Documents found
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65.More information
Anonymes est un recueil hétérogène de nouvelles courtes sur les thèmes de la mélancolie et de l'exclusion. Chaque nouvelle est la dramatisation d'un instant précis de la vie des personnages et ne sont contenues en elles que les actions qui mènent à l'aboutissement de ce moment. Ainsi, chaque texte se veut le captage instantané d'une expérience humaine. La langue employée est un québécois correct : disons un français académique ponctué d'expressions et de tournures locales. Il y a peu de proximité entre les personnages et l'instance narrative, celle-ci se bornant au rôle de témoin silencieux. La distance entre la narration et l'action vise à produire un effet de détachement vis-à-vis du sujet exploré. Ce détachement est nécessaire à l'expérience de l'exclusion. Les lieux explorés sont …
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66.More information
AbstractThis article is a critical and polemic essay which aims, on the one hand, to reformulate the problem of the definition of concepts and, on the other hand, to question the pertinence of certain arguments (hard/soft; "cristal"/"fumée") justifying action research. The author bases his work on the concept of definition as presented by Deleuze and Spinoza and on Lyotard's theory of language games.
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68.More information
In the 2000s, European horror films returned to the genre's classic style and devices, unlike the reflexivity found in the meta-cinematic thrillers produced since the 1980s. The outlines of a neo-horror genre began to take shape, particularly in French cinema, out of a kind of frontality present in films such as Haute Tension (High Tension, Aja), Sheitan (Chapiron), À l'intérieur (Maury and Bustillo), Martyrs (Laugier), Frontière(s) (Gens) and Calvaire (du Welz). An examination of the openly sadistic scripts of these films—variations on the themes of confinement and ill-fated encounters—reveals a discourse on violence unique to this kind of cinema and to the representational peculiarities and formal options found in its editing. The present article enquires into the fascination that these stories of people gone wild can exert, in which the archaic and the atavistic put the films' characters to the test. The article also analyses the recurrence of certain haunting motifs, such as collections of dolls and automatons or rooms full of discarded objects that a strange form of naturalism connects with rural life, the solitude of frontier zones, deserted industrial areas or backward hinterlands.
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