Articles de revues : « Lanzmann »

1

Lorenzi, Christian. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 16. http://dx.doi.org/10.3917/ltm.692.0016.

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Régnier, Christophe. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 17. http://dx.doi.org/10.3917/ltm.692.0017.

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Margolin, Simon. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 19. http://dx.doi.org/10.3917/ltm.692.0019.

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Bartherotte, Antonin. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 21. http://dx.doi.org/10.3917/ltm.692.0021.

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Braunschweig, Lila, and Liora Jaccottet. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 23. http://dx.doi.org/10.3917/ltm.692.0023.

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Tournoud, Sébastien. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 24. http://dx.doi.org/10.3917/ltm.692.0024.

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Lanzmann, Emmanuel. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 26. http://dx.doi.org/10.3917/ltm.692.0026.

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Chatté, Ghislaine. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 28. http://dx.doi.org/10.3917/ltm.692.0028.

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Deguy, Michel. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 32. http://dx.doi.org/10.3917/ltm.692.0032.

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Roger-Lacan, Madeleine. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 33. http://dx.doi.org/10.3917/ltm.692.0033.

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Corre, Patrice. "Pour Felix Lanzmann." Les Temps Modernes 693-694, no. 2 (2017): 341. http://dx.doi.org/10.3917/ltm.693.0341.

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Khalfa, Jean. "Pour Felix Lanzmann." Les Temps Modernes 693-694, no. 2 (2017): 347. http://dx.doi.org/10.3917/ltm.693.0347.

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Sicard, Didier. "Pour Felix Lanzmann." Les Temps Modernes 692, no. 1 (2017): 14. http://dx.doi.org/10.3917/ltm.692.0014.

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Magilow, Daniel H. "Obituary: Claude Lanzmann." Holocaust and Genocide Studies 33, no. 2 (2019): 325–28. http://dx.doi.org/10.1093/hgs/dcz036.

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15

Erens, Patricia. ": Shoah . Claude Lanzmann." Film Quarterly 39, no. 4 (1986): 28–31. http://dx.doi.org/10.1525/fq.1986.39.4.04a00070.

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Deguy, Michel. "La mort de Lanzmann." Po&sie N° 164, no. 2 (2018): 157. http://dx.doi.org/10.3917/poesi.164.0157.

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Khalfa, Jean. "Claude Lanzmann in conversation." Wasafiri 20, no. 44 (2005): 19–23. http://dx.doi.org/10.1080/02690050508589946.

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Saxton, Libby. "Fragile Faces: Levinas and Lanzmann." Film-Philosophy 11, no. 2 (2007): 1–14. http://dx.doi.org/10.3366/film.2007.0007.

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Katz, Corine. "Sur Napalm de Claude Lanzmann." Les Temps Modernes 696, no. 5 (2017): 56. http://dx.doi.org/10.3917/ltm.696.0056.

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Erens, Patricia. "Review: Shoah by Claude Lanzmann." Film Quarterly 39, no. 4 (1986): 28–31. http://dx.doi.org/10.2307/1212483.

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Amatulli, Margareth. "Claude Lanzmann «Une force qui va»." Studi Francesi, no. 188 (LXIII | II) (August 1, 2019): 394–95. http://dx.doi.org/10.4000/studifrancesi.20302.

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Deguy, Michel. "Traits distincts de Lanzmann en Claude." Critique 852, no. 5 (2018): 388. http://dx.doi.org/10.3917/criti.852.0388.

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Edholm, Felicity. "SHOAH: A FILM BY CLAUDE LANZMANN." History Workshop Journal 25, no. 1 (1988): 204–6. http://dx.doi.org/10.1093/hwj/25.1.204.

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Pilatowsky Braverman, Mauricio. "Alberto Sucasas, Shoah. El campo fuera de campo. Cine y pensamiento en Claude Lanzmann, Encuadre Shangrila, Madrid, 2018, 459 pp." Revista de filosofía DIÁNOIA 65, no. 84 (2020): 201. http://dx.doi.org/10.22201/iifs.18704913e.2020.84.1724.

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Lanzmann, Claude, Ruth Larson, and David Rodowick. "Seminar With Claude Lanzmann 11 April 1990." Yale French Studies, no. 79 (1991): 82. http://dx.doi.org/10.2307/2930247.

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Biégelmann, Fabienne. "Claude Lanzmann, Le lièvre de Patagonie. Mémoires." Che vuoi ? 32, no. 2 (2009): 187. http://dx.doi.org/10.3917/chev.032.0187.

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Bemelmans, Wanda JE, Jan Broer, Andries J. Smit, and Edith JM Feskens. "Reply to D Lanzmann-Petithory et al." American Journal of Clinical Nutrition 76, no. 6 (2002): 1456–57. http://dx.doi.org/10.1093/ajcn/76.6.1456a.

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Marty, Éric. "L'usage des noms: Shoah de Claude Lanzmann." Le Débat 162, no. 5 (2010): 152. http://dx.doi.org/10.3917/deba.162.0152.

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Bender, Fernanda. "“Ja, das Ist das Platz”: O Tatear Pela Imutabilidade da Memória na Topografia de “Shoah”, de Claude Lanzmann." Cadernos de Língua e Literatura Hebraica, no. 15 (January 23, 2018): 250–69. http://dx.doi.org/10.11606/issn.2179-0892.cllh.2017.142478.

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Dentre as obras que compõe o cânone cinematográfico a respeito da Shoah, a homônima produção de Claude Lanzmann ocupa uma posição quase lendária, conferida pela singularidade de suas mais de nove horas de duração e pela sua composição inteiramente imagética-testemunhal. Este breve artigo, que não propõe muito mais que apresentar, de forma introdutória, um olhar sobre alguns pontos centrais dessa produção – a articulação da memória, da possibilidade narrativa, da relação entre indivíduo, cultura e espaço etc. –, pretende focar-se no subjetivo e dinâmico aspecto dado por Lanzmann a esta obra atemporal, que se esquiva tanto da apreensão histórica quanto de uma compreensão objetiva. Por intermédio dessas reflexões, cabe-nos questionar a intenção do diretor para com a obra, assim como a da obra para com seu público.

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Bender, Fernanda. "“Ja, das Ist das Platz”: O Tatear Pela Imutabilidade da Memória na Topografia de “Shoah”, de Claude Lanzmann." Cadernos de Língua e Literatura Hebraica, no. 15 (January 23, 2018): 250–69. http://dx.doi.org/10.11606/issn.2317-8051.cllh.2017.142478.

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Dentre as obras que compõe o cânone cinematográfico a respeito da Shoah, a homônima produção de Claude Lanzmann ocupa uma posição quase lendária, conferida pela singularidade de suas mais de nove horas de duração e pela sua composição inteiramente imagética-testemunhal. Este breve artigo, que não propõe muito mais que apresentar, de forma introdutória, um olhar sobre alguns pontos centrais dessa produção – a articulação da memória, da possibilidade narrativa, da relação entre indivíduo, cultura e espaço etc. –, pretende focar-se no subjetivo e dinâmico aspecto dado por Lanzmann a esta obra atemporal, que se esquiva tanto da apreensão histórica quanto de uma compreensão objetiva. Por intermédio dessas reflexões, cabe-nos questionar a intenção do diretor para com a obra, assim como a da obra para com seu público.

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31

Stoekl, Allan. "Lanzmann and Deleuze: On the Question of Memory." symploke 6, no. 1 (1998): 72–82. http://dx.doi.org/10.1353/sym.2005.0091.

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32

Feskens, Edith JM, Claudia Oomen, Marga Ocké, and Daan Kromhout. "Reply to SC Renaud and D Lanzmann-Petithory." American Journal of Clinical Nutrition 76, no. 4 (2002): 904–5. http://dx.doi.org/10.1093/ajcn/76.4.904.

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33

Djoussé, Luc. "Reply to SC Renaud and D Lanzmann-Petithory." American Journal of Clinical Nutrition 76, no. 4 (2002): 905–6. http://dx.doi.org/10.1093/ajcn/76.4.905.

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34

Jankowski, Filip. "The Presence of Female Designers in French Video Game Industry, 1985–1993." Games and Culture 15, no. 6 (2019): 670–84. http://dx.doi.org/10.1177/1555412019841954.

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Increasingly, more people do notice that female designers wrote their first games in the 1970s and 1980s. However, there was another country where women did also design games decades before the #GamerGate movement. This article examines the selected works of three French designers: Clotilde Marion, Chine Lanzmann, and Muriel Tramis. The analysis of those games took into account the self-representation of those designers—and women in general—within the game content. The conducted research has proven that within their games, Marion, Lanzmann, and Tramis included their everyday experiences as women. Using such techniques as simulated point of view and authorial signature, those women indicated their own role in the development and showed how females in general face male oppression against them. This means that the United States is not the only country with a long tradition of female game developers. Thus, video game history remains an undiscovered research field.

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35

Vice, Sue. "Generic hybridity in Holocaust cinema." Short Film Studies 4, no. 2 (2014): 199–202. http://dx.doi.org/10.1386/sfs.4.2.199_1.

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This article explores the generic hybridity of Seven Minutes in the Warsaw Ghetto, as it unites aesthetic and historical elements. The film is an example of what Claude Lanzmann calls ‘a fiction of the real’, in which the elements of aesthetic and documentary are differently aligned from those in Shoah (1985).

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36

Vulliet, Armand, and Madeleine Dobie. "Letters to Claude Lanzmann and to the Grand Larousse." Yale French Studies, no. 85 (1994): 152. http://dx.doi.org/10.2307/2930072.

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Weyssow, Daniel. "Himmelweg de Juan Mayorga et les témoins de Claude Lanzmann." Témoigner. Entre histoire et mémoire, no. 121 (October 1, 2015): 135–40. http://dx.doi.org/10.4000/temoigner.3403.

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Kaufmann, Francine. "Interview et interprétation consécutive dans le film Shoah, de Claude Lanzmann." Meta: Journal des traducteurs 38, no. 4 (1993): 664. http://dx.doi.org/10.7202/003290ar.

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39

Braganca, Manuel. "Faire parler les morts: sur Jan Karski et la controverse Lanzmann-Haenel." Modern & Contemporary France 23, no. 1 (2014): 35–46. http://dx.doi.org/10.1080/09639489.2014.969213.

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Bhubaneswari, T. S., and Ajeet Singh. "Irony as Trauma & Trauma as Irony in Claude Lanzmann’s Shoah." Contemporary Research: An Interdisciplinary Academic Journal 3, no. 1 (2019): 67–71. http://dx.doi.org/10.3126/craiaj.v3i1.27492.

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Claude Lanzmann makes use of what this essay posits as metairony which dramatizes the shocks of the acting out of the trauma of the Holocaust. The film director makes the survivors and witnesses and the viewers to become retraumatized and to relive the past. By so doing, the traumatized mind can cope with the trauma because acting out helps the reflective consciousness to prevent itself from being overwhelmed by shock, in Walter Benjamin’s assumption, by reproducing shock, that is, by seizing upon each traumatic moment and parrying it - in effect, by responding to violence with violence. Testimonies in Shoah break the boundary between the experience of shock and experience as shock.

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41

Andacht, Fernando. "Indicios ficcionales para un testimonio singular: Shoah o la búsqueda de un relato histórico indecible." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 4, no. 6 (2010): 43–58. http://dx.doi.org/10.17851/1982-3053.4.6.43-58.

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En base al análisis semiótico de un episodio del documental Shoah, de Claude Lanzmann, el presente texto se plantea un problema derivado de la acción indicial de los signos. ¿Cuál es el estatuto de un discurso fílmico que, a través de la búsqueda de testimonios de sobrevivientes, intenta realizar una reconstrucción minuciosa del tiempo del horror inimaginable, pero que apela a indicios escenificados, ficcionales? Esto es precisamente lo que ocurre en uno de los momentos más evocados y removedores en las más de nueve horas del documental Shoah. El objetivo de este artigo es reflexionar de modo sistemático sobre la naturaleza semiótica de un género fílmico de vocación histórica pero que difiere notoriamente del dicho discurso histórico tradicional.

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Hebding, Rémy. "« Shoah » ou la résurrection d'une parole [À propos du film Shoah de Claude Lanzmann]." Autres Temps. Les cahiers du christianisme social 13, no. 1 (1987): 91–92. http://dx.doi.org/10.3406/chris.1987.1149.

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Nieracka, Agnieszka. "Historia i obrazy. Niedokończony film Yael Hersonski." Prace Kulturoznawcze 22, no. 3 (2019): 83–92. http://dx.doi.org/10.19195/0860-6668.22.3.7.

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History and images: Yael Hersonski’s A Film Unfinished The complex relations of the cinematic image with history and memory are the context for the analysis of A Film Unfinished. The author refers to other documentary evidence of the Holocaust Night and Fog by Alain Resnais and Shoah by Claude Lanzmann, to the concept of postmemory Marianne Hirsch and image epistemology Georges Didi-Huberman. This film presents the found footage — a Nazi propaganda document Das Ghetto subjected to the strategy of representation, which consists of a complex network of viewpoints, including various formal procedures. The author reflects on the status of images combined with the testimony of the survivors, the diaries of the ghetto inhabitants, the statements of the Nazi cameraman.

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Koutsourakis, Angelos. "Militant Ethics." Cultural Politics 16, no. 3 (2020): 281–302. http://dx.doi.org/10.1215/17432197-8593494.

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The publication of Rainer Werner Fassbinder’s play Der Müll, die Stadt und der Tod (Garbage, the City, and Death; 1976) constitutes one of the major scandals in German cultural history. The play was accused of being anti-Semitic, because one of its key characters, a real estate speculator, was merely called the Rich Jew. Furthermore, some (negative) dramatis personae in the play openly express anti-Semitic views. When asked to respond, Fassbinder retorted that philo-Semites (in the West Germany of the time) are in fact anti-Semites, because they refuse to see how the victims of oppression can at times assume the roles and positions assigned to them by pernicious social structures. Fassbinder’s vilification on the part of the right-wing press prevented the play’s staging; subsequently, in 1984 and 1985–86 two Frankfurt productions were banned due to the reaction on the part of the local Jewish community. A similar controversy sparked off by the film adaptation of the play Shadow of Angels by Daniel Schmid. During the film’s screening at the Cannes Film Festival the Israeli delegation walked out, while there was also rumor of censorship in France. Gilles Deleuze wrote an article for Le Monde titled “The Rich Jew” defending the film and the director. Deleuze’s article triggered a furious reaction from Shoah (1985) director, Claude Lanzmann, who responded in Le Monde and attacked the cultural snobbery and “endemic terrorism” of the left-wing cinephile community. Lanzmann saw the film as wholly anti-Semitic and suggested that it identifies the Jew—all Jews—with money. While the author acknowledges the complexity of the subject, he revisits the debate and the film to unpack its ethical/aesthetic intricacy and propose a pathway that can potentially enable us to think of ways that political incorrectness can function as a means of exposing the persistence of historical and ethical questions that are ostentatiously resolved. He does this by drawing on Alain Badiou’s idea of militant ethics and Jacques Rancière’s redefinition of critical art as one that produces dissensus.

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45

Skopin, Denis. "Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman Experience." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 2 (June 2015): 79–88. http://dx.doi.org/10.15688/jvolsu4.2015.2.8.

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46

Rauch, Raphael. "Claude Lanzmann: Das Grab des göttlichen Tauchers. Ausgewählte Texte. Aus dem Französischen von Erich Wolfgang Skwara." Communicatio Socialis 49, no. 4 (2016): 460–62. http://dx.doi.org/10.5771/0010-3497-2016-4-460.

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47

López-Olano, Carlos, and Juan Carlos Colomer Rubio. "Shoah y Spielberg: 25 años de un modelo narrativo para contar el Holocausto." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 20 (December 30, 2020): 21. http://dx.doi.org/10.7203/eutopias.20.19386.

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La lista de Schindler representó un punto de inflexión en la narrativa sobre el Holocausto. A pesar de que fue bien recibida por crítica y público, algo nada habitual en la trayectoria de un Steven Spielberg al que se tildaba de autor infantil y bueno sólo como realizador de cine de aventuras, la película no lo fue tanto en los círculos intelectuales judíos. La crítica negativa a la fábula cruel pero esperanzada de Spielberg fue ejercida especialmente por el director de otra de las propuestas cinematográficas que desde el extremo opuesto formalmente, también sentó referencia en el género: Claude Lanzmann y su monumental Shoah. Ahora, un cuarto de siglo después, queremos analizar en este artículo que queda sobre la discusión y el modelo narrativo impuesto por Spielberg cuando se trata de recordar uno de los episodios más negros de la historia reciente: el intento de exterminio nazi de los judíos.

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López-Olano, Carlos, and Juan Carlos Colomer Rubio. "Shoah y Spielberg: 25 años de un modelo narrativo para contar el Holocausto." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 20 (December 30, 2020): 21. http://dx.doi.org/10.7203/eutopias.20.19386.

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La lista de Schindler representó un punto de inflexión en la narrativa sobre el Holocausto. A pesar de que fue bien recibida por crítica y público, algo nada habitual en la trayectoria de un Steven Spielberg al que se tildaba de autor infantil y bueno sólo como realizador de cine de aventuras, la película no lo fue tanto en los círculos intelectuales judíos. La crítica negativa a la fábula cruel pero esperanzada de Spielberg fue ejercida especialmente por el director de otra de las propuestas cinematográficas que desde el extremo opuesto formalmente, también sentó referencia en el género: Claude Lanzmann y su monumental Shoah. Ahora, un cuarto de siglo después, queremos analizar en este artículo que queda sobre la discusión y el modelo narrativo impuesto por Spielberg cuando se trata de recordar uno de los episodios más negros de la historia reciente: el intento de exterminio nazi de los judíos.

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49

Golan. "Through the Auteur's Eyes: An Appreciation of the Life and Cinematic Art of Claude Lanzmann, 1925–2018." Antisemitism Studies 4, no. 1 (2020): 143. http://dx.doi.org/10.2979/antistud.4.1.06.

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Filho, Ricardo. "Shoah de Claude Lanzmann: entre a memória da dor e a radicalidade da morte nos campos nazistas." DOC online - Revista Digital de Cinema Documentário, no. 24 (September 28, 2018): 270–93. http://dx.doi.org/10.20287/doc.d24.ac04.

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Articles de revues sur le sujet « Lanzmann »

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