Literatura científica selecionada sobre o tema "Wandering cinema"

CLOSE STRANGERS. THE IMAGE OF UKRAINE IN POLISH CINEMA AFTER 1989This text happens to be an attempt to look at the image of Ukraine in Polish cinema after the political and social changes of 1989. The big part of the article focuses on TV documentaries which come back to the most significant moments of common Polish-Ukrainian history and tell us stories of people who were equally important for both cultures. The text deals also with a difficult subject of cultural superiority, ignorance and neocolonial stereotypes reflected by some Polish films about Ukraine and Ukrainian people. On the other hand, the article also analyses well-known documentaries, such as Piano by Vita Drygas or The Dybbuk. A Tale of Wandering Souls by Krzysztof Kopczyński. The author is convinced that both films are able to combine high artistic values with an empathic view of the modern Ukrainian reality and the country’s complicated past. The article ends with a conclusion that those documentaries can be treated as the role models for future Polish films about Ukraine.Translated by Piotr Czerkawski

CLOSE STRANGERS. THE IMAGE OF UKRAINE IN POLISH CINEMA AFTER 1989This text happens to be an attempt to look at the image of Ukraine in Polish cinema after the political and social changes of 1989. The big part of the article focuses on TV documentaries which come back to the most significant moments of common Polish-Ukrainian history and tell us stories of people who were equally important for both cultures. The text deals also with a difficult subject of cultural superiority, ignorance and neocolonial stereotypes reflected by some Polish films about Ukraine and Ukrainian people. On the other hand, the article also analyses well-known documentaries, such as Piano by Vita Drygas or The Dybbuk. A Tale of Wandering Souls by Krzysztof Kopczyński. The author is convinced that both films are able to combine high artistic values with an empathic view of the modern Ukrainian reality and the country’s complicated past. The article ends with a conclusion that those documentaries can be treated as the role models for future Polish films about Ukraine.Translated by Piotr Czerkawski

This essay analyses the evolution of the Holocaust film genre in Italy through the paradigm of sacrifice, understood both as a process of martyrisation and Christianisation of the Holocaust, and from the point of view of the instrumental use of the figure of the national hero. Using the examples of the opening sequence of the deicide and the metaphorical crucifixion of Matteo Blumenthal at the end ofL’ebreo errante(The Wandering Jew, Goffredo Alessandrini, 1948); the sacrifice of Giulia inL’oro di Roma(The Gold of Rome, Carlo Lizzani, 1961), who follows her Jewish nature faced with the round-up of 16 October 1943 – the same fate suffered by Edith, the Parisian Jew inKapò(Gillo Pontecorvo, 1959); and the self-inflicted death of Guido, the narrative device used to justify the survival of the son inLa vita è bella(Life Is Beautiful, Roberto Benigni, 1997), this contribution will focus on the definition of the Christianised topos of sacrifice, connected to the conception and general use of the term ‘Holocaust’. The overall thesis, running through the analysis of these four films, is that the paradigm has contributed significantly to the creation of a context of conflicting memories, influencing therefore the formation of the religious, cultural, political or national identities that have been involved historically in the public and private memory of the Holocaust.

The article tells about the transformation of a wandering ancient story about the passion of a mother to her stepson, shows how each era brings about changes in the depiction of the heroine, set in a boundary situation between happiness and duty. In the tragedy of Euripides "Hippolytus" the main character is the king´s son, and Phaedra is a performer of the will of the goddess Cypris. Without knowing, Hippolytus violated ethics law that prescribed to honor equally all the gods and goddesses: he loved to worship the goddess of the hunt Artemis and didn´t bring enough victims to Aphrodite. According to the mythological sources, the election of Phaedra as the instrument of revenge can be explained by the fact that Phaedra carries the burden of a tragic guilt for her grandfather, who told Hephaestus about the affair between Aphrodite and Ares. Euripides describes the suffering of Phaedra. His character brings her life as a gift to the children. The tragedy of the debt victory is displayed brighter by the Greek author than by the French one. But the image of Phaedra, made by Jean Racine, is nobler than it was made by Euripides. The heroine of Euripides sacrifices herself for the sake of duty and commits suicide, but makes a low act, leaving a note that slanders Hippolytus, but the queen by Racine, dying, emphasizes the innocence of her stepson. The stepson´s attitude to the passion of his stepmother changes too. For Hippolytus by Euripides the passion of Phaedra is the evidence of low-lying nature of women, for Hippolytus by Jean Racine it is the touching continuation of conjugal love at first, and then, when Phaedra separates him in her mind from the father, and emphasizes that loves Hippolytus, it is a horrible discover, but not the reason for the generalization, reasoning and discrimination against all women. The continuation of the incarnation of vagrant story about Phaedra we see in the poetry of Marina Tsvetaeva in the tragedy "Phaedra". Tsvetaeva simplifies antique tragedy, removing the problem of choosing between happiness and duty, but in the poem she returns to the tragic beginning of it, highlighting the theme of the sublime punishments with passion that is emphasized in the interpretation ofR. Viktyuk, who created a cinema play "Passion about Phaedra in four dreams of Roman Viktyuk" on the basis ofTsvetayeva´s texts.

Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point of expressive means interaction, although the last one is not systematized and generalized. Objectives. The study is aimed at identifying the features of the interaction between music and cinema. Particularly, the infl uence of compositional and improvisational processes of music on the expressive structure of the fi lm and the specifi cs of fi lm making are considered. The movies using mostly jazz music were selected to study for a more effective and balanced comparison of the effects of compositional and improvisational principles in their dialectical coexistence. Methods. The desire to explore the phenomenon in its entirety led to an integrated approach which has helped to project the expressive system of music on fi lm work. Both systemic and structural-functional methods are involved in order to determine the specifi cs. The comparative method of analysis is used to generalize the connections of music thinking with audiovisual conception. And the interpretative approach helps to synthesize the results of survey. Scientifi c novelty consists in the attempt to outline the essential connection between music and audiovisual creativity which lies in the time nature of both arts and the tendency to non-verbal expressiveness. Results. The results of the research support the idea that composition and improvisation as two principles of creating a musical work are equally inherent in fi lm making. The fi rst of them provides for the stability and completeness of the structure, while the second one is associated with an instantaneous sensual response to the creation of the work in front of the viewer. Thereby, improvisation actualizes the process of creating a work of art as a way of artists’ communication with one another and with the public. It should be noted that there is a difference between the concept of improvisation as a process and the improvisational principle as a property. The last of them is found in the music of any tradition and is refl ected in the content and form of the work. The main features of the improvisational principle are relaxedness and freedom of expression, a feeling of continuity of movement and unexpectedness of further actions. Similarly, the compositional principle can be distinguished. It is based on repeats and returns of stable elements at a distance. The interaction of compositional and improvisational principles can be traced in the complex of expressive means of the fi lm at the level of dramatic development and plot structure, features of the dynamic movement and screen plastic, light-shadow score, fi - gurative content. When it comes to a musical or biopic fi lm, the diegetic music becomes a stabilizing element of the composition, and the constant returning to the situation of musical performance creates a cyclical effect. At the same time, sensual contemplation, live instant response to the observation of the creation provides a fi eld for acting improvisation within the regulated scenario. Analysis of the movie “Round Midnight” (Bertrand Tavernier, 1986) confi rms these assumptions and the hero’s jazz improvisation replaces his monologues, acting as the main fi gurative characteristic. Films in the genre Noir are marked by the use of jazz improvisation on the non-diegetic structure level. The functional uncertainty of sections, the fl ow of linear and nonlinear narratives, and unexpected change in the rhythm are observed in such fi lms. However, the return of wandering, searching, doubting, walking, coversational situations provide a manifestation of the compositional principle. These observations are made on the example of the movie “Lift to the Scaffold” (Luis Malle, 1958), and the most profound form of interaction between jazz improvisation and cinematic expressiveness – the so-called “jazz cinema”, based on the interpretation of jazz through the prism of fi lm expressive means. “Shadows” (John Cassavetes, 1959) happened to be the fi rst specimen of such kind of fi lms. But the most complex form of interaction between compositional and improvisational elements of music and fi lms are large-scale drama fi lms with numerous storylines and a large number of characters. This is considered on the example of the “Regtime” (Miloš Forman, 1981), where the musical genre determines the plot development, certain events and situations and musical score. In other words, music affects the expressive structure of the fi lm on three levels: genre-stylistic, compositional-dramatic, artistic-linguistic. Conclusions. In the process of the research it has been found out that common time nature in music and cinema allows them to be in close cooperation. The analysis of improvisational and compositional elements in fi lms indicates their certain connections with the musical form. Stabilization at the level of the plot is achieved through the return of certain dramatic situations, cycle of musical compositions as a diegetic element of the fi lm and fi nally, musical accompaniment of certain situations. Instead, improvisation is refl ected in the unexpected events, the looseness of the dialogue and the violation of linear development. All of these dramatic situations are marked by sensual contemplation and alive, instant response to changes in events. One of the main features that unite fi lm structure and jazzy music is the dialogical character of narration. This property makes improvisation a method of presentation and composition building.

from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the most vivid signs of promenade elements, to consider a set of musical instruments used by French composers of the late 19th – early 20th century in the music “walks”. Methods. To determine the role of walks in the genre palette of the music of the 20th century, the historical biographical and the comparative research methods were used. Results. The author of the article reveals the role of walks in the French national life and culture. Their characteristic signs are the following: desire for rest, lightness of being, enjoying the moment. From here, the verbal landscapes from the “In Search of Lost Time” novel by M. Proust take their beginning in, which were inspired by his walking in the Bois de Boulogne forest, in the outskirts of Paris, the province of Illiers-Combray, where the writer took care of fl owers, trees and shrubs. A similar passion for walking and studying the fl ora was also experienced by the enlightener J.-J. Rousseau. He was known to spend a long time feasting eyes on plants, collecting herbariums, often recording his observations. This also explains why C. Monet loved wandering in the wilds. The famous artist, known for his landscape paintings, bought from the local farmers a piece of land that bordered with his estate in order to freely wander around the fi elds in search of the right object, favorable angle or necessary lighting. As a result, promenade walking, being a typical national feature, is often embodied in French music and poetry. This phenomenon is common outside of French art as well. In music, we can refer to “The Walk” by S. Prokofi ev and “The Walk” from the “Pictures at an Exhibition” by M. Mussorgsky; in prose - “The Walk” by N. Karamzin, “Walking in Rome” by G. Morton, “Walking with Pushkin” by A. Tertz, “Six Walks in the Fictional Woods” by U. Eco; in painting – “The Walk” by M. Chagall, “An Evening Walk”, “A Man and a Woman on a Walk in the Forest” by A. Toulouse-Lautrec, “A Walk”, “A Walk” by P. Delvaux, “A Walk” by E. Degas. Quite a few works in the genre of walks revealed such areas of public knowledge as lecture sessions, historical excursions and reviews of art. Thus, the art critic, historian, art historian S. Stavitsky organized a lecture session “Walk as a genre of modern art”, which consisted of three meetings: “Walk Aesthetics”, “Walk and Neo-avant-garde”, and “Actionist Walks”. Polish literary critic Z. Kopech published a collection of articles called “Walks in Modern Polish Literature” devoted to the issues of national prose, poetry and drama. E. Kulikova wrote the work called “Walks in the Lyrics of Anna Akhmatova”, where the author reviews several of her poems , including “The Walks”. B. Godard’s piano cycle “Chemin Faisant” (1880–1881) was analyzed, where each of the pieces appears as a sketch, a “photography” of a walking person. The fi rst three items of the cycle – “Going Over”, “Crying” and “Singing”, form a mini-cycle, since they contrast with each other in terms of image and content, although they remain related in terms of the selected means complex. Among them are: fi gures of movement, repetition, dynamic approach of “moving closer-moving away”, staccato technique in outside pieces. The unifying principle is the direction of all stylistic means to visualize a music image. This explains the presence and individual traits, since the character’s image created by the composer is endowed with a unique identity. The distinctness, tangibility of B. Godard’s musical images makes one ponder over the impact of cinema on musical art: its abilities through the details – expressions of eyes, facial expressions, turns of the head – transmit a change of emotional state, moods, put together a special emotional and psychological plot. A different approach to a descriptive music in “The Walks” (1921) by F. Poulenc is revealed, where the composer does not present a character on a walk, and does not tell stories. Instead, he creates the appropriate surrounding, inspires us with the atmosphere of such different and contrasting walks with the help of harmonic colors, tempos, texture, dynamic and articulation means. His music language is far from being simple, it is full of bizarre rhythms and complex chords, thus putting forward serious technical requirements. Above all, the composer’s targeted attitudes when creating the visible realism of his urban plots are evidenced by numerous text remarks, which are designed to guide a musician as accurately as possible towards the required performance character. They are found everywhere and relate to all components of the music: tempo, sound level, mood, articulation, agogics, pedal usage. A set of various sound and visual means help a performer to implement the composer’s instructions. Conclusions. The universal and wide compositional possibilities of walks as a special artistic genre are proved by its relevance in various types of art and scientifi c knowledge. The authors use different means of declaring their idea, and different way to materialize it. This versatile experience opens the way to comprehending the new and the unexplored, steadily and leisurely, as if you are just a curious walking person.

This thesis sets out to theorize a genre of ‘mourning film’, or ‘cinéma du deuil’ which came into its own from the early 1990s, an era during which the cinema reached its centenary, saw fresh technological innovation and renewed investment in representing masculinity-in-peril, all of which helped shape the type. From the British and Continental arthouse, the Hollywood studies and the American independent sector come works which broached the effects of bereavement in sophisticated ways, often informed by recent trauma theory and grief therapy. The roots of this preoccupation originate in cinema’s evolution alongside nineteenth century spiritualism. Both were forms of image-conjuring combined with strong emotional content, and made separate though similar appeals to women, key protagonists in modern mourning cinema. Proposing an archaeology of mourning, this thesis proffers classical horror’s inherent concern with passage, melodrama’s emotionality and aesthetic ‘excess’, and European modernism’s investment in subjectivity as providing a rich impetus to modern mourning cinema. While drawing on Freud, trauma and grief theory, feminist film theory, and particularly mobilizing Deleuze’s and Daniel Frampton’s theorisation of post-classical cinema, this research positions the representation of mourning, with its play of presence and absence, its modernist manipulations of image and sound, its lachrymal gestures, at the heart of an attempt to understand cinema’s appeal. Privileging genre, theme and gender over authorship, this theorisation of a new genre proposes case studies of post-classical precedents and modern mourning films, while drawing a ‘bottom-up’ account of genre from post-classical initiatives of arthouse exhibition and a contemporary context of domestic spectatorship.

Esta pesquisa tem por objetivo entender, por meio da análise fílmica, as formas como a temporalidade está presente no imaginário social na modernidade. Para isso, foi inicialmente elaborada uma abordagem histórica da constituição da temporalidade moderna, refletindo sobre a perda da narrativa, e da tradição e as mudanças no significado da morte. A análise dos filmes Dolls, Paris, Texas, Sob a areia e A eternidade e um dia vêm mostrar formas de temporalidade que se apresentam como contraponto àquela hegemônica na modernidade. Em seus temas, são abordados os elementos de ruptura: a errância, o desenraizamento, o luto e a rememoração
This thesis seeks to understand, through filmic analysis, the ways in which temporality is present in the social imaginary of modernity. To do so, it initially elaborates a historic approach to the construction of modern temporality, reflecting on the loss of narrative, tradition and the changing meaning of death. The analysis of the four films Dolls, Paris, Texas, Under the Sand and Eternity and a Day demonstrates forms of temporality that are presented as a counterpoint to that which is hegemonic in modernity. The key themes approached are elements of rupture: wandering, uprooting, mourning and remembering

This paper serves to explore how female subjects are represented in films featuring a woman on the road in ways that can create a female gaze, as an alternative to the male gaze. It looks for answers in four films from the 1970s to 2016, all made by female filmmakers, which are Je, Tu, Il, Elle (1974), Vagabond (Sans Toit Ni Loi) (1978), Wendy and Lucy (2008) and American Honey (2016). All four films share approaches that reject objectification in the depiction of females, but each is distinctive in their filmi strategies. Focusing on each work individually while attempting to make comparisons with others, this paper also aims to connect the shift of strategies in these works to the related discussion in feminist film theories.

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O estudo aborda o ciclo do cinema ambulante em São Luís, capital do Maranhão, ocorrido entre 1898 e 1909 e que se configurou numa sucessão de espetáculos de aparelhos cinematográficos que se efetivava, quase sempre, no Teatro São Luiz, hoje Teatro Arthur Azevedo, encerrando-se quando da inauguração da primeira sala fixa de cinema (o cinema São Luiz, em 31.11.1909). O referencial teórico-metodológico utilizado é a Análise de Discurso, de linha francesa. O corpus abrange os registros deixados nos jornais Pacotilha, Diário do Maranhão e O Federalista: notas, notícias, crônicas e, principalmente, anúncios publicitários. O objetivo é estabelecer, a partir da AD francesa, de que maneira os aparelhos cinematográficos foram apresentados, discursivamente, como artefatos da modernidade. A hipótese é a de que os jornais acabaram por forjar para esses aparelhos a imagem de ícones de uma modernidade, fortemente vinculada aos artefatos maquínicos que proliferaram, frutos da Revolução Industrial, e que, então, distribuíam-se por todo o país, tendo como ponto de disseminação o Rio de Janeiro. Acredita-se que os enunciados sobre o cinema ambulante têm no seu intradiscurso a marca do interdiscurso da modernidade: o forte tom descritivista do maquinismo encontrado nas notas informativas e opinativas; a presença de muitos superlativos nos textos dos anúncios e das notas sobre os espetáculos; o fato de esses jornais apresentarem os aparelhos sempre eivados de adjetivação; o tom apologético com que os jornais definiram as apresentações dos cinematógrafos. Essa divinização dos cinematógrafos era a lógica do período, em todo o mundo, a julgar pelas análises já realizadas em textos de jornais do Rio de Janeiro e de outras localidades, que noticiam os espetáculos de cinematógrafo durante toda a fase do cinema ambulante, conhecida também como fase de domesticação ou ainda como primeiro cinema
This study approaches the cycle of the wandering cinema in São Luis, capital city of the state of Maranhão, Brazil, performed between the years of 1898 and 1909, which consisted of a series of cinema spectacles that happened most of the time at the Teatro São Luiz, today known as Teatro Arthur Azevedo, that ended when the first movie theater was inaugurated (the São Luiz Cinema, in 31/11/1909). The theory and methodology used are the French Discourse Analysis. The corpus embraces the registers found in the newspapers Pacotilha, Diário de Maranhão e O Federalista: quick notes (informative and opinions), news, chronicles and mainly advertisements. The main point is to establish, through French Discourse Analysis, which were the representations that the newspapers brought to the society about the cinema. The hypothesis is that these newspapers provided the cinema with the image of modernity icons, strongly connected to the machine tools that were all over the country, resulted from the Industrial Revolution, especially in Rio de Janeiro. It is possible to believe that the enunciates about the wandering cinema have in its inner speech the mark of the modernity inter speech: the heavy descriptive tone of the machinery found in the informative and opinion notes. The presence of superlatives in the advertisement text and the notes about the spectacles; the apologetic tone with which the newspapers defined the presentations. The divinization of the cinemas was the logic of the period all over the world, as we can see in the analysis done on texts from Rio de Janeiro newspapers and other places, including French newspapers, that report the cinema spectacle during all the wandering phase, also known as domestication phase or first cinema

Orientador: Maria do Rosário de Fátima Valencise Gregolin
Banca: Vanice Maria Oliveira Sargentini
Banca: Carlos Piovezanni
Banca: Ucy Soto
Banca: Pedro Navarro Barbosa
Resumo: O estudo aborda o ciclo do cinema ambulante em São Luís, capital do Maranhão, ocorrido entre 1898 e 1909 e que se configurou numa sucessão de espetáculos de aparelhos cinematográficos que se efetivava, quase sempre, no Teatro São Luiz, hoje Teatro Arthur Azevedo, encerrando-se quando da inauguração da primeira sala fixa de cinema (o cinema São Luiz, em 31.11.1909). O referencial teórico-metodológico utilizado é a Análise de Discurso, de linha francesa. O corpus abrange os registros deixados nos jornais Pacotilha, Diário do Maranhão e O Federalista: notas, notícias, crônicas e, principalmente, anúncios publicitários. O objetivo é estabelecer, a partir da AD francesa, de que maneira os aparelhos cinematográficos foram apresentados, discursivamente, como artefatos da modernidade. A hipótese é a de que os jornais acabaram por forjar para esses aparelhos a imagem de ícones de uma modernidade, fortemente vinculada aos artefatos maquínicos que proliferaram, frutos da Revolução Industrial, e que, então, distribuíam-se por todo o país, tendo como ponto de disseminação o Rio de Janeiro. Acredita-se que os enunciados sobre o cinema ambulante têm no seu intradiscurso a marca do interdiscurso da modernidade: o forte tom descritivista do maquinismo encontrado nas notas informativas e opinativas; a presença de muitos superlativos nos textos dos anúncios e das notas sobre os espetáculos; o fato de esses jornais apresentarem os aparelhos sempre eivados de adjetivação; o tom apologético com que os jornais definiram as apresentações dos cinematógrafos. Essa divinização dos cinematógrafos era a lógica do período, em todo o mundo, a julgar pelas análises já realizadas em textos de jornais do Rio de Janeiro e de outras localidades, que noticiam os espetáculos de cinematógrafo durante toda a fase do cinema ambulante, conhecida também como fase de domesticação ou ainda como primeiro cinema
Abstract: This study approaches the cycle of the wandering cinema in São Luis, capital city of the state of Maranhão, Brazil, performed between the years of 1898 and 1909, which consisted of a series of cinema spectacles that happened most of the time at the Teatro São Luiz, today known as Teatro Arthur Azevedo, that ended when the first movie theater was inaugurated (the São Luiz Cinema, in 31/11/1909). The theory and methodology used are the French Discourse Analysis. The corpus embraces the registers found in the newspapers Pacotilha, Diário de Maranhão e O Federalista: quick notes (informative and opinions), news, chronicles and mainly advertisements. The main point is to establish, through French Discourse Analysis, which were the representations that the newspapers brought to the society about the cinema. The hypothesis is that these newspapers provided the cinema with the image of modernity icons, strongly connected to the machine tools that were all over the country, resulted from the Industrial Revolution, especially in Rio de Janeiro. It is possible to believe that the enunciates about the wandering cinema have in its inner speech the mark of the modernity inter speech: the heavy descriptive tone of the machinery found in the informative and opinion notes. The presence of superlatives in the advertisement text and the notes about the spectacles; the apologetic tone with which the newspapers defined the presentations. The divinization of the cinemas was the logic of the period all over the world, as we can see in the analysis done on texts from Rio de Janeiro newspapers and other places, including French newspapers, that report the cinema spectacle during all the wandering phase, also known as domestication phase or first cinema
Doutor

Apparu au lendemain de la Seconde Guerre mondiale avec la publication en 1957 d’On the Road de Jack Kerouac et la sortie, 12 ans plus tard, d’Easy Rider de Dennis Hopper, le road novel et le road movie constituent à nos yeux les deux versants de ce que nous avons choisi de nommer le récit de la route. Devant l’absence de réelle étude conjointe entre les deux formes et la persistance d’amalgames, nous souhaitons mettre en évidence ce qui permettrait de distinguer le road novel et le road movie d’autres récits d’errance. Un tel travail nécessite la mise au jour d’un outil d’analyse intermédial permettant d’embrasser de concert des oeuvres relevant d’expressions médiatiques différentes. Nous proposons donc de recourir au concept de chronotope développé par Bakhtine en littérature, et dont il a été démontré il y a peu qu’il est aussi susceptible de s’appliquer à un objet cinématographique. Nous posons que road novel et road movie reposent sur la combinaison d’un ensemble de chronotopes fondamentaux : celui de la route, dans le contexte de la motorisation et des non-lieux de la postmodernité, et celui du seuil, compris comme l’expression du tournant d’une vie. La présence d’une dimension parodique nous amène en outre à mobiliser un autre concept bakhtinien : celui de carnavalesque, qui s’articulerait justement autour des chronotopes de la route et du seuil définis précédemment. Afin de procéder à cette analyse chronotopique, nous nous appuyons sur un corpus d’oeuvres empruntées au répertoire américain, québécois et allemand, en raison notamment des multiples passerelles susceptibles d’être érigées entre ces différentes cultures
Appearing in the wake of World War II, with the publication in 1957 of On the Road by Jack Kerouac,followed 12 years later with the screening of Denis Hopper’s Easy Rider, the road novel and road movie constitute, we argue, two sides of what we call the road narrative. Faced with a lack of comprehensive studies embracing both sides concurrently, and with recurrent amalgams, we reflect on the components differentiating the road novel and road movie from other types of wandering stories. Such a project calls for the construction of an intermedial apparatus, enabling us to jointly encompass artworks belonging to different media formats. Consequently, we build on the concept of the chronotope, as developed by Bakhtin as a tool for literarycriticism, and recently extended by scholars to cinematographic objects. We show how road novels and roadmovies emerge from the combination of two fundamental chronotopes: that of the road, exemplified by a postmodern universe dominated by motor vehicles and non-places, and that of the threshold, understood as the expression of a critical turn in one’s life. The noted presence of a parodic dimension in road narrativescalls for the introduction of an additional bakhtinian concept: the carnivalesque, which, as we show, can be articulated in relation to the previously defined road and threshold chronotopes. For this chronotopical analysis, we selected artworks from the American, Quebecois and German repertoires, a choice justified by the numerous potential connections to be established between those three different cultures

This thesis concerns the theme and form of “wandering” in Taiwanese cinema. It focuses on selected films by three major directors: Tsai Ming-liang, Hou Hsiao-hsien, and Edward Yang. These three directors are not only the most critically acclaimed from Taiwan, their films also share more than a few characteristics. Their narratives often involve wandering, whether it be in content or form. I argue that this wandering is presented as a way of experiencing the world that can lead to greater agency within it. In “Edward Yang’s Yi yi: Everyday Adventure in the Idyllic City”, I use Bakhtin’s chronotope to observe how wandering in the city can transform the everyday into an adventure that leads to greater knowledge and happiness. In “Tsai Ming-liang: Wandering through Dystopia”, I draw on de Certeau’s “pedestrian speech act” to contend that characters in the director’s films approach their dystopian environment from a wandering perspective, which allows them to create new possibilities within the constraining order. In “The Perpetual Present: Mythic Time in Hou Hsiao-hsien’s Millennium Mambo”, I use Barthes’s concept of mythic time to claim that Hou offers a text that is already reread, thereby allowing the viewer to experience a time without before or after. In these films, urban wandering is a process of self-discovery that is necessary to determine one’s place within the surrounding community (familial or affinitive) and in the world at large.

Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plastic sexuality and confluent love, Raymond Williams’s notion of emotional realism, and Trevor Griffiths’s historical understanding of the (raced and classed) wandering vagrant in an interdisciplinary “extension” of Tanya Krzywinska’s analysis of real sex cinema. This textual analysis combines “mutual understanding” of feminist mapping theory with risk sociology’s recognition of history as the growth of dialogue with the ars erotica.

Stephen’s musings on the pre-cinematic ‘stereoscope’ are discussed in relation to Bloom’s contemplation of parallax and his mention of the ‘Mutoscope’. The three-dimensionality, tangibility, and tactility of stereoscopic perception is analysed alongside Bloom’s and Gerty’s encounter in ‘Nausicaa’ and the Merleau-Pontian concepts of ‘flesh’ and ‘intercorporeity’. The bodily effects of projected cinema—achieved through virtual film worlds, virtual film bodies, and the intercorporeity of film and spectator—are discussed through reference to panorama, phantom ride, and crash films. The dizzying effects of some of these films are compared to the vertiginous nature of the ‘Wandering Rocks’ episode of Ulysses; these cinematic and literary vestibular disturbances are elucidated through gestalt theory and the phenomenological concepts of ‘intention’, ‘attention’, and the ‘phenomenal field’. Finally, the relationship between the self and the other is considered, through a discussion of cinematic mirroring in Ulysses and in Mitchell and Kenyon’s fin de siècle Living Dublin films.

Horror films in Hong Kong cinema have eschewed terror in favour of comedy, where supernatural beings take the form of hopping vampires, wandering spirits and underworld demons rendered in latex masks and movie slime. This chapter explores the comic presentation of these subjects in Hong Kong horror, where the self-reflexive exposure of the cinematic machinery of costume and special effects appear to put it at odds with the spectral affectivity of the Hong Kong ghost story. This chapter returns to two classic films from the mid-1980s, A Chinese Ghost Story (Tsui Hark 1987) and Rouge (Stanley Kwan 1988), films from the ‘second wave’ period long noted to carry ‘Hong Kong’ as a subject of concern in the run up to the British handover of 1997, and revisits their historical positioning in the light of more recent post-1997 incarnations such as Visible Secret (Ann Hui 2001), My Left Eye Sees Ghosts (Johnnie To 2002), and Rigor Mortis (Juno Mak 2013).

Tanaka’s fourth film, The Wandering Princess (Ruten no ōhi, 1960), is the subject of Alejandra Armendáriz-Hernández’s chapter. Based on the autobiography of Saga Hiro (1914-1987), a Japanese aristocrat who married the younger brother of the emperor of Manchukuo, The Wandering Princess was marketed as a ‘women’s film’ by highlighting the three women who occupied key positions in the production: scriptwriter Wada Natto, star Kyō Machiko and director Tanaka Kinuyo. With this in mind, Armendáriz-Hernández examines Tanaka’s work against more prevalent representations of women and national history in postwar Japanese cinema in order to argue that the film and, crucially, Tanaka herself occupied a liminal gendered position within early 1960s Japanese cinema.

In John Akomfrah’s essay-film, The Nine Muses (2010), the aesthetic paradigms of politics and art are broached so evenly that it is as possible to speak of a ‘cinema of politics’ as it is to speak of a ‘politics of cinema’ – both concepts are equalised, so that each is constitutive of the other. A bricolage of extraordinary intertextuality, Akomfrah’s film is equally concerned with the socio-historical problem of migrant subjectivity and the politico-aesthetic distribution of hierarchies relating to forms and technologies of art. The thematic concern for migration becomes a formal ‘foreignness’, creating a reconfigurative possibility for cinema and its adjacent art forms. Following Rancière’s utopian framing of the wandering ‘foreigner’ (1990: 3), I claim that Akomfrah film ‘persists in the curiosity of his gaze, displaces his angle of vision, reworks the first way of putting together words and images, undoes the certainties of place’ (1990: 3). The foreigner is an urgent political concept at a time of consensus and especially crucial in regards to public responses to mass migration from the Middle East to Europe.

The first wave of film comedy in socialist China enjoyed only an ephemeral presence amidst the Hundred Flowers Campaign. This chapter turns attention to the intersection of and interaction between cinema and the traditional Chinese performing art of xiangsheng in the mid-1950s, seeking to tease out an innovative strand of comic filmmaking in the Mao era. Specifically, it takes as its case study the xiangsheng dianying (crosstalk film) of 1956, Wandering in the Zoo, Awaking from a Dream (Youyuan jingmeng), starring the well-known xiangsheng duo of Hou Baolin and Guo Qiru. Through an introduction of xin xiangsheng, a new type of xiangsheng created for the new Chinese society and a careful textual analysis of this particular xiangsheng dianying, the chapter illustrates that the interplay of xiangsheng and film, as seen in Wandering in the Zoo, Awaking from a Dream, transfigured each of the two media, increased much of the viewing pleasure of this film, and provided an understanding of the specificities of both xiangsheng and film. This rather ingenious experimentation of dynamical intermediality demonstrates that laughter under Mao could be innovative and experimental.

This chapter discusses Serras da Desordem (Hills of Chaos) (Andrea Tonacci, 2007), which concerns an isolated Indian who reenacts atrocities that happened thirty years earlier, including his displacement and wandering until making contact with a rancher’s family and eventually rejoining the remainder of his group. The chapter analyzes the film’s hybrid texture, its mix of reenacted scenes with archival and TV and media images and the implication of cinema in the record of multiple instances of exploitation throughout Brazilian history. It also studies two long-span films returning to events that happened twenty years earlier—Twenty Years Later: A Man Marked to Die (Eduardo Coutinho, 1964–1984) and Corumbiara (Vincent Carelli, 2006) on first contact with isolated indigenous groups as a comparison with Tonacci’s approach to return and to Brazilian history. The chapter considers Tonacci’s self-ethnographic early projects and his experimental films in relation to this ambitious allegory on Brazilian exploitation in the 1970s; it reads Tonacci’s untranslated communications by Carapiru as a willed form of opacity, an enforced, enacted process of dislocation and alienation and an indictment of Brazilian politics, a process termed “a-filiation.”

A symbol of disorientation par excellence, the Cretan Labyrinth has become an emblematic image of Catullus’s longest extant work, his “epyllion,” poem 64, on the marriage of Peleus and Thetis. Chapter 4 argues that due to this depiction and others like it of wandering and roaming in the spaces of Rome’s ever-growing empire, Catullus’s oeuvre represents the culminating example of the Republican poets’ interest in becoming lost as a theme related to expansion. After tracking the theme in the fragmentary “neoteric” poets Cinna, Calvus, Caecilius, and Varro of Atax, this chapter proceeds via a series of specific Catullan examples. In poem 22, Catullus underscores the disorientation of the erring self as a special concern by calling attention to each person’s self-delusional error (20). Catullus depicts a disorienting epic-style journey to Asia Minor, a site of Roman expansion, in another “epyllion” on the eunuch priest of Cybele, Attis (poem 63). Poem 61 represents the roaming, androgynous marriage god Hymen as responsible for producing youths to guard Rome’s imperial borders. The wandering course of the Argonauts in poem 64 again directs attention toward Rome’s imperial ambitions in the Greek East, while the fearful errores of the Cretan Labyrinth link the myth of Theseus to the Argonautic story so as to make wandering an ambiguously unifying theme of the poem as a whole. Such geographical movements become unstable analogs in Catullan verse for internal transitions from love to hate, erotic and familial attachment to isolation and abandonment, and even male to female.

Gras’s Bovines/A Cow’s Life is a contemplative documentary reflection on a herd of Charolais cows, offering up delayed, wandering images of bovine life. The film invites particular links to be drawn between the ‘pure optical and sound situations’ of the Deleuzian time-image and the account of animal art and expressive territory given by Deleuze and Guattari in What is Philosophy?. Building also on Bailly’s notion of pensivity, while expanding this account beyond its privileging of the gaze (through attention to bovine sounds in the film), this chapter allows for further development of dynamics of worlding traced in previous chapters. Yet it also suggests that Bovines allows us to probe the possible limitations of Deleuze and Guattari’s thought. In risking a privileging of what Hallward calls, in his critique of Deleuze, ‘virtual creatings’ over ‘actual creatures’, the film’s time-images might be seen as aestheticising political paralysis over political action, favouring a celebration of biovitality over a critique of biopolitics. While Bovines’s pastoral setting and lingering, durational aesthetic thus stage a set of ambivalences and contradictions, the film also points to the limitations, as well as the ongoing possibilities, of a Deleuzo-Guattarian engagement with cinema’s animal worlds.