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Decifrando aspetti ancora scarsamente analizzati del pensiero e dell'opera di Bataille, e portando alla luce alcuni testi finora inediti (e dei quali si ignorava perfino l'esistenza, come Le Château, programma per una società utopica), Marina Galletti analizza l'evoluzione del senso di "comunità" sullo sfondo delle esperienze vissute da Bataille tra il 1933 e il 1945, anni nei quali egli giunge a elaborare una visione medita della letteratura. Il libro evidenzia inoltre la lucidità politica di Georges Bataille, il suo sguardo radicalmente nuovo, su un nodo portante della storia del ventesimo secolo: la questione del rapporto tra fascismo e comunismo.
Film Radio Television --- cinéma français --- cinéma --- Georges Bataille --- cinema --- French cinema --- Französisch Kino --- Kino --- cine --- cine francés --- cinema francese
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La Bienne by Renoir, Jules et Jim de Truffaut, Father Christmas is a scum of Poiré, La Cage aux folles by Édouard Molinaro, Three men and a bassinet by Coline Serreau. So many scenarios taken up by the American cinema industry. Since the mid-1930s more than 70 remakes of French films have been made in Hollywood. Are these new versions a mark of Hollywood imperialism or a form of exchange between French cinema and American cinema? Certified copies? Adaptations? Or authentic Hollywood translations? How to understand this cinematographic phenomenon while taking into account its unstable contours, the diversity of cases? Raphaëlle Moine chooses to show her multiple facets, both legal, economic and historical, and adopts a cultural approach to restore the remake to all its richness. "Thanks to the remakes, French cinema as such and as a whole gains an emotion, a creativity, an inventiveness that criticism in general denies it".
Film remakes --- Motion pictures --- Cinéma --- Music, Dance, Drama & Film --- Film --- History and criticism. --- Remakes. --- French cinema and hollywood --- Motion picture remakes --- Moving-picture remakes --- Remakes, Film --- Remakes
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The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, 'Cahiers du cinema' embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of 'Cahiers du cinema' produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. 00'The Red Years of Cahiers du Cinema (1968-1973)' gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote.
cinema --- film --- filmkritiek --- Frankrijk --- filmgeschiedenis --- filmtheorie --- marxisme --- mei '68 --- 20e eeuw (twintigste eeuw) --- E-books --- Motion pictures --- HISTORY / Social History. --- Periodicals. --- Cahiers du cinéma, film theory, apparatus theory, political modernism, French cinema. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Cahiers du cinema.
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The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. The Red Years of Cahiers du Cinéma (1968-1973) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. Volume II centers on questions of aesthetics and the cinema's ontological relationship with the real.
film --- cinema --- filmkritiek --- Frankrijk --- filmgeschiedenis --- filmtheorie --- marxisme --- mei '68 --- 20e eeuw (twintigste eeuw) --- E-books --- Motion pictures --- HISTORY / Social History. --- Periodicals. --- Cahiers du cinéma, film theory, apparatus theory, political modernism, French cinema. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism
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In a market long dominated by Hollywood, French films are consistently the most widely distributed non-English language works. French cinema, however, appears to undergo a transformation as it reaches Britain, becoming something quite different to that experienced by audiences at home. Drawing on extensive archival research the authors examine in detail the discourses, debates and decisions which have determined the place accorded to French cinema in British film culture. In so doing they provide a fascinating account of this particular instance of transnational cinematic traffic while simult
Motion pictures, French --- Motion pictures --- History --- archival research. --- art history. --- artistic. --- audiences. --- british film culture. --- british film. --- cinema. --- continental films. --- culture. --- detailed history. --- engaging. --- europe. --- european film industry. --- film distribution. --- film exhibition. --- film history. --- film markets. --- film society. --- foreign films. --- french cinema. --- french films. --- historical. --- history criticism. --- hollywood. --- humor and drama. --- page turner. --- performing arts. --- pop culture. --- retrospective. --- romance.
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Une polyphonie s’orchestre ici selon des mouvements bien distincts : le premier consiste à envisager les « affinités électives » qui inspirent le cinéma de Rohmer - depuis sa filiation éprouvée avec Kleist, avec André Bazin, jusqu’à ses interprétations plus personnelles de Murnau ou de Jean Renoir (en passant par des coïncidences inattendues avec l’art d’un David Hockney…). Le second cercle est celui des études transversales, qui s’attachent à dégager la modernité du récit rohmérien à travers tous les manques qui le constituent ou les ambiguïtés du point de vue ; une modernité à quoi se dérobent en même temps ses personnages, dans leur idéalisme amoureux et leur nostalgie d’une « nature humaine » devenue problématique. Autant d’éléments que précisent six analyses de films, tout en remontant vers un sous-texte métaphorique (dans Le Signe du Lion, dans L’Amour, l’après-midi), ou une re-présentation picturale et historique (dans L’Anglaise et le Duc). Enfin, une série d’entretiens dessine ce qu’on pourrait appeler « l’atelier d’Éric Rohmer » : qu’il s’agisse de production ou de montage, du recours au son direct, à la lumière naturelle ou aux essais vidéo, on y découvre une sorte de conspiration artisanale et familiale, sans exemple depuis Georges Méliès ou Marcel Pagnol - et où un certain ésotérisme dissimule une absolue liberté.
Motion picture producers and directors --- Motion pictures --- Producteurs et réalisateurs de cinéma --- Cinéma --- History. --- Histoire --- Rohmer, Eric, --- Criticism and interpretation --- Music, Dance, Drama & Film --- Film --- Producteurs et réalisateurs de cinéma --- Cinéma --- French cinema --- Director --- 20th-21st centuries --- Criticism --- Rohmer, Éric, --- Criticism and interpretation. --- Cordier, Gilbert, --- Scherer, Jean-Marie Maurice, --- Rohmer, Éric, --- Rohmer, Éric --- Rohmer, Éric, - 1920-2010 - Criticism and interpretation --- Nouvelle Vague --- mise en scène --- cinéma --- Rohmer, Éric (1920-....) --- Réalisateurs de cinéma --- Création audiovisuelle --- Critique et interprétation --- Esthétique --- France --- Entretiens --- Rohmer, Éric, - 1920-2010
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Long before Edith Piaf sang "La vie en rose," her predecessors took to the stage of the belle epoque music hall, singing of female desire, the treachery of men, the harshness of working-class life, and the rough neighborhoods of Paris. Icon of working-class femininity and the underworld, the realist singer signaled the emergence of new cultural roles for women as well as shifts in the nature of popular entertainment. Chanteuse in the City provides a genealogy of realist performance through analysis of the music hall careers and film roles of Mistinguett, Josephine Baker, Fréhel, and Damia. Above all, Conway offers a fresh interpretation of 1930's French cinema, emphasizing its love affair with popular song and its close connections to the music hall and the café-concert. Conway uncovers an important tradition of female performance in the golden era of French film, usually viewed as a cinema preoccupied with masculinity. She shows how-in films such as Pépé le Moko, Le Crime de Monsieur Lange, and Zouzou-the realist chanteuse addresses female despair at the hopelessness of love. Conway also sheds light on the larger cultural implications of the shift from the intimate café-concert to the spectacular music hall, before the talkies displaced both kinds of live performance altogether.
Motion pictures --- Women singers --- Motion picture music --- Popular music --- Background music for motion pictures --- Film music --- Film scores --- Movie music --- Moving-picture music --- Dramatic music --- Music --- History. --- History and criticism. --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- History and criticism --- History --- 1930s. --- beauty. --- belle epoque music hall. --- cafe concert. --- cinema lovers. --- cinemaphiles. --- cultural implications. --- cultural roles. --- cultural studies. --- female desire. --- femininity. --- film and culture. --- film historians. --- france. --- french cinema. --- french culture. --- french film. --- gender roles. --- golden era. --- music hall careers. --- music. --- paris. --- popular entertainment. --- popular music. --- realist performance. --- realist singer. --- singers. --- theatre. --- women in film. --- womens roles. --- working class life.
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André Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinéma, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protégé of François Truffaut, who honors him touchingly in his foreword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."
Motion pictures. --- Performing arts. --- Show business --- Arts --- Performance art --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Aesthetics --- Film --- auteur. --- bazin. --- cahiers du cinema. --- chaplin. --- cinema and screen. --- cinema. --- citizen kane. --- critical theory. --- cultural studies. --- digital film. --- directors. --- editing. --- eroticism. --- fellini. --- film and animation. --- film cinematography. --- film criticism. --- film genre. --- film history. --- film literature. --- film movements. --- film studies. --- film technique. --- film theory. --- film. --- filmmaking. --- french cinema. --- image culture. --- jean renoir. --- literary studies. --- mass media. --- media. --- neorealism. --- nonfiction. --- orson welles. --- roberto rossellini. --- surrealism. --- truffaut. --- visual culture. --- aesthetics. --- andre bazin. --- art criticism. --- charlie chaplin. --- cinematography. --- drama. --- film and art. --- film and media. --- flim. --- mixed cinema. --- montage. --- movies. --- narrative. --- performing arts. --- photography. --- sartre. --- sound cinema. --- technology. --- theater. --- total cinema.
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