Salir de casa para volver a casa : lectura de la genética autoficcional de Alejandro Zambra (2006-2011)

Ce travail est une analyse exhaustive des romans publiés par l’écrivain chilien Alejandro Zambra entre 2006 et 2011. Compte tenu de son appartenance à la génération postdictatoriale, on va se concentrer sur la reconstruction autofictionnelle de l’enfance, et sur la façon dont elle reproduit, questionne et renverse le récit dictatorial dominant qui relègue les enfants sur le plan des personnages secondaires. Pour identifier le développement du discours, on va s’appuyer sur des outils critiques de la génétique littéraire dont le concept central « d’avant-texte » nous permet de faire une lecture rétrospective de Bonsái et de La vida privada de los árboles comme des précurseurs idéologiques de Formas de volver a casa. En raison de la centralité jouée par l’espace dans ces romans, on va consacrer une grande partie du travail à la représentation spatiale et la manière dont l’espace configure la position des personnages à l’intérieur du schème narratif. C’est dans cette relation que l’on identifie la dichotomie spatiale élaborée dans les œuvres, car l’espace et la vie privée sont reliés à l’inertie et la résignation dans l’univers textuel, tandis que l’action et le questionnement appartiennent au domaine de l’espace et la vie publics. Lus l’un après l’autre, les romans témoignent du parcours suivi de l’écrivain, qui assimile le récit dictatorial en évitant la confrontation narrative au début, pour, par la suite, approcher le passé, l’histoire familiale et la dictature, dans un processus autofictionnel qui projette les différentes voies du retour chez soi.

O cinema como educação do olhar

The knowledge is only possible due to we exist bodily. However, during the educational experience, the epistemic potency of the body is neglected, declining the registers of the intelligibility. The current thesis approaches that problem obliquely: from a body and image philosophy which has revealed other ways of doing those registers in the modernity – understood not as period itself, but as a qualification for the negotiations between the real and the intelligible. The referred ways are explored through Merleau- Ponty’s and Michel Foucault’s works, which offer a spectrum about that new negotiation of the real. In order to approach the studied problem, the visibility and the human body motricity in the cinema are taken as analysis object. The mentioned objects have been analyzed through a corpus of movies of which plots are centered at the formal education and they require from the characters and the spectators engagement into a visual performance. Aiming to approach the object, it is questioned how the Education phenomenon is represented by the cinema; how the body is exposed and how spectators can see it. Analyzing the corpus and articulating Merleau- Ponty’s and Michel Foucault’s theories, it has been possible to state the following thesis: the cinema as an education of the gaze. The general objective of this study is to reveal the educational potency of the filmic experience, which provides a new path of intelligibility for Education. In that sense, the body as a visual operator widens the capacity of understanding the real. The current work is divided in three chapters. The first one brings the methodological approach: it is pointed how the theoretical articulation is properly arranged; it explains the method of using the images as indirect language as part of the reality description; the filmic corpus is presented, as well the criteria for the films choices and for the construction of instrument adopted during the object analysis are described. In the second chapter, it is problematized the incapacity of the western society of formulating the real discursively by debating Merleau-Ponty’s and Foucault’s theoretical contributions about the visual performance displayed on the images while the films are watched and analyzed. In the third chapter, the implications of the education of the gaze provided by the cinema are developed, mainly concerning about the place attributed to the visibility during the formulation of the real. Finally, paths are designed for the construction of another approach for the visibility in Education. Assuming the gaze as an experience of knowledge, this study aims to present other ways of being, seeing, thinking and feeling the world. Therefore, it is a proposal to reset the epistemic and subjectification patterns at the educational context.

L’autobiographie comme conversion esthétique. Les derniers écrits de Gabrielle Roy

In 1975, Gabrielle Roy turned to an autobiographical project, worthy of being read as a major literary work rather than as an exemplar of Quebec literature-albeit its fate has been seen as subject for commentary rather than works.

Du western au crépusculaire : textualités et narrativités du genre pour une approche de l'image-fin

Notre étude porte le western crépusculaire et cherche plus précisément à extraire le « crépusculaire » du genre. L'épithète « crépusculaire », héritée du vocabulaire critique des années 1960 et 1970, définit généralement un nombre relativement restreint d'œuvres dont le récit met en scène des cowboys vieillissants dans un style qui privilégie un réalisme esthétique et psychologique, fréquemment associé à un révisionnisme historique, voire au « western pro-indien », mais qui se démarque par sa propension à filmer des protagonistes fatigués et dépassés par la marche de l'Histoire. Par un détour sur les formes littéraires ayant comme contexte diégétique l’Ouest américain (dime-novel et romans de la frontière), nous effectuons des allers et retours entre les formes épique et romanesque, entre l’Histoire et son mythe, entre le littéraire et le filmique pour mieux saisir la relation dyadique qu’entretient le western avec l’écriture, d’une part monumentale et d’autre part critique, de l’Histoire. Moins intéressée à l’esthétique des images qu’aux aspects narratologiques du film pris comme texte, notre approche tire profit des analyses littéraires pour remettre en cause les classifications étanches qui ont marqué l’évolution du western cinématographique. Nous étudions, à partir des intuitions d’André Bazin au sujet du sur-western, les modulations narratives du western ainsi que l’émergence d’une conscience critique à partir de ses héros mythologiques (notamment le cow-boy). Notre approche est à la fois épistémologique et transhistorique en ce qu’elle cherche à dégager du western crépusculaire un genre au-delà des genres, fondé sur une incitation à la narrativisation crépusculaire de la part du spectateur. Cette dernière, concentrée par une approche deleuzienne de l’image-cristal, renvoie non plus seulement à une conception existentialiste du personnage dans l’Histoire, mais aussi à une mise en relief pointue du hors-cadre du cinéma, moment de clairvoyance à la fois pragmatique et historicisant que nous définissons comme une image-fin, une image chronogénétique relevant de la contemporanéité de ses figures et de leurs auteurs.

L’autobiographie comme conversion esthétique. Les derniers écrits de Gabrielle Roy

In 1975, Gabrielle Roy turned to an autobiographical project, worthy of being read as a major literary work rather than as an exemplar of Quebec literature-albeit its fate has been seen as subject for commentary rather than works.

La comunidad del filicidio : La vida de Dominguito de Domingo Sarmiento y su transposición fílmica

El artículo propone una lectura comparativa de La vida de Dominguito, de Domingo Sarmiento, y su transposición cinematográfica de 1944, titulada Su mejor alumno y escrita por Homero Manzi y Ulyses Petit de Murat. Para ello, se exploran las continuidades y desplazamientos en las imágenes de Sarmiento y Dominguito que ambas obras postulan. Primero, se aborda la película en tanto escenificación del pasaje de una imagen de Sarmiento que va del proyecto de la educación popular a la cultura pop. Luego, se introduce la idea de que en las dos obras la imagen del hijo funciona como el sustento de una comunidad política basada en el ideal ético de la philia. Sin embargo, el lugar fallado de ese modelo comunitario está determinado por el acto del filicidio, que a través de la metáfora del pueblo-niño que no puede superar su propia infancia, habilita una lectura de la película en relación con el contexto sociohistórico de emergencia de la imagen pop de Sarmiento en el momento de gestación del peronismo.

La comunidad del filicidio : La vida de Dominguito de Domingo Sarmiento y su transposición fílmica

El artículo propone una lectura comparativa de La vida de Dominguito, de Domingo Sarmiento, y su transposición cinematográfica de 1944, titulada Su mejor alumno y escrita por Homero Manzi y Ulyses Petit de Murat. Para ello, se exploran las continuidades y desplazamientos en las imágenes de Sarmiento y Dominguito que ambas obras postulan. Primero, se aborda la película en tanto escenificación del pasaje de una imagen de Sarmiento que va del proyecto de la educación popular a la cultura pop. Luego, se introduce la idea de que en las dos obras la imagen del hijo funciona como el sustento de una comunidad política basada en el ideal ético de la philia. Sin embargo, el lugar fallado de ese modelo comunitario está determinado por el acto del filicidio, que a través de la metáfora del pueblo-niño que no puede superar su propia infancia, habilita una lectura de la película en relación con el contexto sociohistórico de emergencia de la imagen pop de Sarmiento en el momento de gestación del peronismo.

Governmentality gone wild: How the separation of sex workers from 'communities' contributes to violence against sex workers

Sex workers are members of our communities, whether they are local or national communities. In law, mainstream media representations, and research sex workers are positioned as outside of or in opposition to communities. Even within marginalized communities sex workers are excluded when appeals to respectability politics are made. In this thesis I analyze three analytic sites from three areas of social life. The first chapter performs a textual analysis of The Bedford Decision (2013) and the resulting Protection of Communities and Exploited Persons Act (2014) as an examination of law. The second chapter is an analysis of filmic discourse on community, sex workers, and violence in the mainstream film London Road (2015) as an examination of mainstream media. The third chapter draws upon empirical research, i.e. in-depth interviews with three current and former sex workers in Ottawa, Canada and analyzes the transcripts using interpretative phenomenological analysis (IPA) to center how sex workers’ understanding of their work, community, and the laws and policies that are supposed govern and protect them. In my preface and conclusion I discuss some of the ethical dilemmas I encountered while conducting this research. My findings suggest that sex workers are being positioned and understood as outside of communities in ways that contribute to violence against sex workers. The implications of this research suggest that people who speak in the name of communities—communities in the sense of local neighborhood communities, activist communities, and national communities—need to recognize that sex workers are part of their communities and be accountable to ensuring they are treated as members. Researchers who conduct research on sex work and sex workers need to be accountable to their participants and the impacts their research may have on laws and policies. Sex workers are an over-researched population yet their voices are largely misappropriated or silenced in popular research and policy debates.

Film as an archive for colonial photographs: activating the past in the present

This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.

Ludwing II of Baviera and Luchino Visconti: parallel lives? Study about Ludwing II of Baviera

This research presents Ludwig II of Baviera (1845-1886) as a historical figure and the vision of his reign theItalian director Luchino Visconti showed in his movies. This research states in an analytic and scrupulousway the relations between the historical figure, its filmic representation and the director himself. In addition,through an exhaustive research, this paper shows the aesthetics generated by directors like Visconti who reacheda remarkable peak in history of European film. Finally, this paper goes through the making of this film,which went from a transitional film within the Visconti oeuvre to one of his most troublesome and health-riskingprojects causing afterwards Visconti´s death.

Representación fílmica del Derecho del Trabajo durante el Franquismo

El mundo del trabajo no ha gozado de una amplia representación a lo largo de la historia del cine. No obstante, un análisis de los films que han tratado directa o indirectamente dicha temática durante un período histórico determinado puede contribuir a arrojar importantes conclusiones sobre la manera en que se hizo frente social y jurídicamente a esta importante actividad humana. En concreto, el análisis del cine durante el franquismo nos posibilita contemplar aspectos tan importantes como la incorporación de la mujer al mundo del trabajo, la represión del hecho sindical o la crisis de empleo en el primer franquismo

Audiovisual Storytelling and Ideological Horizons : Audiences, Cultural Contexts and Extra-textual Meaning Making

Abstract: Audiovisual Storytelling and Ideological Horizons: Audiences, Cultural Contexts and Extra-textual Meaning Making In a society characterized by mediatization people are to an increasing degree dependent on mediated narratives as a primary means by which we make sense of our experience through time and our place in society (Hoover 2006, Lynch 2007, Hjarvard 2008, Hjarvard & Lövheim 2012). American media scholar Stewart Hoover points to symbols and scripts available in the media environment, what he call the “symbolic inventory” out of which individuals make religious or spiritual meaning (Hoover 2006: 55). Vernacular meaning-making embedded in everyday life among viewers’ dealing with fiction narratives in films and tv-series highlight a need for a more nuanced understanding of complex audiovisual storytelling. Moving images provide individuals with stories by which reality is maintained and by which humans construct ordered micro-universes for themselves using film as a resource for moral assessment and ideological judgments about life (Plantinga 2009, Johnston 2010, Axelson 2015). Important in this theoretical context are perspectives on viewers’ moral frameworks (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Avila 2007).This paper presentation will focus on ideological contested meaning making where audiences of different cultural background engage emotionally with filmic narratives, possibly eliciting ideological and spiritual meaning-making related to viewers’ personal world views. Through the example of the Homeland tv-series I want to discuss how spectators’ cultural, religious, political and ideological identities could be understood playing a role in the interpretative process of decoding content. Is it possible to trace patterns of different receptions of the multilayered and ambiguous story depicted in Homeland by religiously engaged Christians and Moslems as well as non-believers, in America, Europe and Middle East? How is the fiction narrative dealt with by spectators in the audience in different cultural contexts and how is it interpreted through the process of extra-text evaluation and real world2understanding in a global era preoccupied with war on terror? The presentation will also discuss methodological considerations about how to reach out to audiences anchored in different cultural context.

Dynamique des ambiances lumineuses - approche basée sur la photométrie vidéo d’espaces de transition

Les variations de la lumière naturelle lors du passage d’un espace à un autre caractérisent de manière complexe, mais importante le design d’un bâtiment. Cette adaptation visuelle s’inscrit dans un processus spatiotemporel et influe sur le confort et le bien-être de ses occupants. La littérature fait état du peu de connaissances de la relation lumière espace-temps. Cette recherche propose donc d’étudier cette relation spatio-temporelle existant entre la lumière et l’espace, afin de qualifier un parcours architectural au moyen d’une expérimentation in situ et de segments filmiques. La recherche combine l’utilisation d’un luminance-mètre, d’une caméra vidéo et d’une méthode d’analyse d’images numériques afin de permettre l’évaluation des qualités spatio-temporelles de la lumière. Le parcours architectural est analysé selon la diversité et l’intensité des ambiances lumineuses en fonction du temps permettant de décrire les perceptions visuelles d’espaces transitions. Cette méthode dynamique offre un potentiel d’analyse et de création aux concepteurs désireux d’enrichir le design de séquences spatiales en favorisant la diversité lumineuse dans l’expérience architecturale. Mots clefs: adaptation visuelle, analyse d’images, ambiance lumineuse, contraste, éclairage naturel, espaces transitions, lumière perception visuelle, vidéo, spatio-temporel.

Meta-cinematic cultism: between high and low culture

ABSTRACT - Meta-cinema can depict film viewers’ attitudes towards cinema and their type of devotion for films. One subcategory of viewers - which I call meta-spectators - is highly specialized in its type of consumption, bordering on obsession. I contend that there are two main varieties of meta-cinematic reception, not altogether incompatible with one another, despite their apparent differences. As both of them are depicted on meta-cinematic products, the films themselves are the best evidence of my typology. My categories of film viewers are the ‘cinephile’, an elite prone to artistic militancy and the adoration of filmic masters; and the ‘fan’, a low culture consumer keen on certain filmic universes and their respective figures and motifs. I will base my rationale on four films that portray such reception practices: Travelling Avant (Jean-Charles Tacchella, 1987, FRA), The Dreamers (Bernardo Bertolucci, 2003, UK/FRA/ITA); Free Enterprise (Robert Mayer Burnett, 1998, USA); Fanboys (2009, Kyle Newman, USA).

Olhares sonhadores: operacionalizar criatividades com a literacia audiovisual para a realização de um webdocumentário

O projeto de investigação “Olhares Sonhadores” teve como principal finalidade desenvolver um trabalho artístico audiovisual de coautoria e colaboração com um grupo de crianças do bairro e da escola EB1/JI de São Tomé, com vista à realização de um Webdocumentário. Através de uma metodologia de desenvolvimento e de apropriação fílmica, as crianças utilizaram os diferentes meios audiovisuais para puderem comunicar, autorrepresentarem-se e expressarem-se coletivamente sobre os contextos em que estão envolvidas. A apropriação dos meios técnicos audiovisuais e o desenvolvimento de competências para o seu manuseamento foram desempenhados em sessões artísticas de trabalho colaborativo, que visavam a transmissão de conhecimento de forma informal e extra-curricular. Neste sentido, o grupo produziu conteúdos documentais fragmentados que contribuíram para a criação e a estruturação do Webdocumentário “Olhares Sonhadores”. Desta forma, tencionou-se igualmente verificar e compreender em que medida a arte audiovisual poderia ajudar a retratar e a tornar visível a realidade social das crianças do bairro de São Tomé e se esta arte poderia ser também utilizada como um meio de expressão e emancipação para o presente grupo participante.