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From Paintings to Pornography : = (Re)Animating Archives in French Documentary.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	From Paintings to Pornography :/
其他題名:	(Re)Animating Archives in French Documentary.
作者:	Devine, Jonathan Michael.
面頁冊數:	1 online resource (231 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-04, Section: A.
Contained By:	Dissertations Abstracts International84-04A.
標題:	Cameras. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29402197click for full text (PQDT)
ISBN:	9798352644720

From Paintings to Pornography : = (Re)Animating Archives in French Documentary.
Devine, Jonathan Michael.

From Paintings to Pornography :(Re)Animating Archives in French Documentary. - 1 online resource (231 pages)

Source: Dissertations Abstracts International, Volume: 84-04, Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2021.

Includes bibliographical references

Focusing on contemporary French documentaries and essay films, this dissertation analyzes how citations, intermediality, and the re-use of pre-existing footage interrogate what archives are, and what they mean. Specifically, I look at this question through the lens of "animation," which I define in two ways. First, by "technical animation," I mean the motion of cinematic frames. Second, "metaphorical animation" refers to movement, but in the sense of feelings, affect, and a personal response to an image. The archives referenced in the title range from actual, tangible archives such as France's national library, to a completely nonexistent archive, such as the use of trickery and fakery to imitate real archival spaces and footage. Chapter 1 considers Alain Resnais, specifically Toute la memoire du monde (1956) (on the Bibliotheque nationale) and Guernica (1950) (where Resnais cuts segments of Pablo Picasso's painting to create a new whole). Chapter 2 discusses Agnes Varda. In documentary Varda par Agnes (2019), her final film, Varda reframes and rewrites footage from a number of her previous films (as well as museum installations), her first-person voice and fluid camerawork creating nuance and contradiction. Chapter 3 uses queer theory to examine two documentaries. Sagat (Pascal Roche and Jerome M. De Oliveira, 2011) considers French gay porn star Francois Sagat, where the "success" of his performance hinges upon an animated audience response - that is, to be sexually satisfied. I then turn to Bambi (Sebastien Lifshitz, 2013) on trans* performer Marie-Pierre Pruvot, wherein her highly personalized voiceover is coupled with still photographs from her own archive. Chapter 4 deals with La Rage du Demon (Fabien Delage, 2016), a mockumentary that purports to fill in the gaps about the lost films of Georges Melies - and a supposedly "cursed" one in particular - these missing films are intangible and metaphorical, and ultimately non-existent. I finish this dissertation by considering the ramifications of technical and metaphorical animation in the many disparate documentary forms that are available globally on streaming platforms such as Netflix.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798352644720Subjects--Topical Terms:

524039
Cameras.
Index Terms--Genre/Form:

542853
Electronic books.

From Paintings to Pornography : = (Re)Animating Archives in French Documentary.
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502 $a Thesis (Ph.D.)--University of Pittsburgh, 2021.
504 $a Includes bibliographical references
520 $a Focusing on contemporary French documentaries and essay films, this dissertation analyzes how citations, intermediality, and the re-use of pre-existing footage interrogate what archives are, and what they mean. Specifically, I look at this question through the lens of "animation," which I define in two ways. First, by "technical animation," I mean the motion of cinematic frames. Second, "metaphorical animation" refers to movement, but in the sense of feelings, affect, and a personal response to an image. The archives referenced in the title range from actual, tangible archives such as France's national library, to a completely nonexistent archive, such as the use of trickery and fakery to imitate real archival spaces and footage. Chapter 1 considers Alain Resnais, specifically Toute la memoire du monde (1956) (on the Bibliotheque nationale) and Guernica (1950) (where Resnais cuts segments of Pablo Picasso's painting to create a new whole). Chapter 2 discusses Agnes Varda. In documentary Varda par Agnes (2019), her final film, Varda reframes and rewrites footage from a number of her previous films (as well as museum installations), her first-person voice and fluid camerawork creating nuance and contradiction. Chapter 3 uses queer theory to examine two documentaries. Sagat (Pascal Roche and Jerome M. De Oliveira, 2011) considers French gay porn star Francois Sagat, where the "success" of his performance hinges upon an animated audience response - that is, to be sexually satisfied. I then turn to Bambi (Sebastien Lifshitz, 2013) on trans* performer Marie-Pierre Pruvot, wherein her highly personalized voiceover is coupled with still photographs from her own archive. Chapter 4 deals with La Rage du Demon (Fabien Delage, 2016), a mockumentary that purports to fill in the gaps about the lost films of Georges Melies - and a supposedly "cursed" one in particular - these missing films are intangible and metaphorical, and ultimately non-existent. I finish this dissertation by considering the ramifications of technical and metaphorical animation in the many disparate documentary forms that are available globally on streaming platforms such as Netflix.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
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650 4 $a Genre. $3 2191767
650 4 $a Social criticism & satire. $3 3560841
650 4 $a Documentary films. $3 540573
650 4 $a European studies. $3 3168420
650 4 $a Film studies. $3 2122736
650 4 $a Holocaust studies. $3 3174188
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