As representações das mulheres no filme garotas e samba (1957)

Este artigo visa apresentar uma análise das representações femininas contidas no filme Garotas e Samba (1957), dirigido por Carlos Manga, por meio de seu enredo, personagens e marchinhas carnavalescas. Essa produção pertence ao gênero cinematográfico conhecido como chanchada, considerado um tipo de comédia musical que recebeu influências diversas, advindas do circo, do carnaval, do rádio, do teatro de variedades e do cinema estrangeiro. O carnaval representado no filme é o das músicas das rádios – principalmente das marchinhas carnavalescas, que favoreciam sátiras e inversões – e dos bailes de salão – onde eram utilizadas fantasias estilizadas e curtas, típicas do período. Este filme evidencia, de forma clara, o “mundo às avessas” apresentado pelas chanchadas, uma vez que as mulheres aparecem em uma posição muito mais ativa no espaço público em relação à situação real de grande parte das mulheres dos anos 1950. Não obstante, o filme expressou representações ora conservadoras, ora ousadas a respeito da mulher, demonstrando a ambiguidade de uma sociedade em fase de transição.

Mundo às avessas: mulheres carnavalescas na ótica dos filmes de chanchada e da imprensa na década de 1950

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Sachbuch und Film im 'Dritten Reich' /// Arbeitsblätter für die Sachbuchforschung ; 24

Dieser Aufsatz setzt sich mit dem Medienverbund Sachbuch und Film im Kontext des ‚Dritten Reiches‘ auseinander. Dabei wird berücksichtigt, dass es sich bei dem Begriff Sachbuch in diesem Kontext um ein anachronistisches Konzept handelt, da dieser Begriff erst im Zuge von Debatten in den 1950er und 1960er Jahren überhaupt benutzt wurde. Der Sachbuch-Begriff wird verwendet um eine Reihe von Büchern zu beschreiben, die im Verbund mit dem dokumentarischen Filmgenre Kulturfilm, und dabei insbesondere dem Subgenre des Kolonial- und Expeditionsfilms entstanden. Anhand dieser und einiger weiterer Beispiele wird aufgezeigt, wie das Zusammenspiel der unterschiedlichen Medien funktioniert und eruiert welche Eigenschaften diese Sachbücher aufweisen. Letztendlich wird eine nähere Subgenre-Bestimmung für diese Sachbücher vorgeschlagen.

Prévention de la violence commise par les spectateurs lors de manifestations sportives : étude des mesures préventives et de la responsabilité de l'organisateur à la lumière du droit comparé, du droit suisse et du droit associatif

Introduction 1. Généralités : Le sport occupe une place importante dans notre société, de manière active par la pratique d'une ou de plusieurs activités sportives, ou de manière passive, au travers de la presse, de la radio et de la télévision. Le sport est ainsi un acte de participation, d'appartenance, de revendication et d'intégration à la société en général ou à un groupe. Il stimule l'imagination et permet de rêver aux héros sportifs. Enfin, non seulement il améliore la santé de ceux qui le pratique, mais il a une dimension éducative et joue un rôle social, culturel et récréatif. Toutefois, le sport est également un spectacle qui provoque des passions et engendre des émotions de la part des supporters, dont certains s'exaltent pour leur équipe fétiche. Il arrive que ce supportérisme soit à tel point exacerbé qu'il mène à des dérives pouvant aboutir à des actes de violence dans et en dehors des stades, ceci tant avant, pendant qu'après le match. A titre d'exemple tragique, les téléspectateurs garderont longtemps en mémoire les scènes auxquelles ils ont assisté le 29 mai 1985, en direct, lorsque, avant le début de la rencontre, des hooligans anglais ont attaqué des supporters italiens dans les gradins du bloc Z du stade du Heysel à Bruxelles, lors de la finale de la Coupe d'Europe des champions, opposant le FC Liverpool à la Juventus de Turin; 39 personnes en sont mortes et 600 ont été blessées. La Suisse, longtemps épargnée par le phénomène, en regard de la situation qui a prévalu dans d'autres Etats européens, ne peut échapper, depuis quelques années, au triste constat selon lequel les stades constituent désormais des environnements propices à des actions de violence, de racisme et, plus rarement, d'extrémisme. Le cas le plus révélateur a eu lieu le 13 mai 2006, lorsque des fauteurs de trouble ont envahi le terrain du Parc Saint-Jacques de Bâle après le coup de sifflet final du match de championnat opposant le FC Bâle au FC Zurich, match dont l'enjeu était la première place du classement du championnat de Super League, pour attaquer à coups de pied et à coups de poing des joueurs, des accompagnants et des personnes chargées de la sécurité. Les affrontements ont continué dans la rue jusque tard dans la soirée. Il s'en est suivi une centaine de blessés et des dégâts d'un demi million de francs. De tels débordements mettent en danger la sécurité du public, des équipes et des arbitres. Il s'agit de tout mettre en oeuvre afin que les spectateurs qui assistent à une manifestation sportive puissent prendre du plaisir aux performances des sportifs sans devoir craindre pour leur sécurité. De même, les acteurs sur le terrain doivent pouvoir exercer leur sport sans craindre un envahissement de l'aire de jeu. Ainsi, les Etats et les associations sportives ont élaboré des textes juridiques afin d'éviter des débordements ou tout autre événement qui pourraient mettre en danger des personnes ou des biens matériels lors de manifestations sportives. Sous l'angle du droit étatique helvétique, cela s'est traduit, notamment en vue du déroulement en Suisse du Championnat d'Europe de football de l'UEFA en 2008 (EURO 2008) et du Championnat du monde de hockey sur glace en 2009, par l'adoption de mesures préventives permettant de lutter contre les actes de violence lors de manifestations sportives, introduites dans la Loi fédérale du 21 mars 1997 instituant des mesures visant au maintien de la sûreté intérieure (LMSI). Elles se concrétisent par l'inscription d'individus ayant commis des actes de violence dans une banque de données nationale, ainsi que par le recours au périmètre d'exclusion, à l'interdiction de sortie du territoire, à l'obligation de s'annoncer à la police et, en dernier ressort, à la garde à vue; enfin, il est également possible de saisir, séquestrer ou confisquer du matériel de propagande5. La mise en place de telles mesures relève de l'Etat, garant de la sécurité et de l'ordre publics à l'extérieur des enceintes sportives. L'organisateur, chargé quant à lui d'assurer la sécurité à l'intérieur du stade, n'est toutefois pas en marge, puisque les fédérations et associations sportives ont édicté des règlements dont il est le destinataire. Ces textes prévoient, à sa charge, notamment les mesures suivantes: le prononcé d'interdictions de stade à l'encontre de supporters violents, la fouille accrue des spectateurs, l'engagement d'un service de sécurité privé, l'obligation de désigner un responsable de la sécurité, la séparation des différents groupes de supporters, etc.. Il appartient ainsi aux associations sportives, aux organisateurs, aux chargés de la sécurité au sein des clubs et aux forces de l'ordre public d'appliquer de la meilleure façon que ce soit les mesures proposées et de collaborer afin de combattre les débordements des spectateurs de manière effective. Prévenir et supprimer la violence dans les manifestations sportives exige ainsi la mobilisation et la collaboration de tous les protagonistes concernés.

A fully automated hot-wall multiplasma-monochamber reactor for thin film deposition

We present a study on the development and the evaluation of a fully automated radio-frequency glow discharge system devoted to the deposition of amorphous thin film semiconductors and insulators. The following aspects were carefully addressed in the design of the reactor: (1) cross contamination by dopants and unstable gases, (2) capability of a fully automated operation, (3) precise control of the discharge parameters, particularly the substrate temperature, and (4) high chemical purity. The new reactor, named ARCAM, is a multiplasma-monochamber system consisting of three separated plasma chambers located inside the same isothermal vacuum vessel. Thus, the system benefits from the advantages of multichamber systems but keeps the simplicity and low cost of monochamber systems. The evaluation of the reactor performances showed that the oven-like structure combined with a differential dynamic pumping provides a high chemical purity in the deposition chamber. Moreover, the studies of the effects associated with the plasma recycling of material from the walls and of the thermal decomposition of diborane showed that the multiplasma-monochamber design is efficient for the production of abrupt interfaces in hydrogenated amorphous silicon (a-Si:H) based devices. Also, special attention was paid to the optimization of plasma conditions for the deposition of low density of states a-Si:H. Hence, we also present the results concerning the effects of the geometry, the substrate temperature, the radio frequency power and the silane pressure on the properties of the a-Si:H films. In particular, we found that a low density of states a-Si:H can be deposited at a wide range of substrate temperatures (100°C

Women’s Literary Club of St. Catharines Fonds

The Women's Literary Club of St. Catharines was founded in 1892 by a local author, Emma Harvey (Mrs. J.G.) Currie (1829-1913) and held its last official meeting on February 19, 1994. The Club developed, flourished and eventually waned. After more than one hundred successful years, the last members deposited the Club's archives at Brock University for the benefit of researchers, scholars and the larger community. The ‘object of the Club’ was established as “the promotion of literary pursuits.” The Club was a non-profit social organization composed of predominantly white, upper middle class women from the St. Catharines and surrounding areas. Club meetings were traditionally held fortnightly from March to December each year. The last meeting of the year was a celebration of their Club anniversary. The early meetings of the Club include papers presented and music performed by Club members. The literary pursuits that would dominate the agendas for the entire life of the Club reflected an interest in selected authors, national and local history, classical history, musical performances and current cultural and newsworthy events. For example in 1893 a typical meeting agendas would contain papers on Henry Wadsworth Longfellow, Hawaii, Brook Farm, Miss Louisa May Alcott and “Education of Women 100 years Ago.” Within the first year of the Club’s existence, detailed minute books became the norm and an annual agenda or program developed. The WLC collection contains a near complete set of meeting minutes from 1892 until 1995 and a comprehensive collection of yearly programs from 1983-1967 which members took great care to publish each year. Mrs. Currie brought together a group of women with a shared interest in literature and history, who wanted to pursue that interest in a formal and structured manner. She was well educated and influenced at an early age by her tutor and mentor William Kirby, local historian, writer and newspaper editor from Niagara-on-the-Lake. While Currie’s private education influenced her love of literature and history, the Club movement of the 1890’s offered a more public forum for her to share knowledge and learning with other women. Mrs. Currie was the wife of St. Catharines lawyer, James G. Currie, who also served as a Member of Parliament for the county of Lincoln. Mrs. W.H. McClive, who was also married to a St. Catharines lawyer, worked closely with Currie and they began research into the possibility of a literary Club in St. Catharines. Currie corresponded with a variety of literary Clubs across North America before she and Mrs.McClive tagged onto the momentum of the Club movement and published “A Clarion call for Women of St. Catharines To Form a Literary Club” in the local paper The St. Catharines Evening Journal. in 1892 and asked like Clubs to publish the news of their new Club. The early years of the WLC set the foundation of how the Club meetings and events would unfold for the next 80 plus years. Photos and minutes from the first ten years reveal an excitement and interest in organized Club outings. One particular event, an annual pilgrimage to the homestead of Laura Secord, became a yearly celebration for the Club. Club President, Mrs. Currie’s own personal work on Laura Secord amplified the Club’s interest in the ‘heroine of 1812’ and she allocated the profits from her publication on Secord in order to create a commemorative plaque/monument in the name of Laura Secord. The Club celebrated this event with a regular pilgrimage to this site. The connection felt by Club members and this memorial would continue until the Club’s last meetings. The majority of members in the early years were of the upper middle classes in the growing city of St. Catharines. Many of the charter members were the wives of merchants, business men, lawyers, doctors, even a hatter. Furthermore, the position of president was most often held by a woman with a comprehensive list of interests. This is particularly the case in Isabel Brighty McComb (1876-1941). Brighty who became a member in 1903, became Club president in 1932 and stayed in her post until her death in 1941. Similar to Mrs. Currie, Brighty was a local historian and published 2 booklets on local history. Her obituary indicates her position in the community as an author and involved community member committed to lifetime memberships in the Imperial Order of Daughters of Empire, I.O.D.E., the National Organization of Women, N.O.W. and the United Empire Loyalist Society, as well as the WLC. She was a locally known ‘teacher of elocution’ and a devoted researcher of Upper Canadian history. In a Club scrapbook dedicated to her, the biographical sketch illustrates the professionalism surrounding Brighty. There is very little personal history mentioned and the focus is on her literary works, her published essay, booklets and poetry. This professional focus, evident in both her obituary and the scrapbook, illustrate the diversity of these women, especially in their roles outside of the home. The WLC collection contains a vast array of essay, lectures clippings and scrapbooks from past meetings. Organized predominantly by topic or author, the folders and scrapbooks offer a substantial amount of research opportunity in the literary history of Canada. The dates, scope of topics and authors covered offer historians an exciting opportunity to examine the consumption of particular literary trends, artists and topics within the context of a midsized industrial city in English Canada. This is especially important because the agenda adhered to by the Club was bent on promoting, discussing and reviewing predominantly Canadian material. By connecting when and what these women were studying, scholars many gain a better understanding of the broader consumption and appreciation of literary and social trends of Canadian women outside of publishing and institutional records. Furthermore, because the agendas were set by and for these women, outside of the constructs of an institutionalized canon or agenda, they offer a fresh and on the ground examination of literary consumption over an extensive length of time.

Women’s Popular Cinema in Greece: the case of Olga Malea

This thesis examines the film comedies directed by Olga Malea and released between 1997 and 2007 in Greece, in order to make a claim for the study of women’s popular cinema in Greece and beyond. Women’s popular cinema refers to films which are thematically associated with women’s cinema while operating in popular forms, such as genre. Olga Malea and her work make for a useful case study, in that they encapsulate the relationship between these two broad categories of women’s cinema and popular cinema. In addition, this thesis claims that the two categories inflect one another in interesting ways, and their intersections act as a productive framework for the analysis of women’s cinema as popular cinema, effecting a popularisation of usually marginalised themes. The introduction to this work primarily outlines the theoretical frameworks for the argument that follows, namely: women’s cinema and feminist theory; discussions around popular cinema; and considerations about authorship. The concept of national film cultures and its possible meaning in relation to Greece is also alluded to as a contextual factor. Each subsequent chapter advances the argument for women’s popular cinema through close textual analysis of the films in chronological order of their release. In particular, the analysis identifies recurrent strands and motifs in the director’s oeuvre, such as tensions between tradition and modernity, and the pervasive nature of patriarchy in informing national gender discourses. Having established the argument that women’s popular cinema is productive in popularising women’s cinema itself, the thesis concludes that, in the work of Olga Malea, its themes are conceived of, represented and perceived as prominent in the country during the period examined – and one can finally address women’s cinema as popular.

Beyond difference: female participation in the Brazilian film revival of the 1990s

In this chapter, I will focus on the female participation in what became known as ‘The Retomada do Cinema Brasileiro’, or the Brazilian Film Revival, by thinking beyond differences of gender, class, age and ethnicity. I will first re-consider the Retomada phenomenon against the backdrop of its historical time, so as to evaluate whether the production boom of the period translated into a creative peak, and, if so, how much of this carried onto the present day. I will then look at the female participation in this phenomenon not just in terms of numerical growth of women film directors, admittedly impressive, but only partially reflective of the drastic changes in the modes of production and address effected by the neoliberal policies introduced in the country in the mid 1990s. I will argue that the most decisive contribution brought about by the rise of women in Brazilian filmmaking has been the spread of team work and shared authorship, as opposed to a mere aspiration to the auteur pantheon, as determined by a notoriously male-oriented tradition. Granted, films focusing on female victimisation were rife during the Retomada period and persist to this day, and they have been, and continue to be, invaluable for the understanding of women’s struggles in the country. However, rather than resorting to feminist readings of representational strategies in these films, I will draw attention to other, presentational aesthetic experiments, open to the documentary contingent and the unpredictable real, which, I argue, suspend the pedagogical character of representational narratives. In order to demonstrate that new theoretical tools are needed to understand the gender powers at play in contemporary world cinema, I will, to conclude, analyse an excerpt of the film, Delicate Crime (Crime delicado, Beto Brant, 2006), where team work comes out as a particularly effective female, and feminist, procedure.

Deposizione elettrochimica di film polimerici foto-attivi per la realizzazione di celle solari

Plastic solar cells bear the potential for large-scale power generation based on flexible, lightweight, inexpensive materials. Since the discovery of the photo-induced electron transfer from a conjugated polymer (electron-donor) to fullerene or its derivatives molecules (electron-acceptors), followed by the introduction of the bulk heterojunction concept which means donors and acceptors blended together to realize the fotoactive layer, materials and deposition techniques have been extensively studied. In this work, electrochemical-deposition methods of polymeric conductive films were studied in order to realize bulk heterojunction solar cells. Indium Tin Oxide (ITO) glass electrodes modified with a thin layer of poly(3,4-ethylenedioxythiophene) (PEDOT) were electrochemically prepared under potentiodynamic and potentiostatic conditions; then those techniques were applied for the electrochemical co-deposition of donor and acceptor on modified ITO electrode to produce the active layer (blend). For the deposition of the electron-donor polymer the electropolymerization of many functionalized thiophene monomers was investigated while, as regards acceptors, fullerene was used first, then the study was focused on its derivative PCBM ([6,6]-phenyl-C61-butyric acid methyl ester). The polymeric films obtained (PEDOT and blend) were electrochemically and spectrophotometrically characterized and the film thicknesses were evaluated by atomic force microscopy (AFM). Finally, to check the performances and the efficiency of the realized solar cells, tests were carried out under standard conditions. Nowadays bulk heterojunction solar cells are still poorly efficient to be competitively commercialized. A challenge will be to find new materials and better deposition techniques in order to obtain better performances. The research has led to several breakthroughs in efficiency, with a power conversion efficiency approaching 5 %. The efficiency of the solar cells produced in this work is even lower (lower than 1 %). Despite all, solar cells of this type are interesting and may represent a cheaper and easier alternative to traditional silicon-based solar panels.

Electrical spectroscopy of rubrene bulk and thin film crystals

One of the most diffused electronic device is the field effect transistor (FET), contained in number of billions in each electronic device. Organic optoelectronics is an emerging field that exploits the unique properties of conjugated organic materials to develop new applications that require a combination of performance, low cost and processability. Organic single crystals are the material with best performances and purity among the variety of different form of organic semiconductors. This thesis is focused on electrical and optical characterization of Rubrene single crystal bulk and thin films. Rubrene bulk is well known but for the first time we studied thin films. The first Current-voltage characterization has been performed for the first time on three Rubrene thin films with three different thickness to extract the charge carriers mobility and to assess its crystalline structure. As results we see that mobility increase with thickness. Field effect transistor based on Rubrene thin films on $SiO_2$ have been characterize by current-voltage (I-V) analyses (at several temperatures) and reveals a hopping conduction. Hopping behavior probably is due to the lattice mismatch with the substrate or intrinsic defectivity of the thin films. To understand effects of contact resistance we tested thin films with the Transmission Line Method (TLM) method. The TLM method revealeds that contact resistance is negligible but evidenced a Schottky behavior in a limited but well determined range of T. To avoid this effect we carried out annealing treatment after the electrode evaporation iswe performed a compete I-V characterization as a function of in temperature to extract the electronic density of states (DOS) distribution through the Space Charge Limited Current (SCLC) method. The results show a DOS with an exponential trenddistribution, as expected. The measured mobility of thin films is about 0.1cm^2/Vs and it increases with the film thickness. Further studies are necessary to investigate the reason and improve performances. From photocurrent spectrum we calculated an Eg of about 2.2eV and both thin films and bulk have a good crystal order. Further measurement are necessary to solve some open problems

Ultra high frequency thin film saw devices

Durante los últimos años el flujo de datos en la transmisión que tiene lugar en los sistemas de comunicación ha aumentado considerablemente de forma que día a día se requieren más aplicaciones trabajando en un rango de frecuencias muy alto (3-30 GHz). Muchos de estos sistemas de comunicación incluyen dispositivos de onda acústica superficial (SAW) y por tanto se hace necesario el aumento de frecuencia a la que éstos trabajan. Pero este incremento de frecuencia de los dispositivos SAW no sólo es utilizado en los sistemas de comunicación, varios tipos de sensores, por ejemplo, aumentan su sensibilidad cuando la frecuencia a la que trabajan también lo hace. Tradicionalmente los dispositivos SAW se han fabricado sobre cuarzo, LiNbO3 y LiTaO3 principalmente. Sin embargo la principal limitación de estos materiales es su velocidad SAW. Además, debido a la alta temperatura a la que se depositan no pueden ser integrados en la tecnología de fabricación CMOS. El uso de la tecnología de capa delgada, en la que un material piezoeléctrico es depositado sobre un substrato, se está utilizando en las últimas décadas para incrementar la velocidad SAW de la estructura y poder obtener dispositivos trabajando en el rango de frecuencias requerido en la actualidad. Por otra parte, esta tecnología podría ser integrada en el proceso de fabricación CMOS. Durante esta tesis nos hemos centrado en la fabricación de dispositivos SAW trabajando a muy alta frecuencia. Para ello, utilizando la tecnología de capa delgada, hemos utilizado la estructura nitruro de aluminio (AlN) sobre diamante que permite conseguir velocidades SAW del sustrato que no se pueden alcanzar con otros materiales. El depósito de AlN se realizó mediante sputtering reactivo. Durante esta tesis se han realizado diferentes experimentos para optimizar dicho depósito de forma que se han obtenido los parámetros óptimos para los cuales se pueden obtener capas de AlN de alta calidad sobre cualquier tipo de sustrato. Además todo el proceso se realizó a baja temperatura para que el procesado de estos dispositivos pueda ser compatible con la tecnología CMOS. Una vez optimizada la estructura AlN/diamante, mediante litografía por haz de electrones se fabricaron resonadores SAW de tamaño nanométrico que sumado a la alta velocidad resultante de la combinación AlN/diamante nos ha permitido obtener dispositivos trabajando en el rango de 10-28 GHz con un alto factor de calidad y rechazo fuera de la banda. Estás frecuencias y prestaciones no han sido alcanzadas por el momento en resonadores de este tipo. Por otra parte, se han utilizado estos dispositivos para fabricar sensores de presión de alta sensibilidad. Estos dispositivos son afectados altamente por los cambios de temperatura. Se realizó también un exhaustivo estudio de cómo se comportan en temperatura estos resonadores, entre -250ºC y 250ºC (rango de temperaturas no estudiado hasta el momento) diferenciándose dos regiones una a muy baja temperatura en la que el dispositivo muestra un coeficiente de retraso en frecuencia (TCF) relativamente bajo y otra a partir de los -100ºC en la que el TCF es similar al observado en la bibliografía. Por tanto, durante esta tesis se ha optimizado el depósito de AlN sobre diamante para que sea compatible con la tecnología CMOS y permita el procesado de dispositivos trabajando a muy alta frecuencia con altas prestaciones para comunicaciones y sensores. ABSTRACT The increasing volume of information in data transmission systems results in a growing demand of applications working in the super-high-frequency band (3–30 GHz). Most of these systems work with surface acoustic wave (SAW) devices and thus there is a necessity of increasing their resonance frequency. Moreover, sensor application includes this kind of devices. The sensitivity of them is proportional with its frequency. Traditionally, quartz, LiNbO3 and LiTaO3 have been used in the fabrication of SAW devices. These materials suffer from a variety of limitations and in particular they have low SAW velocity as well as being incompatible with the CMOS technology. In order to overcome these problems, thin film technology, where a piezoelectric material is deposited on top of a substrate, has been used during the last decades. The piezoelectric/substrate structure allows to reach the frequencies required nowadays and could be compatible with the mass electronic production CMOS technology. This thesis work focuses on the fabrication of SAW devices working in the super-high-frequency range. Thin film technology has been used in order to get it, especially aluminum nitride (AlN) deposited by reactive sputtering on diamond has been used to increase the SAW velocity. Different experiments were carried out to optimize the parameters for the deposit of high quality AlN on any kind of substrates. In addition, the system was optimized under low temperature and thus this process is CMOS compatible. Once the AlN/diamond was optimized, thanks to the used e-beam lithography, nanometric SAW resonators were fabricated. The combination of the structure and the size of the devices allow the fabrication of devices working in the range of 10-28 GHz with a high quality factor and out of band rejection. These high performances and frequencies have not been reached so far for this kind of devices. Moreover, these devices have been used as high sensitivity pressure sensors. They are affected by temperature changes and thus a wide temperature range (-250ºC to 250ºC) study was done. From this study two regions were observed. At very low temperature, the temperature coefficient of frequency (TCF) is low. From -100ºC upwards the TCF is similar to the one appearing in the literature. Therefore, during this thesis work, the sputtering of AlN on diamond substrates was optimized for the CMOS compatible fabrication of high frequency and high performance SAW devices for communication and sensor application.

Visual Manifestations of Primary Metaphors Through Mise-en-scène Techniques

Grady distinguishes two main types of metaphor in order to provide a solution in the controversies stemming from the conceptual theory of metaphor: correlation-based metaphors and resemblance metaphors. In “correlation-based metaphors”, the source domain is sensory-motor, while the target domain is not. On the contrary, “resemblance metaphors” are originated by a physical or conceptual perception which is common in both domains, by the association of concepts with common features. Primary metaphors are the minimal units of correlation-based metaphors; they are inherent in human nature and the result of the nature of our brain, our body and the world that we inhabit. We acquire them automatically and we cannot avoid them. Furthermore, as corporal experiences are universal, so are primary metaphors. In this paper, I will argue that primary metaphors manifest themselves visually through scene-setting techniques such as composition, framing, camera movement or lighting. Film-makers can use the different aspects of mise-en-scène metaphorically in order to express abstract notions like evil, importance, control, relationship or confusion. Such visual manifestations, as also occurs with their verbal equivalents, frequently go unnoticed or have been used so often that they have become clichés. But the important thing to bear in mind is that their origin lies in a primary metaphor and due to this origin these kinds of film-making strategies have been so expressively successful.

Le collectif contrarié : analyse des manifestations du sujet national et de sa remise en cause dans l'oeuvre de Robert Morin

La nation s’est affirmée à partir de la fin du 18e siècle comme l’un des grands paramètres de la modernité. Sa remise en cause, tout spécialement dans les dernières décennies du siècle dernier, est à la fois partie prenante et symptomatique de l’actuel phénomène d’effritement des identités collectives. Le Québec n’échappe pas à ce courant de fond, comme en témoigne l’œuvre du vidéaste et cinéaste Robert Morin, qui propose une galerie de personnages en manque d’attaches et souvent réduits à leur propre subjectivité. Dans un contexte de questionnement généralisé des concepts de nation et de collectivité, ces individualités se sentent isolées et tentent désespérément de réactualiser les liens qui les unissent à leurs semblables, mais sans grand succès. La communauté revêt ainsi une dimension nostalgique, parcourant l’œuvre de Morin dans son entièreté et se manifestant de différentes manières, tant à l’écran qu’à travers son approche du médium qui reste grandement tributaire des pratiques filmiques et vidéographiques des années ’60 et ’70. Écartelé entre la prise de conscience de son isolement et son désir d’appartenir à une entité collective, qu’elle soit nationale ou autre, le sujet délié que l’on retrouve chez Morin, comme cette thèse tente de le démontrer, subit ce phénomène de déliaison et lutte simultanément pour l’enrayer.

Le collectif contrarié : analyse des manifestations du sujet national et de sa remise en cause dans l'oeuvre de Robert Morin

La nation s’est affirmée à partir de la fin du 18e siècle comme l’un des grands paramètres de la modernité. Sa remise en cause, tout spécialement dans les dernières décennies du siècle dernier, est à la fois partie prenante et symptomatique de l’actuel phénomène d’effritement des identités collectives. Le Québec n’échappe pas à ce courant de fond, comme en témoigne l’œuvre du vidéaste et cinéaste Robert Morin, qui propose une galerie de personnages en manque d’attaches et souvent réduits à leur propre subjectivité. Dans un contexte de questionnement généralisé des concepts de nation et de collectivité, ces individualités se sentent isolées et tentent désespérément de réactualiser les liens qui les unissent à leurs semblables, mais sans grand succès. La communauté revêt ainsi une dimension nostalgique, parcourant l’œuvre de Morin dans son entièreté et se manifestant de différentes manières, tant à l’écran qu’à travers son approche du médium qui reste grandement tributaire des pratiques filmiques et vidéographiques des années ’60 et ’70. Écartelé entre la prise de conscience de son isolement et son désir d’appartenir à une entité collective, qu’elle soit nationale ou autre, le sujet délié que l’on retrouve chez Morin, comme cette thèse tente de le démontrer, subit ce phénomène de déliaison et lutte simultanément pour l’enrayer.