1,254 research outputs found
Programme esthétique liminaire et passage du mobile à l'immobile: Les génériques de la série animée Jojo's Bizarre Adventure
No full textIn the Japanese world of comic book production, successful manga automatically go from page to animation. The opening and closing credits of the animated series Jojo's Bizarre Adventure (David Production, 2012-2022) bear the traces of this adaptation process which poses aesthetic problems despite the common graphic origin. These credits, which support the passage from the inert to the mobile - in the tradition of those of the cinema, must present the adaptation as such - it aesthetic proposals - and are also involved in the narration, which alters them in return.Dans le monde japonais de la production de bande dessinée, les manga à succès passent automatiquement de la page à l'animation. Les génériques d'ouverture et de fermeture de la série animée Jojo's Bizarre Adventure (David Production, 2012-2022) portent les traces de ce processus d'adaptation, qui malgré l'origine graphique commune, n'est pas sans poser des problèmes esthétiques. Ces génériques, qui prennent en charge le passage de l'inerte au mobile - dans la tradition de ceux du cinéma, doivent présenter l'adaptation comme telle - ses propositions esthétiques - et sont également impliqués dans la narration de l'œuvre, qui exerce des altérations sur eux en retour
The author as actor: a defense of Quentin Skinner
No full textIn this thesis, I defend Quentin Skinner's work against some criticisms raised by three of his interlocutors: John Keane, Kennet Minogue, and Joseph Femia. All three of these critics take issue with Skinner's author-centered approach to the historical interpretation of texts. Femia, invoking Roland Barthes 'death of the author' thesis, argues that Skinner's attempt to recover the intentions of authors is impossible. While Minogue and Keane do not dispute the possibility of recovering an author's intentions, they question the unity of such an enterprise. In order to answer Femia's criticism of Skinner, I draw an analogy between Skinner's figure of the author, and Arendt's figure of the political actor. I argue that just as it is possible for someone to know what a political actor is doing in performing a political act, it is similarly possible for an intellectual historian to understand what political acts an author was doing in writing his or her text. To refute Minogue's and Keane's claims that a Skinnerian approach to intellectual history is of no use to the political theorist, I point to three examples of how Skinner's recovery of forgotten political discourses have been applied to contemporary debates in political theory.Graduat
Drawing Sacred Forests and Courtyards in South Benin
No full texthttps://drawingmatter.org/drawing-sacred-forests-and-courtyards-in-south-benin/The following conversation between the editors of Accattone and Quentin Nicolaï was first published in Accattone 6 (2019). It documents research carried out by Quentin Nicolaï in Abomey, Benin, between January 2014 and June 2018.Drawing Matter would like to thank the author and the magazine’s editors for allowing us reproduce the essay on www.drawingmatter.org.info:eu-repo/semantics/nonPublishe
Features of auteur cinema in Quentin Tarantino's works
No full textMultimediju komunikācijaInformācijas un komunikācijas zinātnesMultimedia CommunicationInformation and Communication SciencesBakalaura darba tēmas nosaukums ir “Autorkino iezīmes Kventina Tarantīno daiļradē.”
Pētījumā izvirzītā hipotēze apgalvo, ka režisora Kventina Tarantīno (Quentin Tarantino) filmās ir
atrodamas autorkino iezīmes.
Bakalaura darba mērķis ir noskaidrot autorkino iezīmes Kventina Tarantīno sešās
ietekmīgākajās un skatītāju atzītākajās filmās, kuras tika atlasītas pēc Internacionālās filmu datu
bāzes. Darbā tiek apskatītas un analizētas sešas no Kventina Tarantīno filmām, kuras ir “Trakie
suņi” (Reservoir Dogs), “Lubene” (Pulp Fiction), “Nogalināt Bilu: 1. daļa” (Kill Bill: Vol. 1) un
“Nogalināt Bilu: 2. daļa” (Kill Bill: Vol. 2), kas pēc paša režisora uzskatiem ir, viena vesela, filma
sadalīta divās daļās, kā arī filmas “Bēdīgi slavenie mērgļi” (Inglorious Bastards), “Atsvabinātais
Džango” (Django Unchained) un “Reiz Holivdā” (Once Upon a Time... in Hollywood).
Darba mērķa izpildei teorētiskajā daļā tika aplūkots autorkino jēdziens, Holivudas
klasiskais kino stils, kino valoda, kā arī Kventina Tarantīno biogrāfija, lai palīdzētu izprast un
analizēt atlasītās filmas. Par pētījuma metodi tika izvēlēta kvalitatīvā kontentanalīze.The title of the bachelor's thesis is "Features of auteur cinema in Quentin Tarantino's
works" The study’s hypothesis states that directors Quentin's Tarantino's films have the features
of an author.
The purpose of the bachelor's thesis is to find out the influence of author cinema on Quentin
Tarantino's six most influential and audience-recognized films selected from the International Film
Database. Work is discussed and analyzed in six of Quentin Tarantino films, which are “Reservoir
Dogs”, “Pulp Fiction”, “Kill Bill: Vol. 1” and “Kill Bill: Vol. 2”, which the director says is a whole
movie divided into two parts, as well as “Inglorious Bastards”, “Django Unchained” and “Once
Upon a Time ... in Hollywood”.
The theoretical part of the paper explored the concept of author cinema, Hollywood classic
cinema, film language, and the biography of Quentin Tarantino to help understand and analyze
selected films. Qualitative content analysis was chosen as the research method
Beyond répétitions of Yasujirô Ozu’s late cinema : every day variations of a multiple world spanned by desire (1949-1963)
No full textCette thèse s’attache à élucider le système de répétitions et de variations structurant l’œuvre de Yasujirô Ozu (1903-1963). Archétype d’auteur-cinéaste, Ozu est connu pour sa forme rigoureuse et la répétitivité apparente de ses fictions. Pourtant, tout en ayant été bien identifié et commenté, ce système n’a encore jamais été étudié comme tel, frontalement et systématiquement. Le premier enjeu de ce travail est donc de revisiter la théorie ozuienne, pour justifier la prise de distance avec les analyses culturalistes, remettre en question les hiérarchies autour des films ou de leurs thématiques, et réhabiliter les fictions ozuiennes (souvent considérées comme des éléments négligeables). Le second enjeu est de proposer, à l’aide d’analyses formelles rigoureuses et au renfort d’autres champs théoriques, comme la phénoménologie, les études littéraires ou la psychanalyse, un nouveau modèle pour comprendre le cinéma d’Ozu. Celui-ci se construit autour de trois notions-clés. Le quotidien, qui permet d’analyser les histoires, les personnages et la facture même du monde fictionnel. La multiplicité de l’univers, qui admet l’influence réciproque des films et envisage la répétition non plus comme un socle mais comme une dynamique productrice de sens et d’affects. Le désir, enfin, qui accorde une explication à ce complexe de variations qui élaborent une réparation fictionnelle du monde afin d’encourager l’amour inconditionnel de celui-ci.This thesis seeks to elucidate the system of répétitions and variations structuring the work of Yasujirô Ozu (1903-1963). Considered as an archetype of an author-filmmaker, Ozu is well-known for his rigorous form and the obvious repetitiveness of his fictions. However, even though this system has been identified and commented on, it has never been frontally and systematically studied. Therefore, the first concern of this work is to revisit Ozuian theory, to justify our distance from culturalist analyses, to question the hiérarchies around films or their themes, and rehabilitate Ozuian fictions (often considered as negligible elements). The second concern is to offer, based on rigourous formal analyzes and other theoretical fields such as phenomenolohy, literary studies or psychoanalysis, a new model for understanding Ozu’s cinema. This is built around three key concepts. Everyday life, which allows us to analyze stories, characters and the very structure of the fictional world. Multiplicity of the universe, which accepts the reciprocal influence of films and considers repetition no longer as a base but as a dynamic producing meaning and affects. Desire, finally, which provides an explanation for this complex of variations which develop a fictional repair of the world in order to encourage unconditional love of it
Au-delà des répétitions du cinéma tardif de Yasujirô Ozu : variations quotidiennes d'un monde multiple parcouru de désir (1949-1963)
No full textThis thesis seeks to elucidate the system of répétitions and variations structuring the work of Yasujirô Ozu (1903-1963). Considered as an archetype of an author-filmmaker, Ozu is well-known for his rigorous form and the obvious repetitiveness of his fictions. However, even though this system has been identified and commented on, it has never been frontally and systematically studied. Therefore, the first concern of this work is to revisit Ozuian theory, to justify our distance from culturalist analyses, to question the hiérarchies around films or their themes, and rehabilitate Ozuian fictions (often considered as negligible elements). The second concern is to offer, based on rigourous formal analyzes and other theoretical fields such as phenomenolohy, literary studies or psychoanalysis, a new model for understanding Ozu’s cinema. This is built around three key concepts. Everyday life, which allows us to analyze stories, characters and the very structure of the fictional world. Multiplicity of the universe, which accepts the reciprocal influence of films and considers repetition no longer as a base but as a dynamic producing meaning and affects. Desire, finally, which provides an explanation for this complex of variations which develop a fictional repair of the world in order to encourage unconditional love of it.Cette thèse s’attache à élucider le système de répétitions et de variations structurant l’œuvre de Yasujirô Ozu (1903-1963). Archétype d’auteur-cinéaste, Ozu est connu pour sa forme rigoureuse et la répétitivité apparente de ses fictions. Pourtant, tout en ayant été bien identifié et commenté, ce système n’a encore jamais été étudié comme tel, frontalement et systématiquement. Le premier enjeu de ce travail est donc de revisiter la théorie ozuienne, pour justifier la prise de distance avec les analyses culturalistes, remettre en question les hiérarchies autour des films ou de leurs thématiques, et réhabiliter les fictions ozuiennes (souvent considérées comme des éléments négligeables). Le second enjeu est de proposer, à l’aide d’analyses formelles rigoureuses et au renfort d’autres champs théoriques, comme la phénoménologie, les études littéraires ou la psychanalyse, un nouveau modèle pour comprendre le cinéma d’Ozu. Celui-ci se construit autour de trois notions-clés. Le quotidien, qui permet d’analyser les histoires, les personnages et la facture même du monde fictionnel. La multiplicité de l’univers, qui admet l’influence réciproque des films et envisage la répétition non plus comme un socle mais comme une dynamique productrice de sens et d’affects. Le désir, enfin, qui accorde une explication à ce complexe de variations qui élaborent une réparation fictionnelle du monde afin d’encourager l’amour inconditionnel de celui-ci
Saint-Quentin et sa région
No full textThe author insists on the seriousness of the trade depression in Saint-Quentin last years (ten per cent workmen out of work, unemployed period above eleven months.). Metallurgy is the principal industry and «Motobécane» the first firm, making the famous «Mobylette» since 1951. Therefore, the difficulties of «Motobécane», of the engineering industry, have effects on the social situation. The town is, from now on, the starting point of an urban emigration. Old fortress on the right bank, protecting the crossing of the river Somme, Saint-Quentin has been destroyed during the first World War and rebuilt without large transformation. The town keeps an heptagonal shape with cross-roads on the both sides of the valley, canal and railway. The attraction area is, to-day, smaller than the Vermandois, very industrialized and populated region. For the future, Saint-Quentin shall have to expect : the «A-26 » motorway, the négociation of an employment agreement («Contrat de Bassin d'Emploi») and, later, the construction of the large-gauge canal «Seine-Nord» from Compiègne to Valenciennes.L'auteur insiste sur la gravité de la crise de remploi à Saint-Quentin aujourd 'hui (taux de chômage supérieur à 1 0%, durée moyenne de chômage supérieure à 11 mois). L'industrie est dominée par la métallurgie et celle-ci par la firme «MOTOBECANE» qui fabrique depuis 1951 les fameuses «mobylettes». Aussi les difficultés de Motobécane ou de l'industrie de la manutention rejaillissent-elles immédiatement sur la situation sociale. La ville est désormais le point de départ d'un véritable exode urbain. Ancienne place forte gardant, sur la rive droite , le passage de la Somme, presque complètement détruit en 1918, mais reconstruit largement à l'identique, St-Quentin a hérité d'une double structure heptagonale et en «patte d'oie» de part et d'autre de la coupure majeure de la vallée de la Somme (canal et voie ferrée). Son aire d'attraction s'est réduite par rapport à la région qui l'entoure, le Vermandois, relativement peuplé et industrialisé lui-même. Pour l'avenir, St-Quentin doit compter surtout, sur l'arrivée de l'autoroute A 26 et sur les efforts qui s'inscriront dans un «Contrat de Bassin d'Emploi», et, à long terme sur la liaison fluviale à grand gabarit «Seine-Nord» utilisant le tracé du canal de St-Quentin.Oudart Paul. Saint-Quentin et sa région. In: Hommes et Terres du Nord, 1981/2. Spécial Picardie. pp. 43-56
A Hundred Years of Photo Wallets:Quentin Blake Centre for Illustration's Book of the Month
No full textAn interview with Annebella Pollen, author of More Than a Snapshot: A Visual History of Photo Wallets, which was selected as the May 2023 Book of the Month by the Quentin Blake Centre for Illustration
Quentin Meillassoux: Facticity and Scientific Methods
No full textThis paper examines Quentin Meillassoux’s critique of correlationism, specifically focusing on the Principle of Factuality and the mathematization of hyperchaos as tools to access the "ancestral." While acknowledging Meillassoux’s significance in overcoming Kantian limits, the author argues that his refusal to return to metaphysics stems from political hesitation rather than ontological necessity. The text critiques the concept of the "God to come" as an ideological compromise. Instead, the author advocates for an "experimental metaphysics" grounded in scientific method, positing that science offers rational access to the absolute and effectively resolving the tension between facticity and the thing-in-itself
Quentin Meillassoux: Facticity and Scientific Methods
No full textThis paper examines Quentin Meillassoux’s critique of correlationism, specifically focusing on the Principle of Factuality and the mathematization of hyperchaos as tools to access the "ancestral." While acknowledging Meillassoux’s significance in overcoming Kantian limits, the author argues that his refusal to return to metaphysics stems from political hesitation rather than ontological necessity. The text critiques the concept of the "God to come" as an ideological compromise. Instead, the author advocates for an "experimental metaphysics" grounded in scientific method, positing that science offers rational access to the absolute and effectively resolving the tension between facticity and the thing-in-itself
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