39 research outputs found
Du devoir Ă la transgression
Dans les annĂ©es 1970, alors que de Gaulle est mort et que sâeffondre le mythe dâune France unanimement rĂ©sistante, la « mode rĂ©tro » rĂ©pand dans les productions de la culture populaire le dĂ©sir de revisiter la pĂ©riode de lâOccupation et dâen rĂ©crire lâhistoire. Ă travers trois exemples reprĂ©sentatifs des doutes dâune Ă©poque et des transgressions dont elle est le cadre â le dernier grand film rĂ©sistancialiste quâest LâArmĂ©e des ombres, la fresque du Chagrin et la PitiĂ©, enfin Lacombe Lucien et la vive discussion critique qui lâentoura â, on Ă©tudie un enjeu fondamental dans les rapports entre cinĂ©ma, morale et histoire, Ă savoir le droit du cinĂ©ma Ă sâemparer dâune Ă©poque rĂ©cente et sensible, dans un geste de libertĂ© artistique qui peut ĂȘtre perçu comme un outrage au passĂ©
Quantification and characterization of Salmonella spp. isolates in sewage sludge with potential usage in agriculture
Abstract\ud
\ud
Background\ud
This study aims to scrutinize Salmonella spp. and its serotypes in sewage sludge samples from wastewater treatment plants, and assesses the presence of virulence genes and antibiotics resistant to the profile. Samples (nâ=â54) were collected and analyzed in accordance with the EPA Method 1682/2006. For positive serological reaction, 40 strains were selected for PCR analyses and detection of spvC, invA and sseL virulence genes, plasmid presence and resistance to antibiotics.\ud
\ud
\ud
Results\ud
\ud
Salmonella spp. was detected in 38.9% of the samples collected (<0.006473 to 12.19 MPN/gTS). The most prevalent serotype was Salmonella Infantis. All Salmonella spp. (nâ=â35) presented at least one of the three virulence genes mentioned above and 40% harboured plasmids. Salmonella Typhimurium strains were isolated harbouring at least one of the following virulence genes: spvC, invA or sseL. Four Salmonella spp. isolates were resistant to tetracycline; three were resistant to trimethoprim-sulfamethoxazole, and one isolate was resistant to ciprofloxacin. Two Salmonella spp. strains presented multi resistance to antimicrobial agents.\ud
\ud
\ud
Conclusions\ud
The results obtained demonstrated that Salmonella spp. have been found in sewage sludge, thus it is essential to set measures to mitigate human health risks when it is intended to be applied on agricultural soils.We would like to give thanks to the Coordination of Improvement of Higher\ud
Educationâ CAPESâ for providing us with scholarships and also to Fundação\ud
de Amparo Ă Pesquisa do Estado de SĂŁo Pauloâ FAPESPâ for its financial\ud
support (2010/05664-6)
Postface : Perspectives du classicisme
Dans un ouvrage qui contient â mĂȘme si ce nâest pas lâessentiel de son propos â lâune des plus rĂ©centes prises de position sur la notion de classicisme hollywoodien, Jacques Aumont se demande sâil est vraiment possible de parler de classicisme « à propos dâune pratique essentiellement fondĂ©e en modernitĂ©, accompagnement constant de la vie moderne ». Si le cinĂ©ma est ici, sans doute, tenu pour « le plus moderne des arts modernes », le doute quâexprime lâauteur sur le classicisme dâHollywood ne..
"Michael Chekhov actor in Hollywood"
International audienceMichael Chekhov never held the film industry in high esteem, and his method seemed, in the whole, rather incompatible with Hollywood acting practices. However, during his 12-year stay in California, his coaching was a great help to some major film stars, and he did himself have opportunities to play character parts or bit parts in ten feature films. With the exception of Spellbound (A. Hitchcock, 1945), these films were mostly B studio productions, and were not widely distributed either in Chekhovâs time or afterwards. Yet they are a priceless archive, since they allow us not only to see and hear Chekhov on screen but to see and hear him in the only roles he ever played in English, far from his ever unsuccesful attempt to play King Lear. Chekhovâs Hollywood years are not, of course, an unexplored field : Lisa Bycklingâs seminal work, based on Chekhovâs correspondence with his friend, the set designer Mstislav Doboujinski, provide the most complete account of this part of his life. However, until the Paris Chekhov conference, there has not been any academic attempt to consider Chekhovâs filmography as a whole and analyse his acting work in detail in a film studies perspective. In this paper, I will try and fill this gap. As I will argue, Chekhovâs work in Hollywood, although a lesser-known part of his career, does give us access to a better understanding of his talent, personality and theories
"Lubitsch et Shakespeare : ĂȘtre ou ne pas ĂȘtre Ă Varsovie"
International audienceLa rĂ©fĂ©rence shakespearienne est, dans le cinĂ©ma dâErnst Lubitsch, un lien familier et affectueux avec la haute culture europĂ©enne, et un Ă©lĂ©ment sĂ©mantique fondamental. Dans TO BE OR NOT TO BE, la rĂ©fĂ©rence Ă HAMLET, Ă©clairĂ©e par la proximitĂ© du MARCHAND DE VENISE, ne rĂ©sonne pas seulement comme une mĂ©ditation sur la vie et la mort, mais comme une question identitaire au sens large du terme. « To be or not to be » signifie, pour tous les AmĂ©ricains, ĂȘtre ou ne pas ĂȘtre bouleversĂ© par la situation europĂ©enne et par les risques que les totalitarismes font courir au monde; pour les juifs amĂ©ricains, ĂȘtre ou ne pas ĂȘtre Shylock, en une Ă©poque oĂč mĂȘme le cruel Shylock ne peut plus quâĂ©mouvoir ; pour Lubitsch, ĂȘtre ou ne pas ĂȘtre lâexilĂ© qui, amĂ©ricanisĂ© de longue date, a cependant pour devoir de rappeler le malheur de ceux quâen Europe, le nazisme tente dâexclure du genre humain
Cursus de cinĂ©ma : le rĂȘve dâune Ă©poque ?
In a 2004 essay published in the French scholarly journal Questions de communication, I pointed out a number of paradoxes pertaining to the pedagogies and methods of film and media studies, which have been a constant source of friction and misunderstandings. The problems that prevail in our field ten years later prove not only that misunderstandings have not cleared up but that they are only getting more common, as we have gradually moved away from what was the raison d'ĂȘtre of our community--cinema itself. Because they have been intent on claiming that cinema âis not a disciplineâ, scholars have distanced themselves from their object of study to an unprecedented extent. One could almost affirm that the convictions that inspired the generation of the âfounding fathersâ, namely their trust in cinema and its ability to shape young minds, was an illusion linked to the context of the period. What we need today is to revive that trust in order to open up new perspectives in the teaching of film and media studies
De Broadway à Hollywood : Pal Joey ou les itinéraires du désir
« Lâimpression gĂ©nĂ©rale est quâil a fait de bons films, mais quâil nây est pour rien » : câest en ces termes quâavant dâentreprendre sa dĂ©fense, Alain Masson rĂ©sume lâimage critique de George Sidney. Lâimportance de sa contribution au film musical, en tout cas, fait lâunanimitĂ©Â : mais dans ce domaine, câest Ă son opulente pĂ©riode Metro-Goldwyn-Mayer quâon pense dâabord, plutĂŽt quâĂ la patrie de sa carriĂšre qui le conduit vers la Columbia, la production indĂ©pendante et Pal Joey (La Blonde ou l..
Couleur-surprise : le musée d'Albert Lewin
« It is the spectator, and not life, that art really mirrors »Oscar Wilde, PrĂ©face Ă The Portrait of Dorian Gray Albert Lewin, et notamment son Picture of Dorian Gray, ont Ă ce jour suscitĂ© assez de curiositĂ© pour quâil ne soit plus nĂ©cessaire dâinsister sur lâimage du cinĂ©aste, due Ă une rĂ©putation d'intellectuel et d'esthĂšte en complet dĂ©calage avec les mĆurs hollywoodiennes. Des six films que Lewin a lui-mĂȘme rĂ©alisĂ©s, deux sont devenus des Ćuvres cultes : Dorian Gray dĂ©jĂ citĂ© (1945), et ..
Albert Cohen
Quels liens subtils rapprochent le personnel du cycle romanesque de Solal, la voix lyrique des monologues intĂ©rieurs de Belle du Seigneur, les instances narratives des essais et le discours Ă©pidictique dĂ©diĂ© Ă Winston Churchill ? Question a priori complexe. Foisonnante, parfois dĂ©bordante dans sa polyphonie, l'Ćuvre de Cohen s'organise pourtant autour d'une ligne de force qui n'est pas immĂ©diatement perceptible, celle de la table. Constituant un rĂ©seau de signes qui affleurent dans les textes, le champ de la nourriture se transforme en un langage porteur d'obsessions rĂ©currentes. Poids des origines, hĂ©ritage des traditions, comĂ©die de l'amour, questionnements mĂ©taphysiques, tous les domaines s'Ă©valuent Ă l'aune du comestible. Manger, c'est donner un sens Ă son existence. Mordre dans un chocolat, c'est goĂ»ter le prĂ©sent et ses gourmandises, mais aussi renouer avec un passĂ© inquiĂ©tant. De cet univers ambigu Ă©merge cependant Mangeclous, le « vainqueur Ă©ternel ». Conviant les Valeureux Ă partager maints festins plus ou moins transgressifs, le personnage excĂšde les contours de la figure burlesque pour sublimer le prosaĂŻque. C'est par son regard que surgit la vision d'un monde dont la quĂȘte est celle d'une sagesse Ă hauteur d'homme. Refusant les codes d'une bourgeoisie vaudevillesque, Mangeclous Ă©lĂšve l'appĂ©tit au rang de vertu, prĂŽne avec ironie les mĂ©rites du mensonge et Ă©rige le plaisir de manger en rĂšgle de vie. Nouvel avatar des gĂ©ants rabelaisiens, ce prophĂšte comique ne s'Ă©panouit que dans le paradoxe et l'amour des nourritures