Cinema and the Work of Doré

According to Ray Harryhausen, a special effects expert in the film industry, "Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera." Doré's work has had a permanent impact on the imaginative realm of film since its very early days. In return, the silver screen has etched Doré into the 20th century imagination. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré's graphic world, beginning with Georges Méliès' A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault's Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977) and even the Harry Potter film series. Through his influence on film history, Doré shaped the mass culture imagination.

Finding an apprenticeship : hidden curriculum and social consequences

In Switzerland, the majority of students are oriented towards professional training after compulsory schooling. At this stage, one of the biggest challenges for them is to find an apprenticeship position. Matching supply and demand is a complex process that not only excludes some students from having direct access to professional training but also forces them to make early choices regarding their future sector of employment. So, how does one find an apprenticeship? And what do the students' descriptions of their search for apprenticeships reveal about the institutional determinants of social inequalities at play in the system? Based on 29 interviews conducted in 2014 with 23 apprentices and 6 recruiters in the Canton of Vaud, this article interrogates how the dimensions of educational and social trajectories combine to affect access to apprenticeships and are accentuated by recruiters using a "hidden curriculum" during the recruitment process. A hidden curriculum consists of knowledge and skills not taught by the educational institution but which appear decisive in obtaining an apprenticeship. By analysing the contrasting experiences of students in their search for an apprenticeship, we identify four types of trajectories that explain different types of school-to-apprenticeship transitions. We show how these determinants are reinforced by the "hidden curriculum" of recruitment based on the soft skills of feeling, autonomy, anticipation and reflexivity that are assessed in the context of recruitment interactions. The discussion section debates how the criteria that appear to be used to identify the "right apprentice" tend to (re)produce inequalities between students. This not only depends on their academic results but also on their social and cultural skills, their ability to anticipate their choices and, more widely, their ability to be a subject in their recruitment search. "The Subject is neither the individual, nor the self, but the work through which an individual transforms into an actor, meaning an agent able to transform his/her situation instead of reproducing it." (Touraine, 1992, p.476).

Stranger than Fiction: Métalepse de Genette et quelques univers filmiques contemporains

Dans le présent article, l'auteur examine certains commentaires développés par Gérard Genette à propos d'exemples filmiques dans l'ouvrage Métalepse, et tente de prolonger l'étude de cette « figure » dans le cadre des théories de la fiction en se penchant sur des films réalisés dans la dernière décennie. Il montre ainsi la pertinence de l'étude des phénomènes relevant de la métalepse pour aborder certaines productions cinématographiques contemporaines qui engagent des pratiques réflexives complexes. Par ailleurs, il aborde la façon dont Genette se positionne par rapport à l'objet cinéma - qu'il tient distance -, et propose d'autres ouvertures théoriques, notamment en tenant plus spécifiquement compte des théories de l'énonciation filmique. Enfin, il discute certains problèmes soulevés par la conception genettienne de la « diégèse » appliquée au cinéma, notamment dans le cas de l'analyse des implications du procédé du pont sonore et des sons dits « extradiégétiques ». L'étude s'achève par l'analyse de la transgression des niveaux narratifs dans un film à voix-over, Stranger than fiction (Marc Forster, 2006), qui constitue un lieu privilégié pour éprouver certaines remarques de Genette. This article discusses some reflections developed by Gérard Genette with respect to the filmic examples in Métalepse and tries to pursue the study of this figure within the framework of fiction theories, by focusing on certain films released in the last decade. The article also shows how the study of metalepsis can be important in order to address contemporary movies presenting complex self-reflexive strategies. Furthermore, it gives account of the particular way in which Genette deals with cinema and suggests some other possible theoretical developments, considering in particular the theories about filmic enunciation. Finally, the paper discusses some problems concerning Genette's idea of "diegesis" when it is applied to cinema and analyses the transgression of narrative levels in a voice-over film - in this case Stranger than Fiction (Marc Forster, 2006), which provides a particularly interesting example in order to test some of Genette's remarks.

Le devenir féminin transgenre : une étude qualitative et réflexive sur le genre, la corporéité et la subjectivité sexuelle

RésuméCette thèse en psychologie qualitative et critique de la santé propose un éclairage, sur la subjectivité transgenre, différent des modèles dominants en clinique. Les nosologies de type DSM et de la psychiatrie dominante focalisent sur la seule question de la transition transsexuelle, elles utilisent la sexualité comme outil dans les diagnostics différentiels permettant d'effectuer le gatekeeping de la transition médicalisée du genre. Elles sont décrites comme un dispositif de médicalisation du genre, induisant des pratiques maltraitantes. Une méthodologie qualitative inspirée de la théorie ancrée ainsi que de l'analyse réflexive est utilisée. Un échantillon de 15 personnes représentant la diversité des personnes transgenres FtM a été recruté. Les données provenant d'entrevues non directives sont analysées dans une perspective verticale et horizontale. Les résultats soulignent l'inadéquation des typologies cliniques, de la place qui est donnée à la sexualité dans les procédures diagnostiques et de l'opposition qu'elles construisent entre identité (de genre) et sexualité. Ils plaident pour une vision deleuzienne de type nomade, incarnée et sexuée de la subjectivité transgenre.AbstractThe broad of this study in critical health psychology is to build an understanding of transgender subjectivity which contrast with dominant clinical models. DSM nosology types and dominant psychiatry have traditionally focused only on transsexual transitioning. They use sexuality as a diagnostic tool to address the gatekeeping of the medical transition. These practices have been described as medicalization of gender, inducing mistreatment. A qualitative methodology mixing grounded theory and reflexivity has been used. A sample of 15 persons has been recruited to represent transgender FtM diversity. Data were collected through in-depth interview and analysed case by case and by themes. Results show that dominant clinical typologies of TG are inappropriate, as well as the way sexuality is used in this practices and the opposition between (gender) identity and sexuality. We propose a deleuzian concept of becoming and multiplicity to understand transgender subjectivity.