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JEAN PAINLEVÉ’S CINEMATIC WILDLIFE, 1924-1946
by
James Leo Cahill
A Dissertation Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(CRITICAL STUDIES)
August 2010
Copyright 2010 James Leo Cahill
Object Description
| Title | Jean Painlevé's cinematic wildlife, 1924-1946 |
| Author | Cahill, James Leo |
| Author email | jcahill@usc.edu; jamesleocahill@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Cinema-Television (Critical Studies) |
| School | School of Cinematic Arts |
| Date defended/completed | 2010-05-28 |
| Date submitted | 2010 |
| Restricted until | Restricted until 17 Jul. 2012. |
| Date published | 2012-07-17 |
| Advisor (committee chair) | Lippit, Akira Mizuta |
| Advisor (committee member) |
Renov, Michael Schwartz, Vanessa |
| Abstract | This dissertation interrogates of the early œuvre of the French biological and wildlife filmmaker Jean Painlevé (1902-1989) and the interwar romance between scientific and aesthetic experiments in film. Painlevé’s filmmaking, critical writing, and institutional and pedagogical activism reveal practices and theoretical understandings of documentary quite different from the canonical “documentary tradition” and its Anglophonic biases. I situate works of the “young Painlevé,” who made 200-plus research, educational, and documentary films on microscopic organisms and underwater creatures, within the contexts of the use of film in laboratory research in physiology, histology, and embryology; debates over visual pedagogy in Third Republic France; and the activities of the numerous filmic avant-gardes and dissident surrealists in Paris. These provide the conditions of possibility for Painlevé’s films, but also serve as objects of his critical regard. Reading Painlevé’s films as deploying a “wild realism,” this study examines the ways in which his films negotiates often surprising, mutually influential conversations between positivist and surrealist projects, articulated by scientific and artistic interests in rendering the invisible visible, whether it be microscopic worlds or the optical unconscious. Through their cultivation of a critical ambivalence, Painlevé’s films model a cinema-specific epistemology and a complex ethos of engagement with concrete and conceptual forms of difference. |
| Keyword | Jean Painlevé; documentary; French film; wildlife; science; surrealism |
| Geographic subject (country) | France |
| Coverage date | 1924/1946 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3195 |
| Rights | Cahill, James Leo |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | http://www.usc.edu/isd/libraries/services/ask_a_librarian/email/ |
| Filename | etd-Cahill-3832 |
| Archival file | uscthesesreloadpub_Volume32/etd-Cahill-3832.pdf |
Description
| Title | Page 1 |
| Full text | JEAN PAINLEVÉ’S CINEMATIC WILDLIFE, 1924-1946 by James Leo Cahill A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (CRITICAL STUDIES) August 2010 Copyright 2010 James Leo Cahill |
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