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Cette étude traite des phénomènes paranormaux au Québec. À partir d’un terrain mené de 2014 à 2015 dans la région des Laurentides, cette recherche propose un portrait de la croyance paranormale, du spiritisme et des croyants dans la province. En contextualisant les démarches de nos répondants dans l’héritage catholique local et en les interprétant à l’aide des notions de bricolage religieux, de phénoménologie et de croyances, il a été possible d’établir un profil type du croyant au surnaturel et du contexte dans lequel peut apparaître et évoluer cette croyance. Les répondants de cette recherche ont généralement vécu une expérience paranormale qu’ils ont interprétée à la lumière du décès d’une personne, analyse validée par l’intermédiaire d’un médium possédant, selon eux, un Don, celui de la communication avec l’au-delà. La croyance de la continuité de l’âme humaine après la mort du corps semble donc constituer un pilier de la croyance au paranormal. Les répondants, qui ont tous vécu des phénomènes inexplicables, ont en outre généralement peur du jugement des autres et évitent de parler de leurs croyances. Ce fait contribue à la mécompréhension des croyances paranormales et c’est à ce stade que le médium va jouer le rôle d’intermédiaire entre le répondant et le phénomène, en authentifiant l’évènement comme réel. Ce mémoire analyse donc enfin le processus de légitimation de la croyance au paranormal et de l’existence de la médiumnité, dans un contexte post-Révolution tranquille où la raison et la science ne suffisent pas à fournir toutes les réponses., This research project deals with beliefs about paranormal activity in the province of Quebec. Drawing on fieldwork conducted from 2014 to 2015 in the Laurentians, the project provides a picture of paranormal beliefs, spiritualism and believers. Contextualizing the steps taken by participants to integrate, as part of their local Catholic heritage, their beliefs about the paranormal, and interpreting these using the concepts of religious bricolage, phenomenology and belief, it was possible to create a profile of a typical believer in the paranormal and the context in which such beliefs can appear and evolve. Most of the participants in this project had had a paranormal experience that they interpreted in the light of the death of a person, and then had their analysis validated by a medium with a Gift, that according to them involved the ability to communicate with “the beyond”. The belief in the continuity of the human soul after the death of the body seems to be a pillar of beliefs in the paranormal. Participants, who had all experienced inexplicable phenomena, also tended to fear the judgment of others and so avoided talking about their beliefs. This fact contributes to the misunderstanding of paranormal beliefs and it is at this stage that the medium plays the role of intermediary between the participant and the phenomenon, by authenticating the event as real. This thesis analyses the process of legitimation of beliefs in the paranormal and the existence of mediumship in a post-Quiet Revolution context in Quebec, where reason and science may still be insufficient for providing all the answers that people seek., Réalisé en codirection avec le département d'anthropologie de l'Université de Montréal.

Innerhalb der Bildwissenschaft ist unter dem Stichwort des ‹Iconic Turn› die Beziehung zwischen Bild und Betrachter in den letzten Jahren immer stärker in den Fokus gerückt. Die gegenseitige Beeinflussung und Abhängigkeit, die dieses Verhältnis prägt, werden in der Horrorfilmreihe PARANORMAL ACTIVITY (USA 2007–2015, R: Diverse) auf mehreren Ebenen thematisiert: Sowohl die Figuren der Diegese als auch der Zuschauer des Geschehens sehen sich mit Diskursen zur Medialität, zur Ästhetik, zur Autorenschaft sowie zur (eigenen) Bildkompetenz vor dem Hintergrund sozialer und technischer Veränderungen konfrontiert.

Submitted by Boris Flegr (boris@uerj.br) on 2021-01-05T19:49:11Z No. of bitstreams: 1 Dissert_Amanda Neves de Oliveira.pdf: 5087281 bytes, checksum: 8e6bff09f83b3e955526fdca0d1dd699 (MD5) Made available in DSpace on 2021-01-05T19:49:11Z (GMT). No. of bitstreams: 1 Dissert_Amanda Neves de Oliveira.pdf: 5087281 bytes, checksum: 8e6bff09f83b3e955526fdca0d1dd699 (MD5) Previous issue date: 2015-02-27 This paper aims to study the use of documentary structures in the fictional horror movies, kind of narrative that became known popularly as found footage. These films make use of a purposely hybrid language, linking the form of documentary to fictional content and, today, are so fashionable that already have clichés and stereotypes connected to them.The intention is to understand how the horror genre appropriates the use of an aesthetic associated with documentary records to favor fear responses in the viewer. Hence, we privileged cuts in film history and concepts that can contribute to the development of our study, both with regard to documentary cinema, as with regard to the horror genre. As more detailed analysis of the object, we bring the original trilogy of the franchise "Paranormal Activity" O presente trabalho tem como proposta estudar o uso de estruturas documentais no cinema ficcional de horror, tipo de narrativa que ficou conhecida popularmente como found footage. Esses filmes fazem uso de uma linguagem propositalmente híbrida, associando a forma do documentário ao conteúdo da ficção e, hoje, encontram-se tão em voga que já possuem até mesmo clichês e estereótipos. A intenção é entender de que forma o gênero do horror se apropria douso de uma estética associada a registros documentais para favorecer as reações de medo no espectador. Para tanto, privilegiamos recortes na história do cinema e conceitos que possam contribuir para o desenvolvimento de nosso estudo, tanto no que diz respeito ao cinema documental, quanto no que diz respeito ao gênero de horror. Como objeto de análise mais detalhada, trazemos a trilogia inicial de da franquia Atividade Paranormal

International audience; David Roche asks this seminal question: who is the narrator in a film? Conjuring up key concepts such as "le grand imagier," "mega-narrator" or "perceiver," he claims that "monstration" is a form of story-telling even though there are different levels of "monstration." In the case of a very specific genre, "docu-horror," and of its recurring narrative technique, found footage, it seems that there are two kinds of narrator: the "mad" diegetic narrator, responsible for the footage, and the actual narrator, in charge of the "mise en chaine."