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This invaluable resource by one of the world's leading experts in French cinema presents a coherent overview of French cinema in the 20th century and its place and function in French society. Each filmography includes 101 films listed chronologically (Volume 1: 1929-1939 and Volume 2: 1940-1958) and provides accessible points of entry into the remarkable world of 20th-century French cinema. All entries contain a list of cast members and characters, production details, an overview of the film's cultural and historical significance, and a critical summary of the film's plot and narrative structu
Motion pictures --- Cinéma --- History --- Histoire
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From Oriental dancers to ballerinas and opera singers, the figure of the female performer is ubiquitous in the cinema of pre-Revolutionary Russia. From Romashkov's Stenka Razin (1908), to Viskovsky's The Last Tango (1918), the female performer remains central. In this groundbreaking new study, Morley argues that early Russian film-makers used the character of the female performer to explore key contemporary concerns from changing conceptions of femininity and the emergence of the so-called New Woman, to broader questions concerning gender identity. Morley also reveals that the film-makers used this archetype of femininity to experiment and develop a unique cinematic language.
Motion pictures and women --- Motion pictures --- Women in motion pictures. --- Women and motion pictures --- Women --- Cinéma --- Femmes au cinéma --- Cinéma et les femmes
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DES PREMIERS FILMS Pathé aux écrans numériques, la marionnette a connu une vie filmique à éclipses, surgissant soudain et par éclats chez les plus grands, de Chaplin à Roberto Benigni, de Renoir et Bergman à Spielberg, Kitano et Tim Burton. Longtemps confinée dans l’animation, elle connaît aujourd’hui un spectaculaire retour sur les écrans du monde entier. Plus subversive que mélancolique, elle est cette créature double qui ne cesse de se libérer des liens qui l’assujettissent, dans le mutisme et l’humiliation, au Montreur ventriloque, au Père, au Deus/Diabolus ex machina. Elle est au cinéaste, à l’acteur, au spectateur ce que le Sphinx est à Œdipe : riche d’une vie sauvage, obscène, archaïque à laquelle il leur faut un temps se confronter. À travers ces corps de frontière en constantes mutations, les miroirs grossissants du cinéma nous renvoient les images libératrices d’une modernité en travail, entre retours à l’enfance, métamorphoses burlesques et passages vers d’inquiétantes ou sublimes étrangetés. Pour sortir de l’ombre la vie filmique des marionnettes, Laurence Schifano, Professeur d’Études cinématographiques à l’Université Paris 10, a rassemblé ici des historiens et des chercheurs dont les domaines de recherche se situent aux confins de la psychanalyse, de la littérature, du théâtre et du cinéma.
Puppets --- Animation (Cinematography) --- Marionnettes au cinéma --- Animation (Cinéma) --- In motion pictures --- Marionnettes au cinéma. --- Music, Dance, Drama & Film --- Film --- Marionnettes au cinéma --- Animation (Cinéma) --- Marionnettes au cinéma. --- marionnettes --- adaptation cinématographique --- cinéma d'animation --- Marionnettes --- Au cinéma
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Rather than focusing on the abstract and individualizing character of cinema, Mediated Associations elucidates the collective character of cinematic objects. O'Connor argues that social theory must come to terms with the new mobilities and speed of cinema, and the various ways in which the affect - as a virtual moment of collective experience - is inserted into the flow of movement and structures cinematic events. In considering the primacy of the affect to cinematic forms of power, he examines the way in which cinema controls our associations, reconstituting our manners and habits of sociality and sociability in subtle and complex ways.
Motion pictures --- Cinéma --- Social aspects. --- Aspect social.
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North African immigrants, once confined to France's social and cultural margins, have become a strong presence in France's national life. Similarly, descendants of immigrants from Morocco, Algeria, and Tunisia have gained mainstream recognition as filmmakers and as the subject of films. The first collective volume on this topic, Screening Integration offers a sustained critical analysis of this cinema. In particular, contributors evaluate how Maghrebi films have come to participate in, promote, and, at the same time, critique France's integration. In the process, these essays reflect on the co
Assimilation (Sociology) in motion pictures. --- Social integration in motion pictures. --- Immigrants in motion pictures. --- North Africans in motion pictures. --- Motion pictures --- North Africans in motion pictures --- Immigrants in motion pictures --- Social integration in motion pictures --- Assimilation (Sociology) in motion pictures --- Cinéma --- Maghrébins au cinéma --- Immigrants au cinéma --- Intégration sociale au cinéma --- Assimilation (Sociologie) au cinéma --- History --- Histoire
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After General Francisco Franco died in 1975, Spanish cinema was bursting at the seams. Many film directors broke free from the ancient taboos which had reigned under Franco's dictatorship, introducing characters who transgressed the traditional borders of social, cultural, and sexual identities. The women, homosexuals, transsexuals, and delinquents who were considered lost, dissonant bodies under Franco's rule became the new protagonists of Spanish cinema. "Here is a 'book of passion' on the metamorphoses of post-Francoist Spain as it catapulted into the contemporary world (1975-95). It is a book that questions the power of myths expressed through passionate bodies, in particular bodies who for too long were marginalized in traditional societies." -Michèle Lagny, Université de Sorbonne Nouvelle Paris III
Film --- Spain --- Motion pictures --- Women in motion pictures. --- Homosexuality in motion pictures. --- Cinéma --- Femmes au cinéma --- Homosexualité au cinéma --- History --- Histoire --- Human body in motion pictures. --- History. --- Body, Human, in motion pictures
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In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the homogenizing force of Hollywood in global filmmaking. While European cinema was entering a steady decline in the 1980s, France sought to strengthen support for its film industry under the new Mitterrand government. Over the following decades, the country lobbied partners in the European Economic Community to design strategies to protect the audiovisual industries and to resist cultural free-trade pressures in international trade agreements. These struggles to preserve the autonomy of national artistic prerogatives emboldened many countries to question the benefits of accelerated globalization.Led by the energetic minister of culture Jack Lang, France initiated a series of measures to support all sectors of the film industry. Lang introduced laws mandating that state and private television invest in the film industry, effectively replacing the revenue lost from a shrinking theatrical audience for French films. With the formation of the European Union in 1992, Europe passed a new treaty (Maastricht) that extended its legal purview to culture for the first time, setting up the dramatic confrontation over the General Agreement on Trade and Tariffs (GATT) in 1993. Pushed by France, the EU fought the United States over the idea that countries should preserve their right to regulate cultural activity as they saw fit. France and Canada then initiated a campaign to protect cultural diversity within UNESCO that led to the passage of the Convention on Cultural Diversity in 2005. As France pursued these efforts to protect cultural diversity beyond its borders, it also articulated "a certain idea of cinema" that did not simply defend a narrow vision of national cinema. France promoted both commercial cinema and art cinema, disproving announcements of the death of cinema.
Motion picture industry --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- History --- Film --- France --- Industrie du cinéma --- Exception culturelle. --- Cinéma et mondialisation --- Cinéma --- Aspect économique --- Industrie du cinéma --- Cinéma et mondialisation --- Cinéma --- Aspect économique
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Emigration and immigration in motion pictures. --- Motion pictures --- History --- Immigrants in motion pictures. --- Émigration et immigration --- Immigrés --- Cinéma --- Dans le cinéma --- Dans le cinéma. --- Histoire
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Examining eighteenth century 'moral sense' philosophy as a neglected but important intellectual area for film theory, Improving Passions is an innovative exploration of the sentimental tradition as both theatrical genre and cultural logic.
Sentimentalism in motion pictures --- Motion pictures --- Sentimentalisme au cinéma --- Cinéma --- History. --- Histoire --- Sentimentalism in motion pictures. --- Sentiments --- History --- Au cinéma --- Au cinéma.
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Matilda Mroz argues that cinema provides an ideal opportunity to engage with ideas of temporal flow and change. Temporality, however, remains an underexplored area of film analysis, which frequently discusses images as though they were still rather than moving. This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship. In close readings of Michelangelo Antonioni's L'Avventura, Andrei Tarkovsky's Mirror, and the ten short films that make up Krzysztof Kieślowski's Decalogue series, Mroz highlights how film analysis must consider both particular moments in cinema which are critically significant, and the way in which such moments interrelate in temporal flux. She explores the concepts of duration and rhythm, resonance and uncertainty, affect, sense and texture, to bring a fresh perspective to film analysis and criticism.
Time in motion pictures. --- Motion pictures --- Film criticism. --- Temps au cinéma --- Cinéma --- Critique cinématographique --- Philosophy. --- Philosophie --- Film --- Motion picture criticism --- Moving-picture criticism --- Criticism --- Evaluation
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