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This research focuses on the ideological construction of popular culture in Brazil in comedy films, musical or not, and cinema novo over the 1950-1975 period. It analyzes how these comedies (called chanchadas), which were influenced by the ideal of a varied but unique nation established by Getúlio Vargas represented the popular culture as an ideology of the subordinate classes. Using the concept of carnivalization, these popular films, influenced by radio, revue theater and circus, put the world upside down trying to correct social injustices suffered by the poor. Often criticized and considered as superficial and alienated, they were much more crítical than they were said to be at the time. Assuming that cinema novo is the corollary of the discussion on the identity quest for the Brazilian cinema that took place during the 1950s, a period heavily influenced by the Brazilian Communist Party, the research analyzes the three phases of the mo! vement. During the first one, popular culture was built as the people's opium and filmmakers used their own world as a model of representation for popular culture. The films, which were very self-reflexive, sought to arouse the crítical consciousness of the poor and help them pull out of alienation. During the second phase, which occurred after the military coup of 1964, filmmakers were immersed in the past in order to understand the mistakes of the left and the reasons for its defeat. During the third phase of the movement, led by a liberal government that perceived cinema as a commodity that should be sold to the market, filmmakers changed their way forward and made films directed to the general public. As such, the films of this phase, characterized by simpler forms, engaged in dialogue with the chanchadas to finally reach the people, while never giving up auteur cinema ; Ce travail porte sur la construction idéologique de la culture populaire dans les comédies brésiliennes, musicales ou pas, et dans le cinéma novo de la période 1950-1975.Il analyse la façon dont ces ...

This research focuses on the ideological construction of popular culture in Brazil in comedy films, musical or not, and cinema novo over the 1950-1975 period. It analyzes how these comedies (called chanchadas), which were influenced by the ideal of a varied but unique nation established by Getúlio Vargas represented the popular culture as an ideology of the subordinate classes. Using the concept of carnivalization, these popular films, influenced by radio, revue theater and circus, put the world upside down trying to correct social injustices suffered by the poor. Often criticized and considered as superficial and alienated, they were much more crítical than they were said to be at the time. Assuming that cinema novo is the corollary of the discussion on the identity quest for the Brazilian cinema that took place during the 1950s, a period heavily influenced by the Brazilian Communist Party, the research analyzes the three phases of the mo! vement. During the first one, popular culture was built as the people's opium and filmmakers used their own world as a model of representation for popular culture. The films, which were very self-reflexive, sought to arouse the crítical consciousness of the poor and help them pull out of alienation. During the second phase, which occurred after the military coup of 1964, filmmakers were immersed in the past in order to understand the mistakes of the left and the reasons for its defeat. During the third phase of the movement, led by a liberal government that perceived cinema as a commodity that should be sold to the market, filmmakers changed their way forward and made films directed to the general public. As such, the films of this phase, characterized by simpler forms, engaged in dialogue with the chanchadas to finally reach the people, while never giving up auteur cinema ; Ce travail porte sur la construction idéologique de la culture populaire dans les comédies brésiliennes, musicales ou pas, et dans le cinéma novo de la période 1950-1975.Il analyse la façon dont ces ...

This research focuses on the ideological construction of popular culture in Brazil in comedy films, musical or not, and cinema novo over the 1950-1975 period. It analyzes how these comedies (called chanchadas), which were influenced by the ideal of a varied but unique nation established by Getúlio Vargas represented the popular culture as an ideology of the subordinate classes. Using the concept of carnivalization, these popular films, influenced by radio, revue theater and circus, put the world upside down trying to correct social injustices suffered by the poor. Often criticized and considered as superficial and alienated, they were much more crítical than they were said to be at the time. Assuming that cinema novo is the corollary of the discussion on the identity quest for the Brazilian cinema that took place during the 1950s, a period heavily influenced by the Brazilian Communist Party, the research analyzes the three phases of the mo! vement. During the first one, popular culture was built as the people's opium and filmmakers used their own world as a model of representation for popular culture. The films, which were very self-reflexive, sought to arouse the crítical consciousness of the poor and help them pull out of alienation. During the second phase, which occurred after the military coup of 1964, filmmakers were immersed in the past in order to understand the mistakes of the left and the reasons for its defeat. During the third phase of the movement, led by a liberal government that perceived cinema as a commodity that should be sold to the market, filmmakers changed their way forward and made films directed to the general public. As such, the films of this phase, characterized by simpler forms, engaged in dialogue with the chanchadas to finally reach the people, while never giving up auteur cinema ; Ce travail porte sur la construction idéologique de la culture populaire dans les comédies brésiliennes, musicales ou pas, et dans le cinéma novo de la période 1950-1975.Il analyse la façon dont ces ...

ABSTRACT - The Sertão constitutes a «symbolic context» in Brazilian culture. It appears through multiple forms in all arts and has known unending transformations. And everything seems to indicate that it still lives in all sorts of imaginative representations.

Jean Epstein places backwards time in the heart of the revolution of film. The cinema is the only experience that delivers time as a perception to us, and backwards time too. The purpose is to follow and continue Epstein's thought ; we elaborate a redefinition of the proper time of cinema intimately linked to the concept of backwards time in its various meanings : i.e. from the film backwards time to the narrative retrotemporality towards the thought time. We help us with famous classical texts, films and experimental video analysis, music, litterary examples. The theorical anchorage points are : the backwards time myth in Plato's Politic, Vladimir Jankélévitch's conception of irreversible time, Jean-Louis Schefer's theorical-poetical works, GillesDeleuze Aiôn's notion, and Jacques Lacan's psychoanalytical studies. We first consider the cinema as a counter-time that can not be detached from philosophical, aesthetical, moral, and political reversal. Examining Plato's theory we then explore the different forms of retrieving the Past, from the narrative retrotemporality to the time travels. Then we analyse the without causes pictures with the comical, onirical aberrations, the contrary times unity, the temporal inversion which spatialises. At last, the cinema's backwards time not only shows us that thinking is regressing in time, but concerns the hard mystery of an inverse thought. The reversibility of the intellectual act is the ultimate threshold where the ideas appear, without a wrong or a right side. ; Jean Epstein place l'inversion temporelle au cœur de la révolution cinématographique. Le cinéma est la seule expérience qui nous donne non seulement le temps mais aussi l'inversion temporelle comme une perception. Il s'agit de reprendre et de continuer la pensée de Epstein par une redéfinition du temps propre au cinéma à partir de la notion d'inversion temporelle conçue de la façon la plus transversale : de l'inversion pelliculaire à la rétrotemporalité narrative, au temps de la pensée. On convoque la relecture ...

Jean Epstein places backwards time in the heart of the revolution of film. The cinema is the only experience that delivers time as a perception to us, and backwards time too. The purpose is to follow and continue Epstein's thought ; we elaborate a redefinition of the proper time of cinema intimately linked to the concept of backwards time in its various meanings : i.e. from the film backwards time to the narrative retrotemporality towards the thought time. We help us with famous classical texts, films and experimental video analysis, music, litterary examples. The theorical anchorage points are : the backwards time myth in Plato's Politic, Vladimir Jankélévitch's conception of irreversible time, Jean-Louis Schefer's theorical-poetical works, GillesDeleuze Aiôn's notion, and Jacques Lacan's psychoanalytical studies. We first consider the cinema as a counter-time that can not be detached from philosophical, aesthetical, moral, and political reversal. Examining Plato's theory we then explore the different forms of retrieving the Past, from the narrative retrotemporality to the time travels. Then we analyse the without causes pictures with the comical, onirical aberrations, the contrary times unity, the temporal inversion which spatialises. At last, the cinema's backwards time not only shows us that thinking is regressing in time, but concerns the hard mystery of an inverse thought. The reversibility of the intellectual act is the ultimate threshold where the ideas appear, without a wrong or a right side. ; Jean Epstein place l'inversion temporelle au cœur de la révolution cinématographique. Le cinéma est la seule expérience qui nous donne non seulement le temps mais aussi l'inversion temporelle comme une perception. Il s'agit de reprendre et de continuer la pensée de Epstein par une redéfinition du temps propre au cinéma à partir de la notion d'inversion temporelle conçue de la façon la plus transversale : de l'inversion pelliculaire à la rétrotemporalité narrative, au temps de la pensée. On convoque la relecture ...

Jean Epstein places backwards time in the heart of the revolution of film. The cinema is the only experience that delivers time as a perception to us, and backwards time too. The purpose is to follow and continue Epstein's thought ; we elaborate a redefinition of the proper time of cinema intimately linked to the concept of backwards time in its various meanings : i.e. from the film backwards time to the narrative retrotemporality towards the thought time. We help us with famous classical texts, films and experimental video analysis, music, litterary examples. The theorical anchorage points are : the backwards time myth in Plato's Politic, Vladimir Jankélévitch's conception of irreversible time, Jean-Louis Schefer's theorical-poetical works, GillesDeleuze Aiôn's notion, and Jacques Lacan's psychoanalytical studies. We first consider the cinema as a counter-time that can not be detached from philosophical, aesthetical, moral, and political reversal. Examining Plato's theory we then explore the different forms of retrieving the Past, from the narrative retrotemporality to the time travels. Then we analyse the without causes pictures with the comical, onirical aberrations, the contrary times unity, the temporal inversion which spatialises. At last, the cinema's backwards time not only shows us that thinking is regressing in time, but concerns the hard mystery of an inverse thought. The reversibility of the intellectual act is the ultimate threshold where the ideas appear, without a wrong or a right side. ; Jean Epstein place l'inversion temporelle au cœur de la révolution cinématographique. Le cinéma est la seule expérience qui nous donne non seulement le temps mais aussi l'inversion temporelle comme une perception. Il s'agit de reprendre et de continuer la pensée de Epstein par une redéfinition du temps propre au cinéma à partir de la notion d'inversion temporelle conçue de la façon la plus transversale : de l'inversion pelliculaire à la rétrotemporalité narrative, au temps de la pensée. On convoque la relecture ...

Taiwan's cinema is very much a reflection of the island's identity, & was for a long time closely linked to the ruling power. Its golden age was the "new wave" of the 1970s, when filmmakers played a role in reviving people's memories, far from the clich6s of official history. Films from this era won awards at major festivals, as well as plaudits from across the globe. Today, young filmmakers want to see renewal, but their efforts at breaking the mold of auteur cinema have yet to bear fruit. The muted response in both Taiwan & China to Ang Lee's latest film, Lust, Caution, which nonetheless won the Golden Lion at the Mostra Venice film festival, is symptomatic of the malaise. It is through other genres -- comedies & documentaries -- that Taiwanese cinema is showing signs of renewal. This is a type of cinema that addresses a generation in thrall to freedom & individualism, capable of shaking the moral values of their elders. Adapted from the source document.

This article proposes to explore the relations between two "language games" (Wittgenstein): philosophy & cinema. The contemporary American philosopher Stanley Cavell has begun an analysis of passages from a tradition of political thought in the US: the democratic perfectionism embodied by Ralph Waldo Emerson (1803), an explorer of self-reliance; & Henry David Thoreau (1817-1862), a theoretician & practitioner of "civil disobedience." The article carries this theme to the cinema by looking at two recent Hollywood films: director Ed Harris's Appaloosa (2008) & director McG's Terminator Salvation (2009). Adapted from the source document.

International audience ; Behind the camera, inequalities between women and men are significant. When she was asked why she had chosen a « man's job », Alice Guy explained how difficult it was for her to be accepted as a director, a creator and a producer. The superiority of man is an informal hierarchy which spread and created formal hierarchies leading to the exclusion of women from jobs and politics, and in the end, the impossibility for women to find their place in a society dominated by men.Stereotyped images of women may be the product of a society willing to convey these hierarchies on screens. But fictions may also sometimes reverse these patterns. In movies, women can be deputies, and men take care of children, as shown in Les Femmes députées (1913). Could such fictions have an impact and bring change in society ?This article shows how french cinema in the years between 1895 and 1929 played a part to try and change theses hierarchies between men and women while it also maintained major inequalities in its own business structure. ; Derrière la caméra, les inégalités entre les femmes et les hommes sont fortes. Alice Guy, à qui l'on a souvent demandé pourquoi elle avait choisi « une carrière si peu féminine », décrit dans son autobiographie les difficultés qu'elle a rencontrées pour s'imposer comme réalisatrice, metteure en scène, directrice de production. La supériorité de l'homme sur la femme est une hiérarchie informelle qui s'insinue partout et fabrique des discriminations normées comme les interdictions aux femmes d'exercer certains métiers, de voter, et finalement d'occuper une place à part entière au sein de la société, qui soit libérée de la domination masculine. Les images stéréoptypées des femmes ne seraient-elles pas induites par la société elle-même, soucieuse de retrouver à l'écran ses caractéristiques et ses traditions ? L'inversion des rôles par la fiction, capable de rendre les femmes députées, et de confier aux hommes la garde des enfants (Les Femmes députées, 1913), peut-elle encourager ...

International audience Behind the camera, inequalities between women and men are significant. When she was asked why she had chosen a « man's job », Alice Guy explained how difficult it was for her to be accepted as a director, a creator and a producer. The superiority of man is an informal hierarchy which spread and created formal hierarchies leading to the exclusion of women from jobs and politics, and in the end, the impossibility for women to find their place in a society dominated by men.Stereotyped images of women may be the product of a society willing to convey these hierarchies on screens. But fictions may also sometimes reverse these patterns. In movies, women can be deputies, and men take care of children, as shown in Les Femmes députées (1913). Could such fictions have an impact and bring change in society ?This article shows how french cinema in the years between 1895 and 1929 played a part to try and change theses hierarchies between men and women while it also maintained major inequalities in its own business structure. ; Derrière la caméra, les inégalités entre les femmes et les hommes sont fortes. Alice Guy, à qui l'on a souvent demandé pourquoi elle avait choisi « une carrière si peu féminine », décrit dans son autobiographie les difficultés qu'elle a rencontrées pour s'imposer comme réalisatrice, metteure en scène, directrice de production. La supériorité de l'homme sur la femme est une hiérarchie informelle qui s'insinue partout et fabrique des discriminations normées comme les interdictions aux femmes d'exercer certains métiers, de voter, et finalement d'occuper une place à part entière au sein de la société, qui soit libérée de la domination masculine. Les images stéréoptypées des femmes ne seraient-elles pas induites par la société elle-même, soucieuse de retrouver à l'écran ses caractéristiques et ses traditions ? L'inversion des rôles par la fiction, capable de rendre les femmes députées, et de confier aux hommes la garde des enfants (Les Femmes députées, 1913), peut-elle encourager des ...

International audience ; Behind the camera, inequalities between women and men are significant. When she was asked why she had chosen a « man's job », Alice Guy explained how difficult it was for her to be accepted as a director, a creator and a producer. The superiority of man is an informal hierarchy which spread and created formal hierarchies leading to the exclusion of women from jobs and politics, and in the end, the impossibility for women to find their place in a society dominated by men.Stereotyped images of women may be the product of a society willing to convey these hierarchies on screens. But fictions may also sometimes reverse these patterns. In movies, women can be deputies, and men take care of children, as shown in Les Femmes députées (1913). Could such fictions have an impact and bring change in society ?This article shows how french cinema in the years between 1895 and 1929 played a part to try and change theses hierarchies between men and women while it also maintained major inequalities in its own business structure. ; Derrière la caméra, les inégalités entre les femmes et les hommes sont fortes. Alice Guy, à qui l'on a souvent demandé pourquoi elle avait choisi « une carrière si peu féminine », décrit dans son autobiographie les difficultés qu'elle a rencontrées pour s'imposer comme réalisatrice, metteure en scène, directrice de production. La supériorité de l'homme sur la femme est une hiérarchie informelle qui s'insinue partout et fabrique des discriminations normées comme les interdictions aux femmes d'exercer certains métiers, de voter, et finalement d'occuper une place à part entière au sein de la société, qui soit libérée de la domination masculine. Les images stéréoptypées des femmes ne seraient-elles pas induites par la société elle-même, soucieuse de retrouver à l'écran ses caractéristiques et ses traditions ? L'inversion des rôles par la fiction, capable de rendre les femmes députées, et de confier aux hommes la garde des enfants (Les Femmes députées, 1913), peut-elle encourager des changements sociaux ?Cet article tente de voir comment le cinéma français des années 1895-1929 peut renverser les hiérarchies de genre informelles, tout en étant le symbole même, de par son industrie, d'une hiérarchisation très codifiée des genres en défaveur des femmes.

International audience ; Behind the camera, inequalities between women and men are significant. When she was asked why she had chosen a « man's job », Alice Guy explained how difficult it was for her to be accepted as a director, a creator and a producer. The superiority of man is an informal hierarchy which spread and created formal hierarchies leading to the exclusion of women from jobs and politics, and in the end, the impossibility for women to find their place in a society dominated by men.Stereotyped images of women may be the product of a society willing to convey these hierarchies on screens. But fictions may also sometimes reverse these patterns. In movies, women can be deputies, and men take care of children, as shown in Les Femmes députées (1913). Could such fictions have an impact and bring change in society ?This article shows how french cinema in the years between 1895 and 1929 played a part to try and change theses hierarchies between men and women while it also maintained major inequalities in its own business structure. ; Derrière la caméra, les inégalités entre les femmes et les hommes sont fortes. Alice Guy, à qui l'on a souvent demandé pourquoi elle avait choisi « une carrière si peu féminine », décrit dans son autobiographie les difficultés qu'elle a rencontrées pour s'imposer comme réalisatrice, metteure en scène, directrice de production. La supériorité de l'homme sur la femme est une hiérarchie informelle qui s'insinue partout et fabrique des discriminations normées comme les interdictions aux femmes d'exercer certains métiers, de voter, et finalement d'occuper une place à part entière au sein de la société, qui soit libérée de la domination masculine. Les images stéréoptypées des femmes ne seraient-elles pas induites par la société elle-même, soucieuse de retrouver à l'écran ses caractéristiques et ses traditions ? L'inversion des rôles par la fiction, capable de rendre les femmes députées, et de confier aux hommes la garde des enfants (Les Femmes députées, 1913), peut-elle encourager des changements sociaux ?Cet article tente de voir comment le cinéma français des années 1895-1929 peut renverser les hiérarchies de genre informelles, tout en étant le symbole même, de par son industrie, d'une hiérarchisation très codifiée des genres en défaveur des femmes.

Based on a field survey dealing with the "social cinema" category in France in the years 1990-2000 and by mobilizing some cases of films featuring mobilizations, this article proposes to study under what conditions and how films can be a material for researchers in social sciences. Like other more traditional materials and despite the proximity of view between the artistic and the scientific fields, films (whether documentary or fiction films) are not providing direct access to the "real". In order to constitute them in sources, the researcher has to combine internal and external analysis, to link their conditions of production and of reception. Beyond this methodological proposal, cinema taken as an object (and not only as a source) can be the place of mobilizations and can open an heuristic field of researches to work on collective action and to study activists' know-how in a new perspective. Indeed "social films" from production to reception are the subject of multiple appropriations which can correspond to a process of politicization. Adapted from the source document.