Vulgaire! Pervers! Dégradant! : le film d'exploitation et le cinéma québécois

Dans l’historiographie du cinéma québécois, un certain manque est notable concernant le cinéma populaire du début des années 1970 (1968-1975). Historiens et chercheurs accordèrent peu d’importance à cette section de notre cinématographie par déni d’un type de cinéma populaire exploitant la sexualité. Ce qui fut péjorativement appelé la vague de « films de fesses » n’eut droit à aucune étude académique sérieuse et nous proposons, donc, de la revisiter afin de mieux comprendre son apparition et son existence. Dans ce dessein, nous suggérons de l’aborder sous l’angle du cinéma d’exploitation, cinéma populaire méconnu et controversé. Pour cela, nous devrons expliquer les contours de ce cinéma puisque, lui aussi, souffre d’un léger manque d’études sérieuses et approfondies. Nous ferons au premier chapitre un panorama de la norme cinématographique qu’est le cinéma hollywoodien, afin de bien cerner, au deuxième chapitre, le cinéma d’exploitation qui selon nous s’efforce d’être en constante opposition avec le cinéma mainstream. Par la suite, nous mettrons en place le contexte socio-historique et cinématographique qui permit l’apparition d’un cinéma d’exploitation québécois et nous ferons l’énumération des différents titres qui se retrouvent dans ce corpus filmique. Les chapitres IV et V présenteront les analyses de différentes œuvres qui, selon nous, récupèrent de façon partielle ou totale des éléments du cinéma d’exploitation afin de créer une résistance culturelle quant au cinéma dominant américain.

La légende urbaine des snuff movies : histoire, théorie, esthétiques, technologies

La présente étude propose une analyse historique de la légende urbaine des snuff movies. En premier lieu, elle se penche sur l’émergence de cette rumeur dans le paysage médiatique américain des années 70 tout en focalisant sur certains objets filmiques l’ayant crédibilisée, principalement les stag et les mondo movies. Ce mémoire analyse par la suite l’influence majeure de deux événements sur l’implantation de la légende urbaine dans l’imaginaire collectif, soit l’assassinat de Sharon Tate et la circulation du film de Zapruder. Après avoir étudié la persistance de la rumeur, cet essai focalise sur la promotion et l’exploitation de Snuff (1976) en plus de proposer une analyse de ce long métrage. Ensuite, il se penche sur deux types de représentations du snuff dans le cinéma de fiction ainsi que leurs impacts sur l’authentification de la légende urbaine. Il est d’abord question des mises en scène du snuff dans le cinéma populaire qui s’inspirent de la rumeur pour ensuite l’actualiser. Sont ensuite étudiées les représentations du snuff à titre de faux documents, soit ces œuvres qui tentent par divers procédés de se faire passer pour de véritables films clandestins et, de ce fait, authentifient l’objet auquel ils se réfèrent. Puisque cette étude analyse l’évolution médiatique de la légende urbaine, elle se conclut sur son déplacement du cinéma vers Internet et de sa nouvelle crédibilisation grâce aux vidéos macabres, à la pornographie juvénile et au récent cas Magnotta.

Telefantasy tower blocks: space, place and social realism shake-ups in Misfits

This article considers the ways in which British youth telefantasy Misfits (E4, 2009–13) takes up and makes strange urban spaces familiar from social-realist narratives. Filmed on the sprawling East London estate, Thamesmead, the programme chronicles a group of young offenders who are given powers by a freak storm, turning them into ‘ASBO superheroes’. Misfits depends on its British urban landscapes for the assertion of its ‘authenticity’ within British youth television, using spaces and landscapes familiar from urban youth exploitation cinema and television's narratives of the underclass. After situating the series within existing cultural discourses and recent developments in social-realist representations, the article explores how Misfits disrupts what have become signifiers for the ‘real’ – the brutalism of housing estates, the grey of the concrete and sky – by making them strange, turning them into telefantasy. The series presents the estate as an uncanny place: the domestic, social-realist world shifted into a fantastical space by the storm. Through close analysis, this article explores how the familiar spaces become skewed and unsettling to match our protagonists' isolation, shifting bodies and scrambled sense of self.

Possibilidades e limites de experiência: imagem e formação de professoras de infância da rede pública de Rio Claro

Pós-graduação em Educação - IBRC

O biodireito na interface entre ciência e ficção: um estudo do imaginário social a partir da análise do filme Mar adentro

Pós-graduação em Educação - IBRC

Pasolini and Third World hunger: an approach to Cinema Novo through 'La ricotta'

Among the links between Pier Paolo Pasolini and Brazilian Cinema Novo, one of the most inspiring is the political approach to hunger and consumption. In this text, I analyse this topic to look at how some of the aesthetic ideas in Pasolini’s La ricotta (1963) can also be found in some of the most important films of Cinema Novo. In 'La ricotta' (1963), the irresistible need to eat of a subproletarian interacts and clashes with his responsibilities as an actor in a movie version of the Passion of Christ, so that the film creates a complex network of relations between film shooting, social differences, art, hunger, consumption, time and light, which turns the film set into a space for displaying political relations, differences, exploitation and revolution. The correspondences between these concepts and some aggression techniques of Cinema Novo are numerous and confirm the capacity of Pasolini’s film to project ideas on cinema and politics beyond its particular production context.

Streaming Italian horror cinema in the UK: Lovefilm Instant.

This article investigates the distribution of Italian horror cinema in the age of video streaming, analyzing its presence and categorization on the platform Lovefilm Instant UK, in order to investigate the importance of ‘niche’ in what is known as the long tail of online distribution and the online availability of exploitation films. I argue that looking at the streaming presence of Italian horror and comparing it to its prior distribution on home video formats (in particular VHS and DVD) we can grasp how distribution and access have shaped the understanding of the genre. In particular, I address the question of the categorization of the films made by the S-VOD services and the limits of streaming distribution, such as lack of persistency in availability and the need of enhanced curatorship.

Exploitation of a single interface flow system for on-line aqueous biphasic extraction

The exploitation of aqueous biphasic extraction is proposed for the first time in flow analysis This extraction strategy stands out for being environmentally attractive since it is based in the utilization of two immiscible phases that are intrinsically aqueous The organic solvents of the traditional liquid-liquid extractions ale no longer used, being replaced by non-toxic, non-flammable and non-volatile ones. A single interface flow analysis (SIFA) system was implemented to carry out the extraction process due to its favourable operational characteristics that include the high automation level and simplicity of operation, the establishment of a dynamic interface where the mass transfer occurred between the two immiscible aqueous phases, and the versatile control over the extraction process namely the extraction time The application selected to demonstrate the feasibility of SIFA to perform this aqueous biphasic extraction was the pre-concentration of lead. After extraction, lead reacted with 8-hydroxyquinoline-5-sulfonic acid and the resulting product was determined by a fluorimetric detector included in the flow manifold. Therefore, the SIFA single interface was used both as extraction (enrichment) and reaction interface. (C) 2010 Elsevier B.V All rights reserved.

Sequential injections as an alternative to gradient exploitation for implementing differential kinetic analysis in a flow injection system

A novel flow-based strategy for implementing simultaneous determinations of different chemical species reacting with the same reagent(s) at different rates is proposed and applied to the spectrophotometric catalytic determination of iron and vanadium in Fe-V alloys. The method relies on the influence of Fe(II) and V(IV) on the rate of the iodide oxidation by Cr(VI) under acidic conditions, the Jones reducing agent is then needed Three different plugs of the sample are sequentially inserted into an acidic KI reagent carrier stream, and a confluent Cr(VI) solution is added downstream Overlap between the inserted plugs leads to a complex sample zone with several regions of maximal and minimal absorbance values. Measurements performed on these regions reveal the different degrees of reaction development and tend to be more precise Data are treated by multivariate calibration involving the PLS algorithm The proposed system is very simple and rugged Two latent variables carried out ca 95% of the analytical information and the results are in agreement with ICP-OES. (C) 2010 Elsevier B V. All rights reserved.

Universal exhibitions and the cinema: history and culture

The objective of this article is to examine the presence of cinema in World Fairs between the 1893 World`s Columbian Exposition in Chicago and 1939 (the New York World`s Fair). As an integral part of a visual culture constructed by these spaces to celebrate capitalism, the trajectory of cinema is identified with these world fairs due to its ability to entertain and, at the same time, to educate. Cinema was established as a means of mass communication during the First World War and afterwards would participate more actively in the symbolic disputes of a world about to enter the second global conflict. It would reach a broader public, becoming the main `showcase` in which nations projected virtues to be celebrated. The new striking visual spectacle assumed, within this context, greater emphasis through films idealized as true cinematographic monuments.

Grazers and diggers: Exploitation competition and coexistence among foragers with different feeding strategies on a single resource

A mathematical model is presented that describes a system where two consumer species compete exploitatively for a single renewable resource. The resource is distributed in a patchy but homogeneous environment; that is, all patches are intrinsically identical. The two consumer species are referred to as diggers and grazers, where diggers deplete the resource within a patch to lower densities than grazers. We show that the two distinct feeding strategies can produce a heterogeneous resource distribution that enables their coexistence. Coexistence requires that grazers must either move faster than diggers between patches or convert the resources to population growth much more efficiently than diggers. The model shows that the functional form of resource renewal within a patch is also important for coexistence. These results contrast with theory that considers exploitation competition for a single resource when the resource is assumed to be well mixed throughout the system.