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Jazz --- New wave music --- Jazz --- New wave --- History and criticism --- Histoire et critique
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New wave films --- Motion pictures --- CDL --- 791.43 --- New wave (Motion pictures) --- New wave cinema --- Nouvelle vague (Motion pictures) --- Nouvelles vagues (Motion pictures) --- History and criticism --- History
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New wave films --- History and criticism --- History and criticism.
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Arno Hintjens (1949-2022) stond meer dan een halve eeuw op het podium. Vanaf 1970 als mondharmonicaspeler van de bluesgroep Freckle Face, daarna als zanger van Tjens Couter en T.C. Matic, waarmee hij in 1981 doorbrak met de hit 'O La La La'. Andere newwavehits volgden, zoals 'Que Pasa' en Putain, putain'. Vanaf 1986 ging Arno solo. Met zijn hoogstpersoonlijke stijl wist Arno verscheidene genres en talen te verweven: rock en new wave, blues en chanson, Engels, Frans, Nederlands en zelfs zijn Oostendse dialect. In totaal werkte Arno mee aan meer dan dertig studioalbums. Ontelbare nummers werden onvergetelijke klassiekers, zoals 'Les Yeux de ma mère', 'Elle adore le noir', 'Les Filles du bord de mer', 'Whoop That Thing', 'Vive ma liberté' en 'Solo Gigolo'. In België en Frankrijk werd Arno verscheidene keren bekroond voor zijn oeuvre.Deze unieke biografie over de monumentale carrière van Arno vertelt zijn hele levensverhaal, van zijn kinderjaren in Oostende tot zijn overlijden in 2022. Bron: flaptekst
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The New Wave Cinema in Iran is a historical and analytical study of the Iranian New Wave Cinema (Mowj-e No) as an artistic and intellectual movement that came to its best early productions between 1958 and 1978. As the movement has a long history, Parviz Jahed focuses on the development and the early progression of the movement in the 1960s and explores its emergence and development in the context of the cultural and social conditions of Iran during this period.Jahed first defines the term 'New Wave' in Iran's film culture, in order to identify the root elements that gave traction to this movement. He analyses the degree to which different elements and factors have contributed to the formation of this cinema, accounting for the different approaches of Iranian intellectual filmmakers towards modernity and a modern form of cinema in Iran. The book finishes by studying the works of three intellectual figures and influential filmmakers of the 1960s, Ebrahim Golestan, Farrokh Ghaffari, and Feraydoon Rahnama, who are arguably considered the forerunners of the New Wave Cinema in Iran.
Cinéma --- Nouvelle Vague (cinéma) --- Motion pictures --- New wave films
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Intertextuality. --- Motion pictures and literature. --- New wave films
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Motion picture producers and directors --- New wave films --- Biography
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Casting fresh light on one of the most important movements in film history, this text provides a comprehensive study of the French New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema.
New wave films --- History and criticism. --- 1900-1999 --- France.
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A socio-cultural analysis of French New Wave cinema, with a focus on issues of gender and the construction of sexual identities.
Motion pictures --- New wave films --- History --- History and criticism
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