Série Cinéma critique Series
Engager la philosophie avec le film
Engage philosophy through film
Un événement de l'Association des étudiant(e)s diplômé(e)s en philosophie de l'Université d'Ottawa
An event of the Graduate Philosophy Student Association of the University of Ottawa
The Tenant
Roman Polanski, 1976
Presented by Francis Lemelin-Bellerose (Université d'Ottawa)
Le locataire, dernier film de la trilogie de l’appartement, est souvent qualifié de l’œuvre la plus personelle de Roman Polanski. La discussion pourra d’abord addresser la nature de notre engagement avec un cineaste aussi controversé : l’exercice occasionne-t-il un certain malaise chez l’auditoire? Pourquoi donc? Plusieurs problèmes philosophiques relatifs au contenu du film pourront ensuite être soulevés, notamment par l’entremise de l’angoisse du protagoniste, sa perte d’identité personelle ainsi que l’assimilation sociale don’t il est victime. C’est peut-être justement en abordant le film de l’intérieur que nous en viendrons à découvrir le cinéaste; par Terkolskvy que l’on comprendra le Polanski d’entre 1969 et 1977.
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The TENANT, the last movie in the Apartment Triology, is often qualified as the most personal work of Roman Polanski. The discussion could first address the nature of our engagement with such a controversial filmmaker: is the exercise causing any discomfort with the audience? Why so? Many philosophical problems relative to the content of the movie will then be risen, notably by the intermediate protagonist’s anxiety, his loss of personal identity, as well as the social assimilation that he is a victim of. It might actually be by addressing the movie inwardly that we will discover the moviemaker; by Terkolvsky that we will understand the Polanski between 1969 and 1977.
Vincent Bergeron is an Associate Professor at the Department of Philosophy at the University of Ottawa.
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The TENANT, the last movie in the Apartment Triology, is often qualified as the most personal work of Roman Polanski. The discussion could first address the nature of our engagement with such a controversial filmmaker: is the exercise causing any discomfort with the audience? Why so? Many philosophical problems relative to the content of the movie will then be risen, notably by the intermediate protagonist’s anxiety, his loss of personal identity, as well as the social assimilation that he is a victim of. It might actually be by addressing the movie inwardly that we will discover the moviemaker; by Terkolvsky that we will understand the Polanski between 1969 and 1977.
Vincent Bergeron is an Associate Professor at the Department of Philosophy at the University of Ottawa.
University of Ottawa
Desmarais Hall (55 Laurier East)
Room 8161
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