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You searched for subject:(Rithy Panh). Showing records 1 – 3 of 3 total matches.

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1. Zenker, Kathrin-Julie. Au bord du jeu. : Esthétiques du réel dans la création documentaire contemporaine : Spielverderber : Ästhetiken des Realen in der zeitgenössischen Dokumentarkunst.

Degree: Docteur es, Arts du spectacle, 2015, Aix Marseille Université

La présente étude analyse d'un côté et sous une perspective philosophique et anthropologique, la relation de l'artiste au réel. De l'autre, elle étudie la place ontologique et esthétique de l'acteur/du performer dans l'art documentaire contemporain. Puisque toute forme de documentation est soutenue par une définition du « réel » ainsi que par le problème de sa juste « saisie », il semble indispensable d’interroger la notion de « perception » et ceci sous ses aspects ethnographiques ainsi que physiologiques. Le positionnement contemporain qui se dessine apparaît donc comme « constructiviste », à savoir que ce que nous appelons le réel y est le fruit d’une relation dialogique et égalitaire entre l’homme et les objets du monde. Cette relation s’est libérée du concept cartésien des res cogitans et res extensa qui s’opposent de façon hiérarchique. Pour l’art documentaire contemporain, ce premier constat comporte deux conséquences : d’un côté, nous observons que la rencontre de l’artiste avec le réel est tâtonnant et emprunt de doutes et que ses esthétiques relèvent du fragmentaire et de l’hétérogène. De l’autre, l’art documentaire contemporain se voit obligé d’interroger la notion du « jeu » avec les documents, notamment les limites – esthétiques comme éthiques - de la fictionnalisation. Le constat de la fonction épistémologique prépondérante du jeu au sein de l’art documentaire contemporain, représente le cœur de la présente thèse.

The aim of the present thesis is on one hand, to explore the relationship between artists and reality from a philosophical and anthropological perspective and on the other hand, to describe the ontological and aesthetical position of the actor/performer in contemporary documentary art, particularly in theatre. Since any form of documentation of reality requires a definition of the real and the ways to deal with it, or to capture it, a definition of “perception” is essential, from a philosophical, ethnographical and physiological perspective. The contemporary point of view in this respect can be described as absolutely constructivist. Reality stands out as the product of a balanced communication between subject and object. Observer and observed reality are not in opposition to each other, in a hierarchical and dichotomous way as Descartes formulated it in his rationalist concept of res cogitans and res extensa, but they rather interact into a dialogue. For the contemporary documentary art this definition of reality offers two sides: on one hand, in an attitude that meets reality rather carefully and doubtfully, it results in an opened, fragmented and heterogeneous form of art. On the other hand, documentary art deals with the ethical and aesthetical problem of playing (with) the documentation. Each and every documentary artist shall constantly assess, whether and to what extend art is allowed to play with reality. However, the statement that playing with reality fulfills a unique, both epistemological and anthropological function, is definitely the subject of the present study.

Die…

Advisors/Committee Members: Lioult, Jean-Luc (thesis director).

Subjects/Keywords: Art documentaire; Théâtre contemporain; Réel; Perception; Jeu; Performance; Fiction; Erwin Piscator; Arthur Nauzyciel; Rimini Protokoll; Rithy Panh; Documentary art; Contemporary theatre; Reality; Percepton; Play; Performance; Fiction; Erwin piscator; Arthur Nauzyciel; Rimini Protokoll; Rithy Panh

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Zenker, K. (2015). Au bord du jeu. : Esthétiques du réel dans la création documentaire contemporaine : Spielverderber : Ästhetiken des Realen in der zeitgenössischen Dokumentarkunst. (Doctoral Dissertation). Aix Marseille Université. Retrieved from http://www.theses.fr/2015AIXM3012

Chicago Manual of Style (16th Edition):

Zenker, Kathrin-Julie. “Au bord du jeu. : Esthétiques du réel dans la création documentaire contemporaine : Spielverderber : Ästhetiken des Realen in der zeitgenössischen Dokumentarkunst.” 2015. Doctoral Dissertation, Aix Marseille Université. Accessed March 07, 2021. http://www.theses.fr/2015AIXM3012.

MLA Handbook (7th Edition):

Zenker, Kathrin-Julie. “Au bord du jeu. : Esthétiques du réel dans la création documentaire contemporaine : Spielverderber : Ästhetiken des Realen in der zeitgenössischen Dokumentarkunst.” 2015. Web. 07 Mar 2021.

Vancouver:

Zenker K. Au bord du jeu. : Esthétiques du réel dans la création documentaire contemporaine : Spielverderber : Ästhetiken des Realen in der zeitgenössischen Dokumentarkunst. [Internet] [Doctoral dissertation]. Aix Marseille Université 2015. [cited 2021 Mar 07]. Available from: http://www.theses.fr/2015AIXM3012.

Council of Science Editors:

Zenker K. Au bord du jeu. : Esthétiques du réel dans la création documentaire contemporaine : Spielverderber : Ästhetiken des Realen in der zeitgenössischen Dokumentarkunst. [Doctoral Dissertation]. Aix Marseille Université 2015. Available from: http://www.theses.fr/2015AIXM3012


Université de Montréal

2. Szechter, Lucie. Se lier, se délier : deux films documentaires face au pardon.

Degree: 2011, Université de Montréal

Subjects/Keywords: Cinéma documentaire; Pardon; Documentary film; Imputabilité; Résistance; Vivre ensemble; Rithy Panh; Avi Mograbi; Z32; S21; Forgiveness; Modus vivendi; Bourreau; Executioner; Communications and the Arts - Cinema / Communications et les arts - Cinéma (UMI : 0900)

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Szechter, L. (2011). Se lier, se délier : deux films documentaires face au pardon. (Thesis). Université de Montréal. Retrieved from http://hdl.handle.net/1866/5515

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Szechter, Lucie. “Se lier, se délier : deux films documentaires face au pardon.” 2011. Thesis, Université de Montréal. Accessed March 07, 2021. http://hdl.handle.net/1866/5515.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Szechter, Lucie. “Se lier, se délier : deux films documentaires face au pardon.” 2011. Web. 07 Mar 2021.

Vancouver:

Szechter L. Se lier, se délier : deux films documentaires face au pardon. [Internet] [Thesis]. Université de Montréal; 2011. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/1866/5515.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Szechter L. Se lier, se délier : deux films documentaires face au pardon. [Thesis]. Université de Montréal; 2011. Available from: http://hdl.handle.net/1866/5515

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation


University of Stirling

3. Mai, Nadin. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.

Degree: PhD, 2015, University of Stirling

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.

Subjects/Keywords: film; Slow Cinema; cinema; Lav Diaz; Philippines; history; memory; trauma; PTSD; concentrationary; terror; extrajudicial killings; torture; rape; post-trauma; Death in the Land of Encantos; Melancholia; Florentina Hubaldo CTE; Trauma Cinema; Janet Walker; Roger Luckhurst; Susannah Radstone; aesthetics; duration; absence; latency period; instantaneity; flashbacks; anxiety; Cathy Caruth; Raya Morag; failed witnessing; Trauma Studies; Philippine Cinema; trauma therapy; sound; silence; framing; ghosts; haunting; Béla Tarr; Tsai Ming-liang; Apichatpong Weerasethakul; Ari Folman; Rithy Panh; Waltz with Bashir; time; long-take; colonialism; oppression; psyche; poverty; Martial Law; l’univers concentrationnaire; hamlets; speed; off-screen space; temporality; power; psychological warfare; mental paralysis; the disappeared; chronic trauma; backstory wounds; repetition; circularity; post-traumatic cinema; death; depletion; ethics; atrocity; painting; landscape painting; Rückenfigur; Chinese painting; accousmêtre; accousmatic; mourning; grief; Slow cinema; Diaz, Lav, 1958- Filmmaker; Motion picture producers and directors Philippines

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Mai, N. (2015). The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. (Doctoral Dissertation). University of Stirling. Retrieved from http://hdl.handle.net/1893/22990

Chicago Manual of Style (16th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Doctoral Dissertation, University of Stirling. Accessed March 07, 2021. http://hdl.handle.net/1893/22990.

MLA Handbook (7th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Web. 07 Mar 2021.

Vancouver:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Internet] [Doctoral dissertation]. University of Stirling; 2015. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/1893/22990.

Council of Science Editors:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Doctoral Dissertation]. University of Stirling; 2015. Available from: http://hdl.handle.net/1893/22990

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