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Les emprunts a l'horrifique et au pornographique a travers les images du corps dans le cinema français contemporain Open Access


Other title
Type of item
Degree grantor
University of Alberta
Author or creator
Chareyron, Romain
Supervisor and department
Gural-Migdal, Anna (Modern Languages and Cultural Studies)
Examining committee member and department
Cowan, Michael (Department for German Studies, McGill University, Canada)
del Rio, Elena (English and Film Studies)
Defraeye, Piet (Drama)
White, Jerry (English and Film Studies)
Rao, Sathya (Modern Languages and Cultural Studies)
Department of Modern Languages and Cultural Studies

Date accepted
Graduation date
Doctor of Philosophy
Degree level
The purpose of this thesis is to offer a better understanding of some contemporary French films, whose aesthetics result from the borrowing of visual and/or technical elements pertaining to the genres of horror or pornography. To do so, I adopted an inductive approach, based on a semiotic analysis of the film image. My goal is to unearth some patterns that would allow us to have a better comprehension of the image, as filtered through the process of borrowing. Throughout the six films I offer to analyse, I wish to come up with a visual typology of the different forms of borrowing, in order to see how the latter operates, and to comment on the repercussions it has, on the level of the image itself as well as on the audience who has to integrate these images and make sense of them. My analyses are centered around the reexamination of five concepts that are instrumental to the organisation of this thesis ; I will first observe how the process of borrowing calls for a redefinition of the concept of « film genre », where the latter has to be understood, not as the sum of immutable visual and thematical elements, but rather as an ever-changing concept whose meaning always has to be redefined. I will then reevaluate the concept of « hybridity », as the result of the combination of two different film genres (i.e. the genre of horror or pornography and the genre of the film where the hybridization process takes place). This will lead me to analyse the role of the spectator, when confronted to this new type of images. I will demonstrate that the redefinition of the image operated by these films calls for a different kind of spectatorship, whose role is to actively participate in the meaning-making process of these films. I will finally see that the process of borrowing from another film genre, whether it be horror or pornography, is always concerned with the human body. I will show that each one of the films of my corpus revolves around the desire to subvert traditional representations of the body.
Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.
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