La langue françoise ([Reprod.]) / de Jean Godard,...

Collection : Archives de la linguistique française ; 185

La huella del futuro. El cine y el pensamiento y la imagen y el fantasma

Se tratará en este trabajo, primero, de caracterizar un tipo de imagen capaz deromper con los yugos con los que la contemporaneidad somete la imaginación a partir de la obra de cineastas particularmente sensibles a este problema, como Werner Herzog y Wim Wenders. Una vez hecho esto, analizaremos la fuente de dicha imagen para así poder invocarla, como si de verdaderas hechicerías o chamanismos se tratase, teniendo en cuenta las nuevas tecnologías y atendiendo a algunos de quienes han sabido extraer de ellas sus poderes más ocultos, sobre todo Jean-Luc Godard y David Lynch. Por último, será a través del cine de Claire Denis y de una cierta idea del cuerpo como ahondaremos en el acontecimiento de la nueva imagen capaz de sacar al sistema de sus goznes y relanzar al cine y al pensamiento hacia un futuro incierto; incierto como es todo auténtico futuro.

Autour de Pierre Falardeau : found footage et réemploi d'images dans le cinéma politique

Ce mémoire portera sur le réemploi d’images dans le cinéma politique d’une manière générale dans un premier temps, puis plus spécifiquement dans l’oeuvre du cinéaste québécois Pierre Falardeau. Il s’agit donc d’abord de regarder comment, d’un point de vue historique, l’image fut réemployée dans le cinéma documentaire classique. Il sera ensuite question de la réutilisation de l’image à des fins politiques dans le cinéma expérimental à travers une analyse du found footage film. Dans un deuxième temps, nous verrons le réemploi d’images dans le cinéma militant, engagé politiquement (voire révolutionnaire) dans le cinéma d’Amérique latine (Santiago Alvarez, Fernando Solanas et Octavio Getino) et en France (Guy Debord, Chris Marker et Jean-Luc Godard). Par la suite, nous verrons comment Pierre Falardeau recyclera des images principalement dans trois de ses documentaires : Pea Soup, Speak White et Le temps des bouffons. Nous allons voir où il se situe dans les différentes traditions de réemploi d’images que nous avons vu précédemment et comment il se rapprochait et se distinguait de ses prédécesseurs.

O cinema do feitiço contra o feiticeiro. 'El cine del fetiche contra el fetichismo'.

Resumen tomado de la publicación

A importância do outro na construção do eu : estruturação de um atlas

This dissertation thesis consists of an investigation where two components join, one of a practical nature, the other theoretical. The practical component results in two artistic proposals, a series of drawing instalations and a series of cyanotypes, which motivate the development of the theoretical component. The theme which intersects the whole dissertation is set in the construction of personal identity. Since personal identity is based on experiences shared in a certain environment, what I propose to explore is the importance of the other in the constitution of personal identity. This problem is thought through the study of two authors, Paul Ricoeur and Anthony Giddens, and three works: Atlas Mnemosyne by Aby Warburg, Gabinete > Panero by Pedro Saraiva and Pierrot Le Fou by Jean-Luc Godard. The practical component builds an expanded self-portrait based on visual memories from a familiar and day-to-day environment which, at first tends to belong to a single one, ends up revealing itself as the result of multiple others.

Stardom in postwar France

The 1950s and 1960s were a key moment in the development of postwar France. The period was one of rapid change, derived from post-World War II economic and social modernization; yet many traditional characteristics were retained. By analyzing the eruption of the new postwar world in the context of a France that was both modern and traditional, we can see how these worlds met and interacted, and how they set the scene for the turbulent 1960s and 70s. The examination of the development of mass culture in post-war France, undertaken in this volume, offers a valuable insight into the shifts that took place. By exploring stardom from the domain of cinema and other fields, represented here by famous figures such as Brigitte Bardot, Johnny Hallyday or Jean-Luc Godard, and less conventionally treated areas of enquiry (politics [de Gaulle], literary [Françoise Sagan], and intellectual culture [Lévi-Strauss]) the reader is provided with a broad understanding of the mechanisms of popularity and success, and their cultural, social, and political roles. The picture that emerges shows that many cultural articulations remained or became identifiably French; in spite of the American mass-culture origins of these social, economic, and cultural transformations.

La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : YT Remix (documentaire) ; Sonorisation d'un extrait de L'homme à la caméra (D. Vertov).(https://umontreal.on.worldcat.org/oclc/957316713)

La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : YT Remix (documentaire) ; Sonorisation d'un extrait de L'homme à la caméra (D. Vertov).(http://atrium.umontreal.ca/notice/UM-ALEPH002370775)

Between representation and figuration. Nouvelle Vague’s cinema: a history revision

50 years after the birth of the Nouvelle Vague, the inheritance that the contemporary cinema receives from it is inevitable. Figures and visual motifs; stories, themes, faces or common places; aesthetic and language devices. The echoes appear in various ways, each affiliation involves a different relationship and therefore a dissimilar approximation to its analysis. And yet, both the academy and the film critics maintain their will to think the Nouvelle Vague as a whole, a universe, a stream or an aesthetic trend. However, does a Nouvelle Vague’s aesthetic exist? And if so: why and how to address their historical revision? Taking Deleuze’s thesis on the time-image and Serge Daney’s assertion according to which 50 years after the birth of the Nouvelle Vague, the inheritance that the contemporary cinema receives from it is inevitable. Figures and visual motifs; stories, themes, faces or common places; aesthetic and language devices. The echoes appear in various ways, each affiliation involves a different relationship and therefore a dissimilar approximation to its analysis. And yet, both the academy and the film critics maintain their will to think the Nouvelle Vague as a whole, a universe, a stream or an aesthetic trend. However, does a Nouvelle Vague’s aesthetic exist? And if so: why and how to address their historical revision? Taking Deleuze’s thesis on the time-image and Serge Daney’s assertion according to which

Sensitized formation of oxidatively generated damage to cellular DNA by UVA radiation

The survey is aimed at critically reviewing information on the UVA-mediated oxidative reactions to cellular components with emphasis on DNA as the result of mostly photosensitized pathways. It appears clearly that UVA radiation is relatively much more efficient than UVB photons in inducing oxidative processes. The main UVA-induced oxidative degradation pathways of DNA are reported and discussed mechanistically. They are mostly rationalized in terms of a major contribution of singlet molecular oxygen ((1)O(2)) and to a lesser extent of hydroxyl radical ((center dot)OH), that in the latter case originates from Fenton-type reactions. This leads to the predominant formation of 8-oxo-7,8-dihydroguanine together with smaller amounts of oxidized pyrimidine bases and DNA strand breaks in UVA-irradiated cells.

High Solids Content, Soap-Free, Film-Forming Latexes Stabilized by Laponite Clay Platelets

High solids content film-forming poly[styrene-co-(n-butyl acrylate)] [poly(Sty-co-BuA)] latexes armored with Laponite clay platelets have been synthesized by soap-free emulsion copolymerization of styrene and n-butyl acrylate. The polymerizations were performed in batch in the presence of Laponite and a methyl ether acrylateterminated poly(ethylene glycol) macromonomer in order to promote polymer/clay association. The overall polymerization kinetics showed a pronounced effect of clay on nucleation and stabilization of the latex particles. Cryo-transmission electron microscopy observation confirmed the armored morphology and indicated that the majority of Laponite platelets were located at the particle surface. The resulting nanostructured films displayed enhanced mechanical properties.

Modelagem da dispersão de odores em ambientes urbanos

O presente trabalho investigou o problema da modelagem da dispersão de compostos odorantes em presença de obstáculos (cúbicos e com forma complexa) sob condição de estabilidade atmosférica neutra. Foi empregada modelagem numérica baseada nas equações de transporte (CFD1) bem como em modelos algébricos baseados na pluma Gausseana (AERMOD2, CALPUFF3 e FPM4). Para a validação dos resultados dos modelos e a avaliação do seu desempenho foram empregados dados de experimentos em túnel de vento e em campo. A fim de incluir os efeitos da turbulência atmosférica na dispersão, dois diferentes modelos de sub-malha associados à Simulação das Grandes Escalas (LES5) foram investigados (Smagorinsky dinâmico e WALE6) e, para a inclusão dos efeitos de obstáculos na dispersão nos modelos Gausseanos, foi empregado o modelo PRIME7. O uso do PRIME também foi proposto para o FPM como uma inovação. De forma geral, os resultados indicam que o uso de CFD/LES é uma ferramenta útil para a investigação da dispersão e o impacto de compostos odorantes em presença de obstáculos e também para desenvolvimento dos modelos Gausseanos. Os resultados também indicam que o modelo FPM proposto, com a inclusão dos efeitos do obstáculo baseado no PRIME também é uma ferramenta muito útil em modelagem da dispersão de odores devido à sua simplicidade e fácil configuração quando comparado a modelos mais complexos como CFD e mesmo os modelos regulatórios AERMOD e CALPUFF. A grande vantagem do FPM é a possibilidade de estimar-se o fator de intermitência e a relação pico-média (P/M), parâmetros úteis para a avaliação do impacto de odores. Os resultados obtidos no presente trabalho indicam que a determinação dos parâmetros de dispersão para os segmentos de pluma, bem como os parâmetros de tempo longo nas proximidades da fonte e do obstáculo no modelo FPM pode ser melhorada e simulações CFD podem ser usadas como uma ferramenta de desenvolvimento para este propósito. Palavras chave: controle de odor, dispersão, fluidodinâmica computacional, modelagem matemática, modelagem gaussiana de pluma flutuante, simulação de grandes vórtices (LES).

Gifted: the monolingualism of corporate social responsibility

Acts of Corporate Social Responsibility are more often than not portrayed as success-story narratives. A quasi-ethnographic study in Senegal shatters the underlying assumptions of these accounts. First a computer donation from a Northern country is described with all the usual incidents and related vocabulary. Later, during a visit to a Senegalese rubbish dump, the story starts to falter, as countless questions arise about what is actually going on there, and how we can know and represent it (both as a portrayal and as a voice). A tipping point in an interview serves to reveal the ambiguities of the position adopted and the difficulties of expressing oneself in a different language. The CSR language is described as a kind of monolingualism, which employs a particular vocabulary and grammar for what is said or thought. This is the monolingualism of the other. Some of the implications of this monolingualism are examined, and this leads to the conclusion that there is a need to take measures with regard to the CSR language and that more than one language is needed to speak about CSR.