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At the intersection of cultural history and the history of cartoon in Québec, this paper analyzes the staging and figurations of celebrity culture as they unfolded under the pencil of Albert Chartier in the periodical Radiomonde between 1940 and 1962. The author shows how cartoons represented the new show business during the 1940s and the 1950s, and how Chartier took advantage of a specific “grammar of humor” in his drawings. In a first part, the paper revisits Chartier's journey through cultural press during the 1940s and 1950s. Then, it examines the stereotypes and figures that the artist uses to satirize celebrity culture in order to explore the underlying values circulating within the cartoons.
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385.More information
{Camera Eye} by Jean-Luc Godard : a filmed political essay. {Camera Eye}, a short film by Jean-Luc Godard about the Vietnam War, is not a common propaganda movie : if it clearly supports the Vietnamese cause, it does not lack to compel the spectator to interrogate himself because it interrogates itself about the act of filming. In fact, Godard, who had not been able to go to Vietnam, asks himself how he has to film and what he has to film, given that his object is so far from him. This distance, however, is perfectly suitable for his particular use of montage, which he sees as a connection between things which are not disposed to be connected, that is to say things which are distant (e.g. the filmmaker Godard Vs the Vietnamese, or Godard Vs the French working-men on strike, or the different oppressed people in the world). Cinema can overcome this distance because it enables us to be invaded by the images of the conflict. Godard invites the spectator to fight from where he is, he confronts him with his political responsability (How is the spectator going to react to the current political events?).
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