Mexico City, at the time of Independence, in state-sponsored pre and post-Revolutionary spectacles representing indigenous peoples, cinematic representations of the marginalized and the dispossessed from the Golden Age of Mexican cinema, and in the representation of the marginalized in the literary and photographic works of Juan Rulfo. I conclude that an ambivalent mixture co-existed in Mexican culture through the centuries, on the one hand, honoring the blending that is expressed in the word 'mestizaje', and on the other, adhering to a thoroughly Eurocentric world view. This ambivalence persisted from the 18th century through Independence and the Revolution and its aftermath, albeit in transformed 'M. A.
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Seddaoui, Fatima. "Peinture et écriture dans l'œuvre de Marguerite Duras : un peintre du langage ?" Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20042.
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Nous voudrions développer l'idée selon laquelle Marguerite Duras est un peintre du langage. En nous focalisant sur le rapport entre l'écriture et la peinture, nous nous efforcerons de repérer et d'analyser les tableaux évoqués ou inventés et les images façonnées dans les œuvres afin d'éclairer l'intertextualité complexe qui entre au sein des divers réseaux de représentation et partant de toute représentation. Sans prétendre à l'exhaustivité, nous pouvons essayer de donner un aperçu de cette présence de la peinture à l'arrière-plan de la réflexion durassienne. Comment la peinture fait-elle texte ? Et quel est l'enjeu ? Il s'agira aussi d'étudier le rôle et la signification de la peinture dans l'œuvre romanesque afin de comparer le statut de la peinture dans l'œuvre avec celui de la peinture. Une partie de cette étude traitera la peinture comme phénomène sociologique, intellectuelle et historique (les questions esthétiques). De plus, la recherche sera axée sur les liens entre le cinéma et la peinture, l'étude sera développée sur les points suivants : les émissions, et les critiques sur l'auteur afin de tracer un cadre d'ensemble des éléments en rapport avec le sujet. Nous aborderons notamment la présentation du débat théorique et méthodologique sur les rapports entre le cinéma et la peinture. L'œuvre tissera des liens étroits entre l'art visuel et le langage. Une partie analysera les rapports entre le cinéma et la peinture sur un corpus significatif de films à partir de ses débuts jusqu'à son dernier film datant de 1979. Notre étude sera une recherche et une analyse des occurrences de la peinture et leurs significations dans le discours filmique durassien. Le discours sur la peinture se confrontant à plusieurs problèmesWe would like to develop the idea according to which Marguerite Duras is a painter of the language. By focusing us on the relationship between the writing and painting, we will endeavour to locate and analyze the evoked or invented tables and the images worked in works. In order to clarify the complex intertextuality which enters within the various networks of representation and on the basis of any representation. Without claiming with exhaustiveness, one can try to give an outline of this presence of painting to the background of the reflexion durassienne. How painting made it text ? And which is the stake ? It will also be a question of studying the role and the significance of painting in the novel in order to compare the statute of painting in work with that of painting. Part of this study will treat painting like sociological, intellectual and historical phenomenon (the esthetics question). Moreover, research will be centered on the bonds between the cinema and painting the study will be developed on the following points : emissions, and criticisms on the author in order to trace an overall framework of the elements in connection with the subject. We will approach in particular the presentation of the theoretical and methodological debate on the relationship between the cinema and painting. Work will weave close links between visual art and the language. A part will analyze the relationship between the cinema and painting on a significant film corpus, starting from its beginning to its last film going back to 1979. Our study will be a research and an analysis of the occurrences of painting and their significances in the filmic speech durassien. The speech on painting being confronted with several problems
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Delahaye, Lydie. "Filmer l’ar : enjeux critiques, esthétiques et historiques de l’art filmé (1920–1970)." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080108.
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Dès lors que les propriétés techniques et esthétiques du cinéma lui confèrent des outils uniques pour donner à voir les œuvres d’art, il constitue une source de connaissance substantielle pour l’histoire de l’art – démonstration critique, commentaire historique, mise à jour des procédés de fabrication, etc. C’est de ce rôle de médiation de l’art filmé, et par suite de la forme particulière de savoir que le cinéma ajoute à l’art en la reproduisant et en la représentant esthétiquement, qu’il sera question dans ce travail. À travers un corpus circonstancié qui se déploie à l’entour du cinéma, de l’histoire de l’art et de la culture visuelle, sur une période étendue des années 1920 à 1970, ce travail de recherche entend cartographier les enjeux critiques, esthétiques et historiques de l’art filmé. Il s’agit notamment d’analyser en quoi filmer l’art procède pleinement de l’utopie formaliste et politique des avant-gardes, et préfigure le passage vers les formes artistiques processuelles qui se développent à partir des années 1960. Cette étude, qui s’attache à faire retour sur la génèse, l’histoire et l’élaboration conceptuelle du film sur l’art, fait l’hypothèse qu’il y a une pensée cinématographique des formes artistiques et de ses usages, un savoir (esthétique, historique et théorique) qui s’ajoute à l’art dès lors qu’il est représenté dans les filmsSince cinema’s technical and aesthetical attributes provide it with technical tools to revealworks of art it constitutes a substantial source of knowledge for history of art;critical demonstration, historical commentary, updates of fabrication processes, etc. This inevitable mediating role of filmed art and the specific kind of knowledge that cinema adds to art by (technically) reproducing it and (aesthetically) representing it will be the focus of this work. Through a detailed corpus spread around cinema, history of art and visual culture from 1920 to 1970 this research aims to map out the critical, aesthetical and historical issues of filmed art. Specifically, it is about analysing how filming art fully proceeds from the avant-gardes’ formalistic and political utopia and foreshadows the transition towards the artistic processes that will develop from the 1960s. By looking back at the origins, the history and the conceptual development of films about art this study makes the assumption that there is a cinematic vision of artistic forms and of their uses and some knowledge (aesthetical, historical and theoretical) is added to art as soon as it is depicted in films
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Ferreira, Pedro. "Avant-garde and experimental cinema: From film to digital Workshop for painting students." Dissertação, 2013. http://hdl.handle.net/10216/76208.
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Ferreira, Pedro Daniel da Costa. "Avant-garde and experimental cinema: From film to digital Workshop for painting students." Dissertação, 2013. https://repositorio-aberto.up.pt/handle/10216/68770.
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Ferreira, Pedro Daniel da Costa. "Avant-garde and experimental cinema: From film to digital Workshop for painting students." Master's thesis, 2013. https://repositorio-aberto.up.pt/handle/10216/68770.
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Hipólito, João Guilherme Furtado. "Cor : a definição do cinema como arte." Master's thesis, 2018. http://hdl.handle.net/10437/9524.
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Orientação: Maria Teresa Silva Guerreiro Mendes FloresEsta Dissertação pretende colocar em perspectiva a influência da descoberta, e consequente processo evolutivo da cor, como o elemento polarizador que ajudaria a elevar o estatuto artístico do filme nos primeiros anos do filme, até cerca de 1935. O que se tenta demonstrar aqui é a existência de um desejo histórico pela cor, que viria a desenvolver-se em inúmeros tipos de discurso sobre a mesma e que viriam a influenciar a criação/desenvolvimento da indústria cinematográfica, bem como a noção do objecto fílmico artístico. Esta obra acaba por se dividir em duas componentes. Uma que analisa a invenção dos processos técnicos de cor e seu impacto nos anos consequentes, e uma outra que pretende analisar os discursos formalistas do filme, de forma a perceber o impacto da presença da cor nos primeiros espectadores e potencialidades ou defeitos que os mesmos lhe associaram.
This dissertation aims to put in perspective the influence of the discovery of colour, in the early days of film due to 1935, and its evolving processes, as a polarizing element that would help to elevate the status of the film establishing it has an art form. The purpose is to show the existence of an historic desire for colour that would come to evolve in an notable amount of speeches about the presence of colour in films, and how it would come to influence the development of an film industry as well as the notion of an artistic film object. This project would become divided into two components. One that analyses the invention of colour’s technical processes and its impact in subsequent years, and a second one that aims to analyse the speeches from the film theories, in a way to understand the impact of colour presence in the first spectators and how they interpreted it.
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Mirandette, Marie Claude. "Le contrat du peintre : l'interartialité comme réflexivité dans le cinéma de Peter Greenaway." Thèse, 2012. http://hdl.handle.net/1866/9110.
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Ce mémoire explore la place de l’interartialité, des relations entre les arts, dans le cinéma de Peter Greenaway, et les fonctions qu’elle y remplit. À l’occasion de l’analyse de deux films qui centralisent la figure du peintre et la forme du contrat - The Draughtsman’s Contract et Nightwatching – et prenant comme point de départ théorique les travaux de Walter Moser, nous identifions et analysons quelques-unes des relations interartielles à l’oeuvre dans ces films, pour montrer que la mise en relation des arts de la peinture, du théâtre et du cinéma, dans leurs rapports biartials et pluriartials, constituent la trame fondamentale des films de Greenaway, dans une « interartialité non hiérarchique ».
Nous concluons que le recours au dialogue interartiel permet au cinéaste d’esquisser, en filigrane, une posture critique sur l’art et l’artiste, une « théorie de l’art », par laquelle il exprime un point de vue sur le rôle et le statut de l’artiste au sein de la société.Taking its theoretical starting point from the work of Walter Moser in interartiality, this thesis explores the place and function of interatiality (relationships between the arts) in the cinema of Peter Greenaway. The Draughtsman’s Contract and Nightwatching, two films that focus on the figure of the painter and the form of the contract, are examined for the purpose of identifying and analysing some of the interartial relationships at work in them and thereby demonstrating that the interconnecting of painting, theatre and cinema in bi- and pluri-artial relationships constitutes a basic framework of “non-hierarchical interartiality” in Greenaway’s films. The conclusion is reached that reliance on interart dialogue allows the filmmaker to assume an implicit critical stance in regard to art and the artist – a “theory of art” that expresses a point of view on the artist’s role and status in society.
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Кустарёва, Е. А., and E. A. Kustareva. "Диалог визуальных форм в искусстве: язык живописи в современном кинематографе : магистерская диссертация." Master's thesis, 2017. http://hdl.handle.net/10995/56133.
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Внимание в данной исследовательской работе акцентируется на механизме проникновения средств, используемых в живописи, в художественную ткань современного кинематографа путем их адаптации к визуальной форме, которую принимает тот или иной киноматериал. Кроме того, на первый план выносится проблема интерпретации творчества ряда художников XVI-XIX веков (Питер Брейгель Старший, Микеланджело Меризи да Караваджо, Рембрандт Харменсван Рейн, Франсиско де Гойя, Винсент Ван Гог) режиссерами, работающими в разных кинематографических жанрах и направлениях, которые автор разделяет на три условные группы: фильмы-биографии, повествующие о судьбах знаменитых живописцев, авторское кино и артхаус.В связи с общемировой тенденцией синтеза искусств значимость работы состоит в определенном вкладе в решение актуального вопроса о роли вдохновленных живописью художественных приемов и средств в киноискусстве. Практическое значение диссертации обусловлено возможностью применения результатов исследования в дальнейшем изучении как широкого спектра художественных возможностей киноискусства в целом, так и взаимопроникновения языков кино и живописи в частности.Attention in this research focuses on the mechanism of penetration of pictorial tools in the artistic basis of modern cinema by adapting them to the visual form which film material takes. In addition, special accent is put to the problem of interpreting the creation of several artists of the XVI-XIX centuries (such as Peter Brueghel the Elder, Michelangelo Merisi da Caravaggio, Rembrandt Harmens van Rijn, Francisco de Goya, Vincent van Gogh) by directors working in different cinematographic genres and directions. The author dividesthe empirical research base into three conditional groups: films-biographies narrating about the fates of famous painters, auteur cinema and arthouse cinema. The significance of the research consists in a definite contribution to the solution of the actual question of the role of artistic techniques and means that inspired by painting in filmmaking. The results of the research can be useful in the further study of both a wide range of artistic possibilities of cinematography in general, and interpenetration between languages of cinema and painting in particular.
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Caron-Ottavi, Apolline. "Enjeux de la couleur dans le cinéma hollywoodien d'après-guerre." Thèse, 2012. http://hdl.handle.net/1866/8673.
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Après la Seconde Guerre Mondiale, on peut observer une inflexion de l’usage de la couleur dans le cinéma hollywoodien. Trop artificielle, la couleur a été reléguée à ses débuts à des genres « irréalistes » (comédie musicale, western). Mais après la guerre, la couleur est utilisée dans des films montrant le quotidien de l’Amérique, et devient une nouvelle façon d’appréhender certaines questions contemporaines.
La couleur n’est plus un ornement ou un perfectionnement superflu, elle est porteuse de sens, au même titre que les autres éléments de la mise en scène. Les couleurs vives et l’exacerbation de l’artifice sont désormais utilisées par certains cinéastes dans un autre but que le seul plaisir de l’image colorée : parfois avec ironie, voire un pessimisme sous-jacent. L’enjeu esthétique de la couleur au cinéma doit en effet être situé dans le contexte historique de l’après guerre.
La dévalorisation de la couleur dans l’histoire de l’art est ancienne, celle-ci ayant souvent été associée depuis l’Antiquité au maquillage féminin et à l’illusion. Le cinéma hollywoodien des années cinquante modifie justement l’image de la femme : on passe de la femme mythifiée à des femmes de chair et de sang, plus sexualisées, et aussi à l’évocation des rapports sociaux du quotidien. À travers l’actrice, et la façon dont celle-ci manipule la couleur ou bien existe à travers elle, la couleur se libère des préjugés, et trouve son indépendance, à travers une libération de l’expressivité, et un refus du seul mimétisme.After WWII, the treatment of color in Hollywood cinema takes a new turn. Because it was too artificial, color was at first relegated to "unrealistic" films (musicals, westerns, etc). But in the post-war period, a change took place, and color was used in films that showed the common life of America, and became a new way of understanding contemporary issues. Color is not anymore a superfluous ornament, nor a mere device to increase realism: it is meaningful, as meaningful as any other element of the « mise en scène ». The bright colors and the exacerbation of the artifice are used from that time by some of the film-makers in a different purpose from that of pure entertainment : sometimes with irony, and even an underlying pessimism. What is aesthetically at stake in color films must be considered in the post-war context. The depreciation of color in the history of arts is an ancient trend, and since Antiquity, color in art has often been associated to feminine makeup and illusion. Hollywood films of the fifties changed the archetypical image of women: there was a shift from the mythical woman to women of flesh and blood, overtly sexualized, which allowed a more thorough evocation of the everyday life social relations. Through the actress and her acting - the way she manipulates color, or find a way to exist through it –, color releases itself from prejudices, participate to a release of expressiveness, and serve a rejection of basic mimesis.
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Gharbi, Farah A. "L'intermédialité littéraire dans quelques récits d'Assia Djebar." Thèse, 2009. http://hdl.handle.net/1866/4093.
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Le parcours d’Assia Djebar est frappé du sceau de la multidisciplinarité. L’écrivaine algérienne d’expression française a en effet toujours voué un intérêt particulier à la littérature, mais également aux arts. Son engouement pour ces derniers n’a pas été sans influencer son écriture. Ce fait est a priori remarquable au niveau des nombreuses références explicites (tant intertextuelles qu’interdiscursives) que ses récits font tour à tour au cinéma, à la peinture, à la musique, à la photographie et à la mosaïque. C’est à partir de ces renvois que nous posons l’hypothèse d’une relation aux arts mise à l’œuvre de manière plus implicite dans la prose de Djebar, c’est-à-dire susceptible de définir sa poétique. Il s’agira donc pour nous de mettre au jour des procédés d’écriture qui, dans le récit djebarien, sont aptes à créer ─ moyennant leur déplacement et leur transformation ─ des effets que des techniques en usage dans d’autres arts produisent habituellement. L’intermédialité permet d’envisager ce travail : là où l’intertextualité insiste surtout sur la question des textes ; l’interdiscursivité sur celle du discours ; et l’interartialité sur celle de l’esthétique caractéristique des productions artistiques, l’intermédialité rassemble ces préoccupations en ne négligeant pas de considérer la dimension technique inhérente aux phénomènes de signification, qui prête forme à leur matière sémiotique.Multidiscipline has definitely marked the journey of Assia Djebar. The Algerian French writer has devoted interest in literature as well as the arts. Her infatuation with the arts hasn’t been without influence towards her writing. The fact is above all remarkable in the level of numerous explicit references, both intertextual and interdiscursive, that her stories have made their rounds in cinema, in art, in music, in photography and in mosaics. It is from these references that we hypothesize a relation to the arts, implemented in a more implicit style in Djebar’s prose, that is to say an openess to defining her poetics. Therefore, for us it is a matter of putting into place writing procedures, in the Djebarian style, which in return for their movements and changes, are capable of creating effects as well as techniques that will be used in other art forms that are generally produced. Intermediality allows us to envision this type of work. Whereas, intertextuality puts emphasis above all on texts, interdiscursivity on discourse, and interartiality on the esthetical characteristics of artistic productions ; intermediality gathers these concerns, without neglecting to consider the technical dimension inherent to the phenomena of meaning which lends shape to their semiotic subject matter.
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Gharbi, Farah Aïcha. "L'intermédialité littéraire dans quelques récits d'Assia Djebar." Thèse, 2009. http://hdl.handle.net/1866/4093.
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Le parcours d’Assia Djebar est frappé du sceau de la multidisciplinarité. L’écrivaine algérienne d’expression française a en effet toujours voué un intérêt particulier à la littérature, mais également aux arts. Son engouement pour ces derniers n’a pas été sans influencer son écriture. Ce fait est a priori remarquable au niveau des nombreuses références explicites (tant intertextuelles qu’interdiscursives) que ses récits font tour à tour au cinéma, à la peinture, à la musique, à la photographie et à la mosaïque. C’est à partir de ces renvois que nous posons l’hypothèse d’une relation aux arts mise à l’œuvre de manière plus implicite dans la prose de Djebar, c’est-à-dire susceptible de définir sa poétique. Il s’agira donc pour nous de mettre au jour des procédés d’écriture qui, dans le récit djebarien, sont aptes à créer ─ moyennant leur déplacement et leur transformation ─ des effets que des techniques en usage dans d’autres arts produisent habituellement. L’intermédialité permet d’envisager ce travail : là où l’intertextualité insiste surtout sur la question des textes ; l’interdiscursivité sur celle du discours ; et l’interartialité sur celle de l’esthétique caractéristique des productions artistiques, l’intermédialité rassemble ces préoccupations en ne négligeant pas de considérer la dimension technique inhérente aux phénomènes de signification, qui prête forme à leur matière sémiotique.Multidiscipline has definitely marked the journey of Assia Djebar. The Algerian French writer has devoted interest in literature as well as the arts. Her infatuation with the arts hasn’t been without influence towards her writing. The fact is above all remarkable in the level of numerous explicit references, both intertextual and interdiscursive, that her stories have made their rounds in cinema, in art, in music, in photography and in mosaics. It is from these references that we hypothesize a relation to the arts, implemented in a more implicit style in Djebar’s prose, that is to say an openess to defining her poetics. Therefore, for us it is a matter of putting into place writing procedures, in the Djebarian style, which in return for their movements and changes, are capable of creating effects as well as techniques that will be used in other art forms that are generally produced. Intermediality allows us to envision this type of work. Whereas, intertextuality puts emphasis above all on texts, interdiscursivity on discourse, and interartiality on the esthetical characteristics of artistic productions ; intermediality gathers these concerns, without neglecting to consider the technical dimension inherent to the phenomena of meaning which lends shape to their semiotic subject matter.