Rozprawy doktorskie na temat „Truffaut”

L'objet de ce travail est double, théorique d'une part, analytique d'autre part ; théorique puisqu'il s'agit de comprendre comment le film raconte, analytique puisque la validité des concepts proposés sera vérifiée sur un corpus forme de onze films de Truffaut. La raison qui a prévalu à ce choix de Truffaut est qu'il est un cinéaste narratif (classique) et conscient de ce qui représente le fait de raconter une histoire par des images et des sons. Le postulat de départ de ce travail théorique est la distinction de quatre niveaux au sein de la notion de récit : récit, histoire, diégèse, narration. C'est par la mise en relation de ces quatre éléments que l'on peut rendre compte du fonctionnement du récit filmique. Cette mise en relation se fait sous sept angles d'attaque. Les trois premiers subsumes par le concept de temps. L'ordre, la vitesse, suivis du degré de réalité des images, de la transmission des discours, et de l'énonciation. Pour chacune de ces catégories, il s'agit de savoir quels sont tous les choix théoriques possibles et quels sont les choix de prédilection de Truffaut. Ainsi ce travail dont on ne peut nier qu'il doit beaucoup au genette de figures III fera avancer la narratologie filmique et les études truffaldiennes, du moins peut-on l'espérer
The purpose of this dissertation is dual : theoretical, on the one hand, analytical on the other hand. It deals with theory in so far as it aims at explaining how a film tells a story, as well as analysis since the validity of the theoretical concepts will be checked within the study of a corpus composed of a few films by Truffaut. The reason which prevailed in choosing this director is that he is both "narrative" in the classical sense and aware of what telling a story through images and sound implies. The premise to the theoretical part of this work lies in the distinction between four levels within the very notion of "narrative": the narrative, the story, the narration and the diegesis. The working of the film narrative can be accounted for thanks to the relating of these four elements. This relating is achieved through seven distinct approaches; the first three of them are subsumed by the concept of time (i. E. Order, speed, frequency) followed by the degree of reality of images, the conveying fo speeches, the control of narrative information and the concept of enunciation. For each of these categories, the point is to state all the possible theoretical choices and which options Truffaut is partial to. There is no denying that this work is greatly indebted to genette's figures iii ; thus, one cannot but hope it will be a move forward in the field of film narratology and of Truffaut studies

Arte e Sociedade desde sempre estiveram relacionadas. O pressuposto deste trabalho é o de procurar e clarificar uma pequena vertente desta relação. Os filmes da década de 1970 de François Truffaut e a sociedade francesa da mesma década, a par das suas reformas políticas, servem o propósito deste trabalho, sendo esses os elementos chave para esta relação entre cinema e sociedade. França, década de 1970, encontramos um país marcado pelo Maio de 68, pelo movimento feminista e por uma crise económica mundial. Além das problemáticas económicas a resolver, são várias as reformas sociais que se impõem. O Governo de Giscard vem resolver alguns destes problemas, liberalizando o aborto, legalizando o uso de contraceptivos ou procurando impulsionar a economia. A par de uma sociedade em mudança, encontramos sempre uma cultura em renovação e a par destas as suas formas artísticas. Nesta década encontramos uma renovação do estado artístico francês, a influência de todas as alterações económicas e sociais manifestam-se numa crescente politização deste. Nos anos 70, surgem no cinema francês ideias marxistas, existencialistas, feministas, entre outras. A crescente liberdade sexual encontra, também, o seu lugar no panorama cinematográfico. Nesta época do cinema francês encontramos François Truffaut mais próximo de uma maturidade artística. Truffaut não abdica nunca de ser o cineasta que deseja ser, nunca pondo de parte o espectador. Há um tema constante na sua obra, que é precisamente o do amor. Esta é a temática que serve o propósito da procura de uma manifestação do social real na obra deste cineasta. Truffaut ama o cinema e ama a vida. Tal como às suas personagens é o amor que o motiva. Para além do estudo desta temática especifica, serão também abordadas as propostas de Truffaut relativas à criação cinematográfica.
Art and societay have always been conected. The main assumption behind this paper is to seek and clarify one small aspect of this relationship. François Truffauts films of the 1970’s decade and the french society as well as it politics, serve ther purpose of this work, being the key elements to this relationship between cinema and culture. France, the 1970’s, we found a contry marked by the events of May 68, by the feminist movement and by a global economycal crisis. In addition to this economical problems that needed to be solved, there were several social reforms needed. Giscards government comes to solve some of these problems by liberalizing the abortion, legalizing the use of contraceptives or boosting the economy. Along with a changing society, we always find a culture in renovation, and with these their artistical forms. In this decade we find a renovation of the french art forms, the influence of all these economical and social changes manifest themselves in a growing politicisation of the arts. In the 70’s, some marxist, existencialist and feminist ideias emerge in the french cinema. The increasing sexual freedom also finds its place in this cinematatic scene. In this era of the french cinema, we find François Truffaut closer to an artistic maturity. Truffaut never gives up the kind of filmmaker he wants to be, never apart from the viewer. There is a recurring theme in his work, which is precisely love. This is the theme that serves the purpose of this thesis, seeking the manifestation of a social reality in this filmmaker work. Truffaut loves movies and loves life, as his characteres is love that motivates him. In addition to the study of this specific issue, there will also be discussed Truffauts proposals on filmmaking.

Bibliography : leaves 154-162.
In its application to cinema, suturing denotes the process by which film narrative is rendered seamless. This enables the identification required for a spectator to become the subject of a film and also functions to conceal the film’s ideological mechanisms. In a critical survey of existing criticism of Francois Truffaut's films in general, and The 400 Blows in particular, the dissertation argues that the majority of this scholarship colludes with the textual suturing process by neglecting to pose ideological questions of the films. An application of the Situationist theory of psychogeography to The 400 Blows serves as a counter to this critical trend. The concept is not only thematically pertinent to the film, but also provides an analytical tool to un-suture the filmic text and thereby to situate The 400 Blows ideologically. By focusing on the interaction between individuals and a socially conditioned environment, a psychogeographical reading combines a psychoanalytical and materialist analysis of the film. This critical perspective departs from most existing scholarship by insisting on the film as a discursive response to a particular socio-historical context. Based on a reading of the film’s conclusion as signifying Trufauts un-suturing of his own text, the dissertation argues that the director’s discourse challenges hegemonic codes by asserting the desire for a self-determined situation. Contending that this is commensurate with a rejection of the passive subjecthcod dictated by consumerist culture, it concludes that the film represents a form of discursive psychogeography. This supports the argument for situating Truffaut and the Situationists together in what Raymond Williams terms a structure of feeling, the shared ideological context that finally serves to validate a psychogeographical reading of The 400 Blows.

Etudier le remarquable rayonnement international de francois truffaut, telle est l'ambition de ce travail qui examine les receptions du cineaste francais dans des pays de cultures diverses (europe centrale et orientale, scandinavie, portugal, asie, israel, turquie, amerique du nord). Grace aux chiffres d'exploitation des films et aux articles de presse etrangers, le but est de comprendre comment l'oeuvre de truffaut parvient a renforcer sa logique interne en s'appuyant sur des horizons d'attente differents. Cinema ambigu et plurivoque, que l'on ne peut definitivement reduire a un principe reducteur de dualite essentielle - une apparence rangee et une face cachee plus violente et authentique -, le cinema de truffaut s'enrichit dans sa confrontation avec les univers artistiques etrangers et surtout avec les differentes realites sociales et politiques. En fait, le cineaste pratique un art conceptuel, qui assoit dans un premier temps son universalite et sa perennite mais va bien au-dela de cet aspect de mythe cinematographique universel : son oeuvre n'est jamais immediatement assimilable par le public, meme lorsqu'elle beneficie d'une large diffusion commerciale et d'un succes important. L'effort que le spectateur doit faire, et qui se traduit par une necessaire reconstruction du sens dans sa propre culture, obeit a un processus de reception qui ne permet jamais tout a fait a l'oeuvre de truffaut de changer en evidence ce qui allait a l'encontre des experiences esthetiques et sociales de son premier public. Le schema rassurant implique par le concept d'auteur constitue ainsi un tremplin important pour le rayonnement international de truffaut mais ne doit pas amener a reduire la complexite de son oeuvre. L'accueil de ses films implique toujours pour les spectateurs des changements d'horizon qui garantissent le caractere ouvert et polysemique de l'oeuvre.

Este trabalho analisa o Fahrenheit 451 de Ray Bradbury e o de François Truffaut, em sua proposição de utilizar a oralidade (discurso oral) como forma de manutenção do literário e resistência à imposição e à censura ideológica. Efetua também uma análise comparatista das Utopias Negativas do século XX (obras Distópicas). Ao longo deste projeto, é feita uma análise do surgimento da escrita (alfabético-fonética), e sua estreita relação com o discurso oral. Tenta-se reproduzir a trajetória traçada pelo discurso oral, passando pelo desenvolvimento da tecnologia escrita, assim como a produção cultural tanto no meio oral quanto no escrito, junto com suas conseqüências e influências sobre pensamento humano. Da oralidade dos poemas homéricos à oralidade advinda com o desenvolvimento de aparelhos eletrônicos como o telefone, que, em plena modernidade, voltam a valorizar o discurso oral. Neste projeto a oralidade é vista como algo cíclico.
This thesis analyses Ray Bradbury’s and François Truffaut’s Fahrenheit 451, in their proposal of using the oral discourse as a way of maintenance of the literacy as well as resistance to ideological imposition and censorship. It also brings a comparative analysis of the Negative Utopias of the twentieth century (Distopic Literature), along with the rise of writing (alphabetic-phonetic writing), and its close relation to oral discourse. It tries to reproduce the path trailed by oral discourse, passing through the development of writing technology, as well as the cultural production both in the oral and in the writing media, along with its consequences and influences to human thought. From Homer’s oral poems to the oral discourse emerged with the development of electronic devices such as the telephone, which enhance oral discourse in modern times. In this project oral discourse is seen as something cyclical.

Ce travail de recherche en analyse filmique etudie dans les oeuvres des deux auteurs tous les ecrits non diegetiques du film, du generique au mot fin. Ceux ci forment un paratexte traite selon une double perspective, litteraire et esthetique. Le fil directeur de la these est l'analyse des fonctions de ces ecrits : - fonction d'information, surtout pour le generique; - fonction de legitimation, mode d'emploi et valorisation de l'oeuvre; - fonction de demarcation et d'enonciation, ou se lit le travail du realisateur sur l'ecrit; - enfin, fonction esthetique, car l'ecrit est image. La conclusion compare truffaut, qui utilise les ecrits comme un conteur, et godard, qui livre un systeme de lecture du film. Trois volumes, 443 pages, 50 photogrammes commentes
This research-work on films analyses all the titles in the works of these two directors, from credit-titles to "the end". These constitute a "paratext" which is studied according to a two-fold point of view, the litterary one and the aesthetical one. This analysis is based upon historical examples, specially those which played a prominent part in inspiring both directors. The main line of the thesis lies on the analysis of functions devoted to the titles : - how they give informations, mainly for credit-titles; - how they legitimize the film by giving directions for use and valorizing the film; - how they demarcate and show the directors'work when writing; - how they give aesthetical perspectives, for titles are images. The conclusion compares truffaut, who uses what the writes as a taler, to godard, who tells us how to read his film

El proyecto del presente trabajo de investigación se centra en el estudio de algunas de las relaciones intertextuales, de influencias temáticas y estilísticas que se establecen entre las obras de ambos autores, teniendo a Truffaut como cineasta heredero del legado creativo de Renoir.
This research project focuses on the study of the thematic and stylistic relationships established in the works of the two authors.
Trabajo de investigación

Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2006.
Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0756. Adviser: Joan Hawkins. "Title from dissertation home page (viewed March 16, 2007)."

Desde la Edad Media, la leyenda de Tristán e Iseo ha recorrido un largo viaje hasta nuestros días. Su supervivencia a través de los siglos denota una gran capacidad de adaptación. El cine, con poco más de un siglo de vida, ha sido uno de los últimos artes que se ha sumado a esa continuidad milenaria, y ha necesitado de soluciones propias y renovadoras para hacerla encajar en el mundo contemporáneo. Luis Buñuel, tomando más el espíritu que la textualidad, lo ha hecho mediante estrategias adaptativas vinculadas a las vanguardias; Jean Cocteau y François Truffaut, en cambio, han abordado una sustancial desactivación de todos aquellos elementos anacrónicos que entorpecían su acomodo, sustituyéndolos por actualizaciones o conservándolos como aspectos que, aunque manipulados y residuales, han mantenido cierto contenido simbólico. Además, la relación de estos cineastas con la leyenda se ha caracterizado por la reciprocidad: más allá de su utilización como motivo argumental y de servir de nexo entre los tres, esta ha atravesado completamente sus filmografías y se ha convertido en un elemento vertebrador y trascendental que las ha hecho evolucionar.
Since the Middle Ages, the legend of Tristan and Iseult has travelled a long journey to get to present day. Its survival through the centuries denotes great capability for adaptation. The cinema, being only a little over a century old, has been one of the latest art forms to be added to this millenary continuity, and it has found its own renovated solutions to make it fit into the contemporary world. Luis Buñuel, taking more the spirit than the textuality, found it with adaptive strategies connected with the avant-garde; both Jean Cocteau and François Truffaut, however, addressed a substantial deactivation of all of the anachronistic elements that have hindered the legend's reception, substituting them with revisions or keeping them as aspects that ,although manipulated and residual, have maintained a certain symbolic content. Also, the relations of these filmmakers with the legend has been characterized by reciprocity: beyond its use as movie plot and to serve as a nexus between the directors, the legend has completely traversed their filmographies and has become a structuring and transcendental element that has made them evolve.

Comment peut-on transformer un Je réel en œuvre ? À quoi peut-on reconnaître dans une œuvre l’identité de ce Je et de l’auteur ? Dans cette recherche, nous voudrions tenter d’explorer un espace autobiographique dans le domaine cinématographique, à partir de la présence d’un double filmique du cinéaste, d’un autre moi dont l’identité se construit et se prolonge de film en film.Dans le cinéma français, nous pouvons relever trois types de double filmique : l’« Orphée-poète » de Jean Cocteau, l’« Antoine Doinel » de François Truffaut, et cet « ancien militant de la génération 68 » de Romain Goupil. Au travers de ces figures de l’image de soi, les trois cinéastes, dont les univers filmiques se différencient radicalement les uns des autres, parviennent à se raconter eux-mêmes au-delà de toute référence biographique.Afin de mettre en lumière certaines caractéristiques de l’expression du Je, nous voudrions étudier les diverses facettes du regard porté sur soi : nous y verrons ce regard croisé avec un moi-autre, qui nous mènera jusqu’au regard impossible sur sa propre mort. Tous ces regards seront aussi étudiés au travers des diverses modalités de la façon dont nous entendons la voix du cinéaste. Le regard de l’auteur se dédouble sans cesse dans une inlassable dialectique entre le moi réel et un autre moi. De ce dédoublement du regard résulte d’ailleurs une forme de polyphonie. Si nous parvenons à reconnaître une œuvre comme autobiographique, c’est du fait de ce dédoublement du regard et de la voix, qui s’opère à l’intérieur de l’œuvre elle-même
In which way does a cineaste transforme his or her reel self into works? How can we recognize this self-image in the films? This study concerns the autobiographical expression in the films of sevral french cineastes, such as Jean Cocteau, François Truffaut, and Romain Goupil, those who intended constantly to create their own cinematic double all over their works. We will see the distinctive character of self-expression films through the various aspects of cineastes’ introspective gaze : those toward his « another self », toward his own death, etc. These gazes might be also examined in relations with the various ways that we can hear the polyphonic voices of cineastes

La caméra est l’être invisible qui crée l’être visible. Elle est non seulement le représentant du regard du réalisateur mais aussi un voyeur, comme le spectateur en quelque sorte. Nous pouvons étudier la caméra invisible, parce que nous pouvons savoir comment le réalisateur l’a utilisée grâce aux images montrées dans le film. Pour l’analyse, nous choisissons trois éléments particuliers, le mouvement, la distance et l’angle que l’on peut trouver clairement dans le film pour révéler cette caméra. « Comment le réalisateur exprime-t-il son intention par la caméra ? » Notre hypothèse relie l’intention du réalisateur et l’utilisation de la caméra. Nous analysons deux films : "La Nuit américaine" de François Truffaut et "Huit et demi" de Federico Fellini. Ils sont leur premier film sur le film. Nous définissons les films qui possèdent les caractéristiques suivantes en tant que « film sur le film » : un film de fiction, un film réalisé par l’« auteur », le traitement du processus de production du film, la présentation du film dans le film et l’existence du personnage réflexif du réalisateur. Pour introduire et affermir cette approche, nous analysons également "Le Mépris" de Jean-Luc Godard comme troisième film étudié dans l’introduction et la conclusion de l’étude. Cette étude se déroule en trois étapes. D’abord, c’est la division des univers intérieurs du film liés à la narration. La deuxième étape est la statistique sur l’utilisation de la caméra dans tous les plans du film. En dernier lieu, nous interprétons ces statistiques en les comparant à la division des univers intérieurs. Dans cette étape, nous voulons révéler l’intention du réalisateur dans sa réalisation du film
The camera is the invisible which creates the visible. It is not only the representative of the director’s gaze but also a voyeur, similar to the audience in some way. We can study this invisible camera because we know how the director has used it through the images shown in the film. For analysis, we choose three items - movement, distance and angle - that can be found clearly in the film to reveal the camera. “How does the director express his intention by the camera?” Our hypothesis links the director’s intention and the application of the camera. We analyze two films : "Day for Night" by François Truffaut and "8 1/2" by Federico Fellini. These are their first film on film. We define the films that have the following characteristics as the ‘film on film’ : a fiction film, a film directed by the ‘auteur’, treatment of the process of the film production, presentation of the film in film, and the existence of director’s reflexive character. To introduce and strengthen this approach, we also analyze "Contempt" by Jean-Luc Godard as the third film to analyse in the introduction and the conclusion of the study. This study proceeds in three steps. The first step is the division of the interior world of the film related to the narrative. The second step is the statistics on the use of the camera in every shot of the film. Finally, we interpret these statistics in comparison to the division of the interior world. In this step, we want to reveal the director’s intention in his making of the film

El procés de digitalització de la indústria cinematogràfica ha afectat de forma profunda les dinàmiques professionals dels àmbits de la producció, la distribució i l’exhibició. La investigació analitza els orígens del cinema digital i la implementació de la reconversió digital en el sector de l’exhibició. Es fa un recorregut per les diverses fases d’implementació de la tecnologia digital als cinemes: des de la definició d’uns protocols tècnics universals, fins a les vies de finançament que han fet possible portar a terme el procés. També s’analitza com s’han transformat els mecanismes de la distribució i l’exhibició cinematogràfica en aquest nou context de convergència digital. Es posa un èmfasi especial en les polítiques públiques de suport a la digitalització i en la implicació i responsabilitat de les administracions per fomentar i finançar aquests canvis en el sector cinematogràfic. A més s’analitza la rellevància que les projeccions en 3D i els continguts alternatius tenen en el futur de l’exhibició, i com aquests canvis afecten els cinemes independents, especialment en el context europeu. L’estudi fa una anàlisi de l’evolució de l’exhibició cinematogràfica a Catalunya entre els anys 2000 i 2013. A partir de dades oficials de l’Institut Català de les Empreses Culturals de la Generalitat de Catalunya (ICEC), s’analitzen tots els aspectes essencials que permeten fer una radiografia del sector de l’exhibició durant el segle XXI. Així, s’estudia l’evolució del número de cinemes i pantalles, el model de sala i la seva capacitat, les oscil·lacions en el volum d’espectadors de cinema o l’evolució dels preus i les recaptacions. A més, es fa una anàlisi del cinema en versió original, de la distribució territorial de les sales, de la presència de les diverses llengues al cinema així com de les projeccions en 3D i de la situació del procés de digitalització a Catalunya. L’última part de la investigació es centra en un estudi de cas, el Cinema Truffaut de Girona. Es fa una síntesi de la seva evolució històrica i la seva singularitat de ser l’única sala d’exhibició cinematogràfica en versió original que hi ha a Catalunya fora de Barcelona i la seva àrea metropolitana. S’analitza el model d’exhibició alternativa amb suport públic que suposa el Cinema Truffaut i es fa un anàlisi de dades per valorar els seus resultats, viabilitat i impacte en el panorama cinematogràfic de la ciutat de Girona.
El proceso de digitalización de la industria cinematográfica ha afectado de forma profunda las dinámicas profesionales de los ámbitos de la producción, la distribución y la exhibición. La investigación analiza los orígenes y evolución del cine digital así como la implantación de la reconversión digital en el sector de la exhibición. Se realiza un recorrido por las diversas fases de desarrollo de la tecnología digital en los cines: desde la definición de unos protocolos técnicos universales, hasta las vías de financiación que han hecho posible el proceso. También se analiza como se han transformado los mecanismos de la distribución y la exhibición cinematográfica en este nuevo contexto de convergencia digital. La investigación se focaliza especialmente en las políticas públicas de apoyo a la digitalización y en la implicación y responsabilidad de las administraciones en fomentar y financiar estos cambios en el sector cinematográfico. Además, se estudia la relevancia que las proyecciones en 3D y los llamados contenidos alternativos tienen en el futuro de la exhibición, y de qué forma estos cambios afectan a los cines independientes, sobretodo en el contexto europeo. El estudio analiza la evolución de la exhibición cinematográfica en Cataluña entre los años 2000 y 2013. A partir de datos oficiales del Institut Català de les Empreses Culturals de la Generalitat de Catalunya (ICEC), se recogen sistemáticamente todos los aspectos esenciales que permiten realizar una radiografía del sector de la exhibición durante el s.XXI. De esta forma, se estudia la evolución del número de cines y pantallas, el modelo de sala cinematográfica y su capacidad, las oscilaciones en el volumen de espectadores de cine o la evolución de los precios y las recaudaciones. Además, se analiza el cine en versión original, la distribución territorial de las salas, la presencia de las distintas lenguas oficiales en el cine así como las proyecciones tridimensionales y la situación del proceso de digitalización en Cataluña. La última parte de la investigación se centra en un estudio de caso, el Cine Truffaut de Girona. Se realiza una síntesis de su evolución histórica y su singularidad al ser la única sala de exhibición cinematográfica en versión original que hay en Cataluña fuera de Barcelona y su área metropolitana. Se estudia el modelo de exhibición alternativa con apoyo público que supone el Cine Truffaut y se realiza un análisis de datos para valorar sus resultados, viabilidad e impacto en el panorama cinematográfico de la ciudad de Girona.
The process of digitization of film industry has deeply affected professional dynamics in the areas of production, distribution and exhibition. The research analyzes the origins and evolution of the digital cinema as well as the implementation of the digital conversion in the exhibition sector. It explains the different phases of the development of digital technology in cinemas: from the definition of universal technical protocols, to avenues of funding that made possible the process. And it also analyzes how the mechanisms of distribution and the film exhibition are transformed in this new context of digital convergence. The research focuses especially on public policies to support digitization and the involvement and responsibility of the authorities to promote and finance these changes in the film industry. In addition, explores the relevance that projections in 3D and alternative content will have in the future of the exhibition, and in what form these changes affect the independent cinemas, especially in the European context. The study analyzes the evolution of the film exhibition in Catalonia between 2000 and 2013. Based on official data from the Institut Català de les Empreses Culturals of the Generalitat de Catalunya (ICEC), systematically collects all the essential aspects that allow to perform an accurate display of the sector during the 21st century. In this way, it explores the evolution of the number of cinemas and screens, movie theatre models and capacity fluctuations in the volume of viewers of film or the evolution of prices and revenues. In addition, discusses cinemas in original version, the territorial distribution of the screens, the presence of the different official languages as well as three-dimensional projections and the situation of the process of digitization in Catalonia. The last part of the investigation focuses on a case study, the Cinema Truffaut of Girona. It explains a synthesis of his historical evolution and its uniqueness as the only cinema with exhibition in original version that exists in Catalonia outside Barcelona and its metropolitan area. The research focuses in the model of alternative exhibition with public support that Cinema Truffaut means. A data analysis is carried out to assess their results, feasibility and impact on the cinematic panorama of the city of Girona.

An introductory conversation with a new person I just met usually goes like this: So, where is your accent from ? Are you American? Well, yes, .....but no. Not really. I do have American citizenship and I lived in the US for fifteen years but I grew up in France. Ok, so you’re French? Well, yes, but .....not totally. My mother is French but my father is Tunisian. Ok, so you’re Tunisian? Well, yes, but... not wholly. I don’t speak Arabic, so I don’t totally feel Tunisian. So what are you? American? French? Tunisian? With my work, I ask the same questions. What is this? What does it do? How do I, the maker, relate to it? How does the viewer, the other side of the conversation, relate to it and understand it? Can we understand each other if we do not speak the same language? Who am I and who are you anyway?

Esta dissertação consiste numa análise de quatro filmes de François Truffaut, nomeadamente La mariée était en noir (1968), La sirène du Mississipi (1969), L’histoire d’Adèle H. (1975) e La chambre verte (1978). O meu estudo centra-se nalgumas figuras pertencentes a sistemas de representação, que ocupam posições de relevo nas narrativas e na imagética destes filmes. Assim, considero o tratamento dado a fotografias, pinturas, desenhos ou esculturas no quadro maior da imagem fílmica, e atento na caracterização de certas personagens enquanto, elas mesmas, propiciadoras de uma reflexão acerca da imagem. Finalmente, procuro repensar o modo como, associando esse trabalho sobre objectos representativos a um pensamento sobre a morte, Truffaut formula uma meditação sobre o cinema enquanto arte intimamente relacionada com a noção de fantasma.
Abstract: This dissertation offers a close analysis of four films directed by François Truffaut, namely, La mariée était en noir (1968), La sirène du Mississipi (1969), L’histoire d’Adèle H. (1975) and La chambre verte (1978). My reflection follows several figures pertaining to what I identify as different systems of representation, and which also occupy a relevant place in narrative and plot. I consider the specific ways in which these films deal with objects such as photographs, paintings, drawings or sculptures, takens as second degree images inside the cinematic screen. In addition, I seek to understand in what ways are certain characters portrayed as images themselves, emphasising their filmic entity. By tackling these subjects in parallel with a reflection on death that seems to be inherent to François Truffaut's filmmaking, I aim to rethink some of the director's works as meditations on cinema as a ghostly art.

The Origins and Uses of Love in the Cinema of Francois Truffaut attempts to explain how the Nouvelle Vague filmmaker's passions and enthusiasms created both the substance and aesthetic of his work. For the sake of concision, this study has been restricted primarily to the analysis of eight key films in the director's work. These seven features and one short have been further sub-divided into three "blocs": Les 400 coups, Antoine et Colette, Baisers voles. Domicile conjugale, and L'Amour en fuite making up the set centred on the adventures of Antoine Doinel; Jules et Jim and Les_ Deux anglaises et le continent constituting the diptych inspired by the novels of Henri-Pierre Roche; and Tirez sur le pianiste, the sole monadal entry, representing Truffaut's attraction to Hollywood genre cinema. Each of the director's four principal passions are granted a self-explicating chapter: Love of Children, Love of Film, Love of Literature, and Love of Love. In the first of these thematic chapters, it is pointed out that Truffaut's love of children was counterbalanced by an equally profound hatred for the objective conditions of childhood. Love of Film encompasses film criticism as well as film-making; it shows how Truffaut's formative viewing experiences subsequently influenced his choice of subject matter. Love of .literature places special emphasis on the works of Honore de Balzac and Henri-Pierre Roche, The Antoine Doinel films, it is argued, are essentially a mini-Comedie humaine. Love of Love encompasses both romance and friendship. How Truffaut could glory in the pleasures of heterosexual love without really believing in its permanence proves pivotal in this chapter. How all these "loves" were bounded by the director's love/hate relationship to time is discussed in the thesis conclusion.

碩士
國立中央大學
法國語文學系
104
Frédéric Beigbeder is a talented literary figure in the community of French literature and arts. In his early career, he was a creative director in a global advertising agency. His creativity in advertisement had been widely acknowledged. In year 2000, his autobiographical publication, 99 francs unveiled the dark side of the advertising industry. Consequently, he was regarded an infamous traitor in the advertising world. Being dedicated to writing, Beigbeder later becomes a novelist, a writer, a literary columnist, a film critic and the founder of the Prix de Flore. In year 2012, he officially entered the film industry while directing L'amour dure trois ans, an adaptation from his own 1997 novel, which was inspired by his personal experience being through a failed marriage. In the film adaptation, Beigbeder explored whether or not love can last forever. As the film was released in Canada, Beigbeder received a media interview and indicated how Marc Marronnier, the protagonist in the film was a role he found inspiration from Antoine Doinel, a highly autobiographical role created by François Truffaut. Meanwhile, his talk about how his film was deeply influenced by the dialogues of numerous French New Wave directors has also triggered our motivation to investigate the elements in Beigbeder’s first movie. This thesis not only analyzes how movie scenes and storylines in L'amour dure trois ans are inspired and influenced by the creation of Truffaut, Jean-Luc Godard and Jacques Demy, but also discovers how specific scenes respond to the 2007 film 99 francs, directed by Jan Kounen. This is also an autobiographical film adapted from Beigbeder’s novel 99 francs, which heavily criticizes the advertising industry. The thesis is divided into four parts. Firstly, we investigate how Beigbeder approached to make an autobiographical movie as Truffaut did in his L'amour en fuite, which put emphasis on books, literature and the male protagonist’s passion for writing. Like Truffaut, Beigbeder not only loves literature and writing passionately, but also makes a highly autobiographical film. Both directors embodied themselves in their films, and expressed their personal experiences in life and love. In Part 1, we outline the similarities of the two movies and the two protagonists. Based on two leading roles’ common passion for literature, books and writing, we analyze the two films to understand how Beigbeder expressed the strong cultural ambience in L'amour dure trois ans, as if he was following the suit of Truffaut in creating L'amour en fuite. Other than Truffaut, Godard is another New Wave director full of enthusiasm for literature, philosophy, reading and books. His movies are often interlaced with rich and abundant philosophical or literary references, dialogues and narration. His characters often read aloud the words from books in hand. Nevertheless, we find that Beigbeder did not make a concrete and specific connection with Godard’s movies in this aspect. In Part 2, we analyze why and how Marc and Alice’s intimate scene was a representation of homage to Godard’s adaption movie, Le Mépris, written by Alberto Moravia. First of all, we explain how Godard infused the personal sentimental dilemma into the storyline of Le Mépris, and how he overcame the pressure from the American producer who was attempt to manipulate the storyline, and eventually made the movie one masterpiece with both artistic and commercial values in the film history. Next, we discover how Beigbeder arranged an outdoor scene, in which Alice the photographer experiences a role swop from “subject” to “object”. This scene was actually a homage to the well-known opening of Le Mépris. Lastly, we identify how Beigbeder was inspired by an intimate scene from Le Mépris. Through the intimate talk between Marc and his lover Alice after their first sex, people cannot help but relate it to the dialogue of “I don’t know” between Brigitte Bardot and Michel Piccoli. Such arrangement subtly pinpoints the uncertainty of love. In Part 3, the thesis discovers how Beigbeder expresses his homage to Michel Legrand and Jacques Demy by incorporating their co-working musical films, Les Parapluies de Cherbourg and Peau d'âne into his creation. Part 3 is further divided into two sections. First, we focus on the introduction of Legrand’s importance in the New Wave film music history, his brotherhood and partnership with Demy, as well as how the duo successfully completed Les Parapluies de Cherbourg, which features operatic, with the plot advanced entirely through dialogue sung with accompanying music. And, we identify the theme song of Les Parapluies de Cherbourg, “I will wait for you”, and discover how the song has strongly influenced the couple’s relationship in the two scenes of L'amour dure trois ans. This song not only helped Marc get back on his own feet from the divorce, but also made Alice to determine to leave her husband and returned to her loved one, Marc. At the end of this section, we investigate Guy and Geneviève, the leading characters of Les Parapluies de Cherbourg about the context as they sing this moving farewell love song. In addition, we also analyze the possible relatedness between the love of Guy and Geneviève and that of Marc and his wife Anne. In the second section of Part 3, we identify the connection between L'amour dure trois ans and Demy’s Peau d'âne. In the beginning, we elaborate how Demy was influenced by Jean Cocteau’s La Belle et la Bête, Disney’s cartoon Blanche-Neige and Pop Art in the 1970s, and subsequently directed Charles Perrault’s novel Peau d'âne in an innovative approach, incorporating with Legrand’s creativity and made it a successful adaptation musical film. Following a short introduction of the storyline of Demy’s Peau d'âne, we then analyze why the two scenes in L'amour dure trois ans have a direct connection to Demy’s Peau d'âne. First, in a conversation, Marc and Alice realized that they not only appreciate the music of Legrand, but also love Peau d'âne. As a result, something has come out between the two. We highlight the comments of Marc on La Fée des Lilas, the moral defender in Peau d'âne, and discover his perspective that moral should not override love. Second, when Marc expresses his love to Alice on TV, an illusion rises in his head, fantasizing Alice’s return for his utterance. Here we analyze why Beigbeder chose to use a music score of Peau d'âne as the background music in this scene. At the same time, we review the lyrics of the music score, and identify the similarity of the love values believed by Beigbeder. Whenever there is a conflict between sentiment and moral compliance, men and women may take different attitude and approaches. We also analyze how Beigbeder resonates the romantic affair of Marc and Alice to the incest tendency of the king and his princess daughter in Peau d'âne; how the two films echo each other in the presentation of sentiment relationship displayed in sense and sensibility interchangeably. Lastly, we investigate the relatedness between L'amour dure trois ans and 99 francs. In L'amour dure trois ans, Marc gives an awkward speech in the wedding of his best friend, Pierre and Kathy. The speech here strongly indicated and reminded the audience the fact that Marc used to work in an advertising agency. At the end, the researcher highlights how writers and advertisers work differently in thinking and approaches by analyzing Beigbeder’s use of identical background music and single-scene approach to present the scene of Marc’s home alone writing and the scene of Octave Parango who punches his colleague hard in the advertising company in 99 francs.

Cette présente investigation a pour objectif d´établir pour quelle raison, face à l´Art, et plus concrètement face à l´Art de l´image, apparaissent certains entendements non coïncident, à l´origine de zones d´activités, qui se reconnaissent, justement, elles mêmes, subjacentes a l´activité de l´Art. Ces non coïncidences révèlent que dans le domaine de la manipulation de l´image différentes pratiques sont possibles, mais révèlent aussi, et c´est cette caractéristique qui forme la matière qui justifie cette investigation, que quelques unes ont tendance a ce superposées à d´autres, originant les soit disant non coïncidences, non coïncidences qui sont le témoignage de désadaptations, décalibrages, qui ont pour conséquences la production d´insatisfactions. Le sens de cette analyse prétend supposer, à priori, que Art et manipulation de l´image n´est pas la même chose, mais plus concrètement, que l´Art, lui, peut parfaitement advenir d´une manipulation de l´image, ou de n´importe quoi d´autre, et que, la manipulation de l´image, elle, peut servir à d´autres propos. En quelque sorte, il sera question de proposé à l´entendement que la manipulation de l´image peut être idéalisé au travers d´une pratique de la science, qu´elle peut être idéalisé au travers d´une pratique de la philosophie, de la religion, mais que part cette voie elle s´éloignera de plus en plus de l´Art

Dissertação de mestrado em Comunicação, Arte e Cultura
Este trabalho preocupa-se em traçar um panorama sobre duas distintas correntes culturais cinematográficas e as técnicas e modelos de discussão acerca de temáticas sociais, como a repressão social, o negligenciamento familiar e a sexualidade. O discurso revolucionário da Nouvelle Vague francesa e as características estéticas do Pós-Modernismo, em virtude da análise de duas obras fílmicas: Les Quatre Cents Coups de François Truffaut e Kids de Larry Clark, servem de objetos para a análise deste conteúdo. Nesta pesquisa, o cinema é entendido como um meio de produção artística, cultural e comercial. Possui a capacidade para apresentar realidades e culturas distintas e se relacionar com épocas que marcaram e marcam grandes mudanças na humanidade, sendo também uma ferramenta que desenvolve ou lança novos padrões culturais. Uma arma para crítica social ou um produto da indústria cultural? Os movimentos cinematográficos analisados mostram as transformações de valores entre os contextos temporais e sociais do cinema vanguardista e o da contemporaneidade. Para elucidar todas as questões propostas neste projeto, o trabalho busca os conceitos de teóricos ligados à modernidade, pós-modernidade, cinema e comportamento social, como também estudos referentes à sexualidade humana, psicologia e psicanálise.
This paper is concerned to draw a picture about two distinct cinematic cultural trends, techniques and models for discussion of social issues such as social repression, family neglect and sexuality. The revolutionary discourse of the french Nouvelle Vague and the aesthetic features of Postmodernism, by virtue of the analysis of two film works: “Les Quatre Cents Coups” by François Truffaut and Larry Clark's “Kids”, serve as objects for analysis of this content. In this research, the cinema is understood as a mean of artistic, cultural, and commercial production. Has the ability to present some realities and different cultures and relate them to periods that marked and mark major shifts in humanity. It is also a tool that develops and launches new cultural patterns. A weapon for social criticism or a product of the culture industry? The film movement analyzed, show the change of values between the temporal and social contexts of the contemporary and the avant-garde cinema. To clarify all issues in this project, the theoretical search is about concepts related to modernity, post-modernity, cinema and social behavior, as well as studies related to human sexuality, psychology and psychoanalysis.