Näyttelijän taide venäläisessä elokuvassa 1907-1919

Väitöskirjan aihe on, kuinka elokuvanäyttelijän taide ja sitä koskeva ajattelu kehittyivät Venäjällä yksityisen elokuvatuotannon vuosina 1907–1919. Tutkimus kuuluu kulttuurihistorian alaan. Sen näkökulma on elokuvan esteettinen historia, ja tutkimus liittyy ns. revisionistisen elokuvahistorian pyrkimykseen arvioida uudelleen näytelmäelokuvan varhaisvaiheita. Analyysi kohdistuu esteettiseen aikalaisajatteluun sekä elokuvatuotannon käytäntöihin ja prosesseihin. Lähteinä on käytetty elokuvanäyttelemistä koskevaa julkista keskustelua, elokuvantekijöiden jättämää muistietoa ja ajalta säilyneitä elokuvia. Käsittely jakautuu kolmeen väljän kronologisesti järjestettyyn lukuun. Luku 2 keskittyy venäläisen fiktioelokuvan varhaisvuosiin 1910-luvun taitteen molemmin puolin. Luku 3 käsittelee pitkän näytelmäelokuvan läpimurrosta alkunsa saanutta keskustelua psykologisesta elokuvasta. Luku 4 etenee maailmansodan vuosina nouseen kuvallisen, ohjaajakeskeisen elokuvakäsityksen kautta kohti varhaisen neuvostoelokuvan ajatusta näyttelijästä ”mallina”. Väitöskirjassa esitetään, että käsitys näyttelemisestä, ja sitä myötä elokuvasta yleensä, kävi tutkittuna ajanjaksona läpi kehämäisen kehityksen, jossa vuorottelivat käsitykset elokuvasta modernina ja elokuvasta traditiona. Tutkimus problematisoi myöhempää elokuvakäsitystä, jonka mukaan elokuvaestetiikan perusyksikkö on otos. Toisin kuin myöhempinä vuosikymmeninä 1910-luvulla näytteleminen oli avainkysymys, jonka kautta lähestyttiin elokuvan olemusta itseään. Venäjällä ajatukset elokuvanäyttelemisestä kehittyivät vuorovaikutuksessa saman ajan teatteriestetiikan kanssa, joskin elokuva miellettiin jo varhain erilliseksi taidemuodoksi. Tsaarinajan elokuvan vaikutusvaltaisimmaksi esteettiseksi ohjelmaksi muodostui psykologinen elokuva, jonka inspiraationa toimi osittain Konstantin Stanislavskin samaan aikaan kehittämä näyttelijäntyön järjestelmä. Elävä näyttelijä ja näyttelijän ”kokeminen” nähtiin ratkaisuna elokuvavälineen keskeisenä ongelmana pidettyyn mekaanisuuteen. Ajan studiokäytännöissä psykologinen lähestymistapa puolestaan merkitsi usein vastausten etsimistä teollisen elokuvatuotannon olosuhteista syntyneisiin ongelmiin.

Recovery boilers - history and future

Recovery boilers are built all over the world. The roots of recovery technology are longer than the roots of recovery boilers. But it wasn’t until the invention of recovery boilers before the Second World War that the pulping technology was revolutionalized. This led to long development of essentially the same type of equipment, culminating into units that are largest biofuel boilers in the world. Early recovery technology concentrated on chemical recovery as chemicals cost money and if one could recycle these chemicals then the profitability of pulp manufacture would improve. For pulp mills the significance of electricity generation from the recovery boiler was for long secondary. The most important design criterion for the recovery boiler was a high availability. The electricity generation in recovery boiler process can be increased by elevated main steam pressure and temperature or by higher black liquor dry solids as well as improving its steam cycle. This has been done in the modern Scandinavian units.

In search of good relationships to music : understanding aspiration and challenge in developing music school teacher practices

This study focuses on teacher practices in publicly funded music schools in Finland. As views on the aims of music education change and broaden, music schools across Europe share the challenge of developing their activities in response. In public and scholarly debate, there have been calls for increased diversity of contents and concepts of teaching. In Finland, the official national curriculum for state-funded music schools builds on the ideal that teaching and learning should create conditions which promote ‘a good relationship to music’. The meaning of this concept has been deliberately left open in order to leave room for dialogue, flexibility, and teacher autonomy. Since what is meant by ‘good’ is not defined in advance, the notion of ‘improving’ practices is also open to discussion. The purpose of the study is to examine these issues from teachers’ point of view by asking what music school teachers aim to accomplish as they develop their practices. Methodologically, the study introduces a suggestion for building empirical research on Alperson’s ‘robust’ praxial approach to music education, a philosophical theory which is strongly committed to practitioner perspectives and musical diversity. A systematic method for analysing music education practices, interpretive practice analysis, is elaborated with support from interpretive research methods originally used in policy analysis. In addition, the research design shows how reflecting conversations (a collaborative approach well-known in Nordic social work) can be fruitfully applied in interpretive research and combined with teacher inquiry. Data have been generated in a collaborative project involving five experienced music school teachers and the researcher. The empirical material includes transcripts from group conversations, data from teacher inquiry conducted within the project, and transcripts from follow-up interviews. The teachers’ aspirations can be understood as strivings to reinforce the connection between musical practices and various forms of human flourishing such that music and flourishing can sustain each other. Examples from their practices show how the word ‘good’ receives its meaning in context. Central among the teachers’ concerns is their hope that students develop a free and sustainable interest in music, often described as inspiration. I propose that ‘good relationships to music’ and ‘inspiration’ can be understood as philosophical mediators which support the transition from an indeterminate ‘interest in music’ towards specific ways in which music can become a (co-)constitutive part of living well in each person’s particular circumstances. Different musical practices emphasise different aspects of what is considered important in music and in human life. Music school teachers consciously balance between a variety of such values. They also make efforts to resist pressure which might threaten the goods they think are most important. Such goods include joy, participation, perseverance, solid musical skills related to specific practices, and a strong sense of vitality. The insights from this study suggest that when teachers are able to create inspiration, they seem to do so by performing complex work which combines musical and educational aims and makes general positive contributions to their students’ lives. Ensuring that teaching and learning in music schools remain as constructive and meaningful as possible for both students and teachers is a demanding task. The study indicates that collaborative, reflective and interdisciplinary work may be helpful as support for development processes on both individual and collective levels of music school teacher practices.

NEGOTIATING IN FINNISH GROCERY RETAIL - Negotiation Narratives of S-group, Kesko and Lidl

In this research retail negotiations are explored through the question: What characteristics are distinctive to negotiating in Finnish grocery retail trade? To shed light on the research question I interviewed experienced retail negotiators and mapped out the most important characteristics of the retail negotiations. I described through examples the most prominent challenges negotiators face in their negotiations and elaborated what kind of tools the experienced negotiators use to overcome those challenges. The research results add up to a groundwork frame for retail negotiations with which further research can be more easily directed to any area of interest in the Finnish grocery retail negotiations. The framework can give ideas or frames for further research, or function as a general guideline of factors to consider when negotiating in Finnish retail field. The results were divided into 3 sections: Characteristics, Challenges and Tools. Different negotiation models help negotiators and researchers understand negotiation dynamics. This research adds to that pool by focusing on elements essential to consider specifically in the context of Finnish retail. Finland offered an exceptionally interesting setting to study negotiation, as grocery retail trade in Finland is highly centralized. Especially for those interested understanding a centralized setting such as Finland’s retail field, the framework presented in this research might provide a valuable spectrum of essential negotiation elements. Learning is a lifelong process, but that path can be evened by tuning in on what others have learned during their own endeavors in similar situations. Seasoned negotiators have many stories to tell about negotiating that can be drawn upon and by doing so, we can avoid having to spend time learning the same insights twice. This research drew on narrative, case-research and interviewing to find out how seasoned negotiators in the field of Finnish retail experienced negotiation, what challenges negotiations pose and what tools can be used to overcome them

Ontario Business Directory (1903)

Classified business directory of the principal cities and towns of the Province of Ontario, some 200 in number.

Book Review: Pirate Cinema

Book Review of 'Pirate Cinema' written by Cory Doctorow.

Dictionary of the Zeta Psi Fraternity of North America

A hardcover Dictionary of the Zeta Psi Fraternity, edited by Arthur H. Motley and Harry B. Carpenter. An excerpt from the forward reads: "Having the sincere purpose of placing in the hands of all Brothers of the Fraternity a Directory of the full membership of our order, with addresses as perfectly correct as time and equipment would permit, supplemented with such alphabetical and geographical indices as will make the volume a handy and accurate cross-reference to our membership...". Included with this book is a typewritten letter from Gordon Waldie, treasurer of the Toronto Chapter of the Zeta Psi Fraternity thanking Mrs. Percy Band for the gift of the original initiation certificate of the late Hamilton K. Woodruff. Mr. Woodruff was one of the Charter members of the Fraternity and he was the 7th man initiated into this, the first Canadian chapter of any fraternity. The letter is dated Nov. 21, 1949. The full text is available in the Brock University Special Collections and Archives.

Souvenir of Niagara Camp

Camp Niagara, in Niagara-on-the-Lake, Ontario, was used as summer training grounds for the Second Division of the Canadian Expeditionary Force at the start of World War I in 1914. In 1917, the Camp was used to train a group of expatriate Poles and Polish Americans who were recruited to serve in the war. Over 22, 000 volunteers of the Polish diaspora from across Canada and the United States trained at Camp Niagara, known to them as Camp Kosciuszko.

Understanding the Intersection of Reformed Faith and Dutch Immigrant Culture in Ontario Independent Christian Schools: Principals’ Experiences and Perspectives

In the aftermath of World War II, a wave of Dutch Reformed immigrants arrived in Ontario, many of whom joined the Christian Reformed Church. Following familiar cultural patterns, history, and their Reformed Christian faith, these immigrants settled in Ontario with remarkable institutional completeness (Breton, 1964). They quickly established independent, parent-operated Christian schools across Ontario. The primary purpose of the schools was to educate children through a comprehensive biblically based school program, yet this religious purpose often intersected with a Dutch immigrant ethnic culture. Van Dijk (2001) states that “the schools were the most important organization in maintaining the religious and ethnic identity of Calvinists” (p. 66). In this qualitative study I explore the intersection of Reformed faith and Dutch Canadian immigrant ethnic culture in Christian schools through the experiential and professional lens of eight retired principals. Employing a theoretical framework informed by Berger’s (1967) Sacred Canopy, I suggest that the intersection of faith and culture was experienced in the schools and was embodied by the schools themselves. Findings point to this intersection being located in the participants’ experience of (a) Dutchness, (b) the struggle for Christian education, (c) the ties that bound the school community together, and (d) the cloud of witnesses that founded and continues to support and encourage the Christian school community. The study offers insight into a Dutch Reformed immigrant group’s experience carving out a niche for themselves on the educational landscape in Ontario. This study also offers suggestions on how Christian schools can broaden their canopy and become more ethnically and denominationally diverse in the future.

La Grande Guerre dans le cinéma français de 1918 à 1939 : le discours d’une génération

Cette étude s’intéresse au discours des anciens combattants dans le cinéma français mettant en scène la Grande Guerre entre 1918 et 1939. L’objectif est de démontrer que le film propose une contre-histoire en permettant aux poilus d’exprimer leurs visions et leurs opinions sur 14-18 et sur la société de l’entre-deuxguerre. Utilisant leur expérience du front, les cinéastes deviennent historiens et témoins à la fois. Le film répond à un souci de préservation de la mémoire. Ayant été écarté de l’écriture de l’Histoire officielle, le témoignage des combattants se transpose dans l’image. Ils rétablissent ainsi les omissions et les inexactitudes. Parallèlement, le contexte politico-social influence l’interprétation du conflit, donnant lieu à des films commémoratifs ou politisés. Plus largement, cette étude s’interroge sur les permanences et les ruptures dans le discours dans l’entre-deux-guerre. Elle permet d’observer que la fiction peut en même temps être un témoignage historique de la Grande Guerre et une représentation du temps présent, en proposant une relecture des évènements.

La voix-over dans le cinéma documentaire

La création cinématographique de l’étudiant 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 : D'où, chose étonnante, rien ne s'en suit.(http://atrium.umontreal.ca/notice/UM-ALEPH002343857)

Le traitement de l’espace dans Badlands et Days of Heaven, de Terrence Malick

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

L’histoire du cinéma weimarien et son évolution historiographique

Dans son ouvrage Shell Shock Cinema, publié en 2009, Anton Kaes se distancie fortement du travail fondateur et classique de Siegfried Kracauer, From Caligari to Hitler, publiée en 1947, et portant sur le cinéma pendant la période de Weimar. Réfutant la thèse de Kracauer selon laquelle un inconscient collectif allemand annonce la montée du nazisme dans le cinéma de l’entre-deux-guerres, Kaes affirme au contraire que le shell shock, héritage de la Première Guerre mondiale, est l’un des moteurs du cinéma weimarien. Les travaux de Kaes s’inscrivent dans une historiographie en renouvellement qui, confrontant également la thèse de Kracauer, met désormais l’accent sur la Première Guerre mondiale, et non sur la Seconde Guerre mondiale, pour mieux comprendre et analyser le cinéma weimarien. Ce mémoire, tout en étudiant de façon détaillée l’historiographie du sujet, tend à approfondir et à réévaluer la thèse d’Anton Kaes en l’exposant à davantage de films représentant des traumatismes personnels, des traumatismes sociaux et des chocs post-traumatiques (CPT). Ces maux sont exacerbés par des tensions sociopolitiques – insurrection de janvier 1919, Traité de Versailles, occupation de la Ruhr, l’inflation de 1923-24, etc. – alimentant à la fois des représentations symboliques et concrètes d’expériences traumatisantes qui caractérisent l’ensemble du cinéma weimarien.

Vers un cinéma de l'absurde : les films de Roman Polanski

La notion de l'absurde a pris dans la pensée et le langage courant un très grand nombre de significations, parfois très éloignées les unes par rapport aux autres. Il est arrivé à au moins deux reprises que le terme « absurde » soit entendu dans le sens d'un courant : dans la philosophie absurde théorisée par Albert Camus en 1942, et dans le Théâtre de l'absurde (Beckett, Ionesco, etc.), qui lui a connu son apogée dans les années cinquante. Ces deux mouvements pourraient être envisagés comme l'expression d'un seul et même courant, l'absurde, qui prend ses racines dans une Europe ébranlée par les horreurs de la guerre et l'affaissement de la religion chrétienne. Pour les contemporains, l'hostilité et le désordre de l'univers, de même que la solitude irrémédiable de l'individu apparaissent comme des vérités à la fois douloureuses et difficile à ignorer. Roman Polanski (1933-), cinéaste à la fois prolifique et éclectique, ouvre à l'absurde de nouveaux horizons, ceux du septième art. L'analyse de son oeuvre (et des éléments autobiographiques qui la sous-tendent parfois) met à jour d'indéniables parentés avec les figures-clés de l'absurde que sont Camus, Kafka, Nietzsche et les dramaturges européens de l'après-guerre. Ces parentés se repèrent tout autant dans les thématiques récurrentes de ses films que dans leurs obsessions formelles.

The monstrous archive. Aesthetics of decay and horror in found footage films

Ce texte a été présenté à la table ronde « Contested Footage: Snuff, Disease, the Avant-Garde, and the Archive » lors du congrès annuel de la PCA/ACA (Popular Culture Association/American Culture Association) qui se tenait à la Nouvelle-Orléans, du 1er au 4 avril 2015. La participation à ce congrès s’inscrivait dans le cadre du projet de recherche « Archives et création : nouvelles perspectives sur l’archivistique » sous la direction d’Yvon Lemay. Ce projet est financée par le Conseil de recherches en sciences humaines du Canada (CRSH) dans le cadre du programme Savoir (2013-2016).