Espacio e identidad en un "western" crepuscular: The Misfits

Raquel Merino Álvarez, José Miguel Santamaría, Eterio Pajares (eds.)

Le rôle des festivals de cinéma internationaux dans l'émergence du cinéma iranien

Jusqu’à la fin du vingtième siècle, les études sur le cinéma iranien ont tendance à aborder ce cinéma par rapport à la Révolution islamique de 1979, c’est-à-dire à le diviser en deux époques, prérévolutionnaire et postrévolutionnaire. Cette recherche s’inscrit dans une pensée récente qui étudie l’émergence de ce cinéma national en tant que cheminement continu et dominé par des politiques culturelles contradictoires et ambiguës. Dans cette étude, nous ferons au premier chapitre un survol de l’histoire du cinéma iranien, avec un intérêt particulier pour la culture des festivals. Il s’agira de décrypter les enjeux politiques et culturels qui dirigent les décisions du gouvernement et des professionnels de l’industrie. Le deuxième chapitre proposera un questionnement sur la notion de cinéma national, et appliquera cette notion au cinéma iranien. Une attention particulière sera portée à la Fondation du cinéma Farabi, une institution clé dans la promotion du cinéma national et dans l’émergence des films iraniens dans les festivals de films internationaux. Finalement, le troisième chapitre présentera le rôle des festivals dans l’industrie cinématographique ainsi qu’une analyse de l’évolution des films iraniens présentés au Festival des films du monde de Montréal afin de démontrer l’influence des politiques culturelles iraniennes floues sur la présence des films iraniens dans les festivals occidentaux.

Entrelacement de la tradition imaginaire du western et du réalisme contemporain

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 : Désarçonné.(http://atrium.umontreal.ca/notice/UM-ALEPH002343646)

Marginalising the marginal in holocaust films : fictional representations of jewish policeman

This paper explores the issue of how Jewish victims who occupied so-called 'privileged' positions during the Holocaust are represented in fictional films. Such figures, particularly Jewish policemen in the ghettos, may be seen to inhabit the 'marginal' in two ways, both in terms of the unprecedented ethical dilemmas they faced, and the relative lack of attention such figures have received. Taking Primo Levi's paradigmatic essay on the 'grey zone' as a point of departure, this paper analyses how Jewish policemen are represented in mainstream, 'Hollywood' fictional films, namely Steven Spielberg's Schindler's List, in order to reveal that the narrative concerns of such works preclude any serious engagement with themes of moral ambiguity and 'compromise'. Attention will also be given to a more recent trend in the genre of Holocaust film that directly confronts these issues, nonetheless such films may themselves be viewed as marginalised due to their subject matter.

Trace metal speciation in the Pieman River catchment, western Tasmania

The Pieman River catchment has seen continuous mining of economic deposits of gold, silver, lead, copper, zinc and tin since the 1870’s. Tributaries of this river which receive mining effluent, either directly or from acid mine drainage (AMID), have total metal concentrations considerably above background levels and are of regulatory concern. The lower Pieman River is however classified as a State Reserve in which recreational fishing and tourism are the major activities. It is therefore important that water entering the lower Pieman River from upstream hydroelectric impoundments is of high quality. Metals in natural waters exist in a variety of dissolved, colloidal and particulate forms. The bioavailability and hence toxicity of heavy metal pollutants is very dependant on their physico form. Knowledge of the speciation of a metal in natural aquatic environments is therefore necessary for understanding its geochemical behaviour and biological availability. Complexation of metal ions by natural ligands in aquatic systems is believed to play a significant role in controlling their chemical speciation. This study has investigated temporal and spatial variation in complexation of metal ions in the Pieman River. The influence of pH, temperature, organic matter, salinity, ionic strength and time has been investigated in a series of field studies and in laboratory-based experiments which simulated natural and anthropogenic disturbances. Labile metals were measured using two techniques in various freshwater and estuarine environments. Diffusive gradients in thin-films (DGT) allowed in situ measurement of solution speciation whilst differential pulse anodic stripping voltammetry (DPASV) was used to measure labile metal species in water samples collected from the catchment. Organic complexation was found to be a significant regulating mechanism for copper speciation and the copper-binding ligand concentration usually exceeded the total copper concentration in the river water. Complexation was highly dependent on pH and at the river-seawater interface was also regulated by salinity, probably as a result of competitive complexation by major ions in seawater (eg. Ca 2+ ions). Zinc complexation was also evident, however total zinc concentrations in the water column often far exceeded the potential binding capacity of available ligands. In addition to organic complexation, Zn speciation may also be associated with adsorption by flocculated or resuspended colloidal Mn and/or Fe oxyhydroxides. Metal ion complexation and hence speciation was found to be highly variable within the Pieman River catchment. This presents major difficulties for environmental managers, as it is therefore not possible to make catchment-wide assumptions about the bioavailability of these metals. These results emphasise the importance of site-specific sampling protocols and speciation testing, ideally incorporating continuous, in situ monitoring.

Reframing Chinese animation: from classicism to postmodernism in post-1949 non-commercial Chinese animated films

This thesis focuses on Chinese non-commercial animated films produced from 1949 to date, with the aim of remapping and reframing Chinese animation in the light of existing theories, critiques, and frameworks drawn from studies in animation, film, and screen media. I suggest that Chinese animation has experienced three aesthetic transformations since 1949, primarily influenced by traditional Chinese culture, by Western modernist art and literature and, most recently, by postmodernism, respectively. Thus, the research traces and thoroughly investigates these three distinctive phases of Chinese animation in chronological order, from the classical period (1950s– 1980s) to modernism (1980s–2000s) and postmodernism (after 2000s). More in detail, I first rethink and re-evaluate the success of classical Chinese animation and the Chinese school of animation and, at the same time, I explore the influence of the political situation of the time on Chinese animation. Through careful analysis of A Da (1934–87) and other Chinese animators’ practices and theory, then, I argue that a remarkable modernist transformation took place in Chinese animation between the 1980s and 2000s, mainly driven by Western modernism and the Chinese “cultural fever” movement. Finally, through a discussion of the latest non-commercial animations produced after 2005, and especially those of Bu Hua (1973– ), for the first time I classify and theorize contemporary Chinese animations within a postmodern framework. By reframing existing views and broadening the scope of the analysis to encompass new areas and frameworks, this thesis aims to provide the reader with a comprehensive and systematic understanding of post-1949 Chinese animation and to offer an original contribute to scholarship, also working as a starting point for further research in this area.

Simply Genre Films: Extracting “King Lear” from “House of Strangers” and “Broken Lance"

The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will also suggest criteria for determining the level of canonicity of a “King Lear” film adaptation. Popularity of films does not determine validity, and a film does not need purported Shakespearean provenance to validate its ratings. Some films, like these, merely reference or pay homage to Shakespeare through use of essential elements of “King Lear”; here, I deem such affinities to be more unintentional than intentional.

Analyse sémiologique et interprétation historico-idéologique de la "Railroad Builging Story", un sous-genre du western classique américain (1924-1962)

Notre mémoire se penche sur un corpus de films spécifique; il s’agit des westerns américains racontant la construction d’un chemin de fer. Nous traitons ces films comme un sous-genre du western que nous intitulons Railroad Building Story. Est proposé dans notre étude que la structure narrative étant à la base de tous les récits du sous-genre provient d’une idéalisation des faits historiques entourant la construction du premier chemin de fer transcontinental aux États-Unis. Dans le premier chapitre, nous présentons une adaptation de la méthode d’analyse de Vladimir Propp, telle que présentée dans la Morphologie du conte, dans le but d’identifier la structure narrative stable des films du corpus et d’en décrire les unités narratives constantes. L’application de la méthode est effectuée dans le second chapitre, où chacune des unités narratives constantes est expliquée. De plus, nous confrontons ces unités narratives à l’histoire du chemin de fer transcontinental afin d’analyser les rapports idéologiques existant entre ces récits fictionnels et leur référent historique. Cette description sémionarrative et historique de la Railroad Building Story met en évidence sa fonction idéologique permanente en tant que mythe cinématographique du chemin de fer américain. Dans le troisième chapitre, les films sont analysés d’après leur contexte sociohistorique de production. Le chapitre est divisé selon les quatre périodes historiques dans lesquels les films du sous-genre furent réalisés, soit les années 1920, la Grande Dépression, l’ère maccarthyste et le début des années 1960. En analysant les films d’après une approche sociocritique, nous démontrons comment ceux-ci traduisent des préoccupations idéologiques liées au climat social de la nation américaine. Nous expliquons donc comment le mythe du chemin de fer américain se voit réapproprié à chaque période historique, et ce, afin de répondre aux exigences idéologiques contemporaines à la production des films de la Railroad Building Story.

An evaluation of surface micro- and mesoplastic pollution in pelagic ecosystems of the Western Mediterranean Sea

This study examines the distribution, abundance and characteristics of surface micro- and mesoplastic debris in the Western Mediterranean Sea. 41 samples were collected in 2011 (summer) and 2012 (summer). Results, firstly, revealed that micro- (<5mm) and mesoplastic debris were widely and uniformly distributed in this area with average concentrations of 130,000 parts/km(2) and 5700 parts/km(2), respectively. Importantly, a strong correlation between micro- and mesoplastic concentrations was identified. Secondly, a classification based on the shape and appearance of microplastics indicated the predominant presence of fragments (73 %) followed by thin films (14 %). Thirdly, the average mass ratio of microplastic to dry organic matter has been measured at 0.5, revealing a significant presence of microplastics in comparison to plankton. Finally, a correction method was applied in order to correct wind mixing effect on microplastics' vertical distribution. This data allows for a comprehensive view, for the first time, of the spatial distribution and nature of plastic debris in the Western Mediterranean Sea.

Scanning probe studies of thin films

The first part of this thesis deals with the phenomenon of thermoelectricity. It involves the improvement of the thermoelectric properties of silicon using innovative nanostructures. My contribution was to help fabricate these thermoelectric devices, and is the focus of this part of the thesis.

The second part and primary focus of this thesis is the analysis of thin films using scanning probe techniques. These surface techniques include atomic force microscopy, electric force microscopy, Kelvin probe force microscopy, and scanning tunneling microscopy. The thin films studied are graphene and molybdenum disulfide, two remarkable materials that display unique two-dimensional qualities. These materials are shown to be useful in studying the properties of adsorbates trapped between them and the substrate on which they rest. Moreover, these adsorbed species are seen to affect the structural and electronic properties of the thin films themselves. Scanning probe analyses are particularly useful in elucidating the properties of these materials, as surface effects play a significant role in determining their characteristics.

The final part of this thesis is concerned with the study of Akt in live cells using protein capture agents previously developed by my colleagues. The activation and degradation of Akt is investigated using various biological assays, including Western blots, in vitro kinase assays, and cell viability assays. Finally, the usefulness of synthetic capture agents in perturbing protein pathways and as delivery agents is assessed and analyzed.