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L'image mentale au cinéma : un regard particulier sur certaines oeuvres de Frederico Fellini

Abstract : The aim of this thesis is, first of all, to work out elements for an overall theory about the film mental image, from main works in the history of the cinema, precisely from some films by Frederico Fellini, and most of all from Otto e mezzo (1963) and Giuletta degli spiriti (1965). The first part deals with the parameters of a specific representation, firstly by studying the elements included in the contents of film mental universes (diegetic and mentalized spatiality, diegetic and mentalized temporality, diegetic and mentalized actoriality), and secondly by tackling the expression strategies (expression purports and writing devices) along with the used filmic figures (fade over, exposure, subjective image). The overall purpose of this first part is therefore to hightlight the multidimensional complexity of the film mental image ; to this end, an approach to the syncretism is exposed. The second part refers to the narratology and tries to settle the status conferred by the cinematographic mental image to every type of observer. By mentionning the filmic instances hierarchy (mega-narrator, implicit and explicit narrators), the study is thus devoted to the links between, on the one hand, the seeing and the beeing seen, and, on the the other hand, the seeing and the seeing oneself ; these links are taken into account in the different narrative levels. Building up the figure of an intermediate instance called third observer, the theorical progression of this thesis is to work out an issue over a subjective approach to the cinematic enunciation
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Jean-François Diana. L'image mentale au cinéma : un regard particulier sur certaines oeuvres de Frederico Fellini. Musique, musicologie et arts de la scène. Université Paul Verlaine - Metz, 1995. Français. ⟨NNT : 1995METZ009L⟩. ⟨tel-01776204⟩



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