980 resultados para Jean Baudrillard


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This essay discusses Jean-Luc Godard’s artistic response to the Bosnian War (1992-95), and its representations in the Western mass media. For Godard, the reluctance of Europe’s advanced liberal democracies to intervene meaningfully in Bosnia – their insistence that 'humanitarianism' rather than protective intervention was the order of the day – was tantamount to supporting Serbian fascism, and – a fortiori – regressing to a policy of appeasement reminiscent of the days of the Munich Agreement. Although Godard's stance set him against some of his former compatriots on the left, speculating on his ideological motivations is beside the point. Rather, it is is in his filmmaking, in his vision of cinema, and how it relates to other histories of the image, that Godard’s sensibility can be most keenly felt and understood. As the essay points out, even his recent contribution to Jean-Michel Frodon's compilation film, Bridges of Sarajevo/Les ponts de Sarajevo (2014, 114 mn.), persists in posing questions about how the past continues to shape the present, and how Sarajevo and its contemporary history still delineates the identity of Europe. 

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ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Portugueses - Estudos Comparatistas

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Comunicação

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Cette chronique, dont le texte est en prose, est précédée d'un prologue en vers et est suivie d'un épilogue également en vers. Premier vers du prologue : « Considerant par les escriptz anticques... » Dernier vers de l'épilogue : « A tous esfors ». Le texte en prose débute par : « Jaçoit ce que plusieurs historiograffes et croniqueurs à plain volume ayent... » ; il se termine par : « ... et au parsus sur les urgens affaires du royaulme deuement advisé ».

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En tête de cette chronique est une table, qui occupe les feuillets 1 à 5. Puis vient (fol. 6) une espèce de prologue en vers intitulé : « L'exorde de ce present livre » dont le premier vers est : « Affin que tous les faictz de nostre temps ... ». Le texte en prose débute (fol. 7) par : « La descripcion des oeuvres recommandables et commemorables gestes de très cristien roy de France Loys doziesme de ce nom, redigée en escript et mise en lumière par moy frère Jehan d'Auton, de l'ordre Sainct Benoist, historiographe du roy nostred. souverain seigneur. Après avoir par volumes abregez ostencion faicte des actes gallicanes et ultransmontaines choses encommancées à la fin de l'an mille quatre cens quatre vingts dix huyt et icelles continuées ... » et finit (fol. 230) par : « ... et puys très devotement celebra la joyeuse feste de Pasques, sur laquelle mectray paille à mon escript, jucques à temps, en faisant fin au recit de ce present historial volume contenant les faictz de France de l'an mille cincq cens et ung continuant jucques à l'an mille cincq cens et six ».