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As almost every aspect of making and viewing movies is replaced by digital technologies, even the notion of "watching a film" is fast becoming an anachronism. With the likely disappearance of celluloid film stock as a medium, and the emergence of new media, what will happen to cinema--and to cinema studies? In the first of two books exploring this question, Rodowick considers the fate of film and its role in the aesthetics and culture of the twenty-first century.
Digital cinematography. --- Photography --- Digital techniques. --- Cinéma numérique --- Photographie numérique --- Et le cinéma --- Film --- Aesthetics --- film --- digitale film --- filmtechniek --- digitale cultuur --- nieuwe media --- technologie --- filmheorie --- 791.41 --- Cinematography --- Digital filmmaking --- Digital moviemaking --- Digital photography --- Digital techniques --- Digital electronics --- Cinéma numérique. --- Et le cinéma. --- Digital cinematography --- Cinéma numérique. --- Photographie numérique --- Et le cinéma.
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The title of this book takes as its point of reference those early, primitive films in which mostly men, but occasionally women, peek through keyholes, offering bold demonstrations of the voyeuristic pleasure that has been central to virtually every contemporary theory of cinema. When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. The question is not only who or what is on either side of the keyhole, but also what lies between them, what constitutes the threshold that makes representation possible. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative. Films discussed include Helke Sander's Redupers, Julie Dash's Illusions, Patricia Rozema's I've Heard the Mermaids Singing, Yvonne Rainer's The Man Who Envied Women, Chantal Akerman's Je tu il elle, Ulrike Ottinger's Ticket of No Return, Anne Severson's Near the Big Chakra, Suzan Pitt's Asparagus, Germaine Dulac's The Smiling Madame Beudet, Agnes Varda's Cleo from 5 to 7, Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Trin T. Minh-ha's Reassem-blage, Laleen Jayamanne's A Song of Ceylon, and the films of Dorothy Arzner.
Women in motion pictures. --- Feminism and motion pictures. --- Motion pictures and feminism --- Motion pictures --- Film history, theory & criticism --- Cinema --- Femmes au cinema. --- Cinema feministe. --- Feminisme et cinema. --- Feminist films. --- Philosophie. --- Philosophy. --- Feminisme et le cinema --- Femmes dans les films --- Femmes et le cinema
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Aux Etats-Unis plus manifestement encore qu’en Europe, « aller au cinéma » a recouvert des réalités extraordinairement diverses. « Aller au cinéma », en 1902, dans un Hale’s Tours and Scenes of the World n’a rien à voir avec « aller au cinéma » dans un nickelodeon de 1908 ou dans un picture palace de 1925. « Aller au cinéma » dans les années de la Dépression, quand se généralisent les doubles programmes, les primes de fidélité et les loteries, et quand les chômeurs viennent dormir, sinon rêver, aux interminables séances des cinémas de quartier, est sans rapport avec « aller au cinéma » dans un drive in des années cinquante. Les grands écrans et autres technologies des années cinquante, ajoutés aux mutations du public de l’après-guerre, transforment en profondeur l’expérience cinématographique, autant qu’aujourd’hui l’explosion des nouveaux médias de l’image. Et beaucoup de caractères du cinéma hollywoodien restent inexplicables dans l’ignorance des conditions de son exploitation. Les auteurs de cet ouvrage, économistes, sociologues, historiens du cinéma, américanistes ou critiques, s’attachent, selon leur discipline propre, à faire valoir cette diversité, et à décrire et analyser ce secteur de l’industrie cinématographique encore trop délaissé par la recherche.
Motion pictures --- Cinéma --- History. --- Histoire --- Music, Dance, Drama & Film --- Film --- Cinéma --- Clowns - Congresses --- Clowns in literature - Congresses --- Clowns in art - Congresses --- Hollywood --- cinéma --- CINEMA --- INDUSTRIE CINEMATOGRAPHIQUE --- SPECTATEUR ET LE CINEMA --- ETATS-UNIS --- Clowns --- Clowns in literature --- Clowns in art
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Italy is more strongly influenced by the experiences of migrants than many other European countries. This includes an historically ongoing internal migration from the south to the north, which is strongly echoed in neo-realism; a mass emigration mainly to western Europe and North and South America that is connected with mafia films, among others, in Italy's collective imaginary; as well as a more recent immigration influx from the southwestern Mediterranean, which is dealt with at a film leve...
Emigration and immigration in motion pictures. --- Motion pictures, Italian --- Italian motion pictures --- Foreign films --- Motion pictures --- History and criticism. --- Cinéma --- Immigrés --- Émigration et immigration --- Et le cinéma. --- Au cinéma. --- Au cinéma
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Considérée comme un problème de mise en scène, la lettre au cinéma est un motif propice à stimuler l’imagination des cinéastes. Qu’elle soit le motif privilégié d’un cinéaste comme Max Ophuls ou d’un genre comme le mélodrame hollywoodien, l’objet de documentaires à la gloire du General Post Office britannique ou l’occasion de poèmes chez Tony Harrison, envoyée de façon anonyme dans la Treizième lettre, perdue dans Retour à Cold Mountain ou déchirée dans Sueurs froides, la lettre se révèle un agent dramatique à part entière. Jouant des écarts spatiotemporels permettant toutes sortes de circulations spatiales ou signifiantes, elle instaure un mode de communication spécifique au sein du film mais aussi avec le spectateur. Si l’adaptation de récits épistolaires à l’écran reste une gageure, certains cinéastes n’hésitent pas à concevoir leur film comme une lettre adressée à l’absent, que ce soit le père défunt chez Nathaniel Kahn, Dieu chez Neil Jordan ou le futur spectateur chez Jonas Mekas. L’écriture épistolaire rejoint ici celle du journal intime, toutes deux centrées sur l’écriture de soi dans le moment présent. De la missive insérée dans le film au film conçu comme lettre, les articles de ce recueil proposent donc une exploration de l’écriture épistolaire à l’écran dans le domaine du cinéma anglophone, jusqu’à la signature et autres inscriptions du nom propre, clôture de l’identité et du courrier.
Letters in motion pictures --- Motion pictures and literature --- Lettres (Genre littéraire) au cinéma --- Cinéma et littérature --- Congresses --- Congrès --- Motion pictures --- Study and teaching --- Music, Dance, Drama & Film --- Film --- 82:791.43 --- Literatuur en film --- 82:791.43 Literatuur en film --- Lettres (Genre littéraire) au cinéma --- Cinéma et littérature --- Congrès --- Motion pictures - Study and teaching --- correspondance --- mise en scène --- cinéma --- Écriture --- Cinéma --- Texte, Théorie du --- Au cinéma --- Esthétique --- Et le cinéma
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A wide-ranging collection of essays on the film-philosophy of Gilles DeleuzeDeleuze and Film explores how different films from around the world 'think' about a range of topics like history, national identity, geopolitics, ethics, gender, genre, affect, religion, surveillance culture, digital aesthetics and the body. Mapping the global diversity of this cinematic thinking, this book greatly expands upon the range of films discussed in Deleuze's Cinema books.Key Features Analyses several Asian films: including Japan's most famous monster movie Godzilla, the colourful Thai western Tears of the B
Motion pictures --- Philosophy. --- Deleuze, Gilles, --- Film --- Deleuze, Gilles --- film --- filosofie --- filmtheorie --- twintigste eeuw --- Deleuze Gilles --- filmanalyse --- 791.41 --- Cinéma --- Plots, themes, etc. --- Intrigues, thèmes, etc --- Philosophie --- Criticism and interpretation --- Motion picture plays --- Motion picture plots --- Plots (Drama, novel, etc.) --- Film genres --- Philosophy --- Plots, themes, etc --- Themes, motives --- Deleuze, G. --- Delëz, Zhilʹ, --- Dūlūz, Jīl, --- دولوز، جيل --- Criticism and interpretation. --- Delezi, Jier, --- Deleuze, Gilles (1925-1995) --- Et le cinéma --- Et le cinéma
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The works of Shakespeare and Dante or the figures of George Washington and Moses do not often enter into popular conceptions of the silent cinema, yet, between 1907 and 1910, the Vitagraph Company frequently used such material in producing "quality" films that promulgated "respectable" culture. William Uricchio and Roberta Pearson situate these films in an era of immigration, labor unrest, and mainstream American xenophobia, in order to explore the cultural views promoted by the films and the ways the audiences--the middle classes as well as workers and immigrants--related to what they saw. The authors associate the production of quality films with a top-down forging of cultural consensus on issues such as patriotism and morality, and reveal the surprising bottom-up negotiations of these films' "meanings.".Devoting chapters to the literary, historical, and biblical subjects used by Vitagraph, this book draws upon plays, pageants, school textbooks, and even product advertisements to illuminate the conditions of cinematic production and reception. It provides a detailed look at one aspect of the film industry's transformation from "despised cheap amusement" to the nation's dominant mass medium, while showing how cultural elites engaged in a struggle similar to that of today's American academy over the literary canon and national value systems.Originally published in 1993.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Film --- United States --- 791.44 --- 791.43-1 --- #SBIB:309H1326 --- Filmproductie. Filmindustrie --- Filmkunst. Films. Cinema--?-1 --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Culture in motion pictures. --- Motion pictures --- Social aspects --- Culture in motion pictures --- Music, Dance, Drama & Film --- 791.43-1 Filmkunst. Films. Cinema--?-1 --- 791.44 Filmproductie. Filmindustrie --- Vitagraph Company of America. --- Vitagraph Co. of America --- Vitagraph Company --- Vitagraph (Firm) --- Warner Bros. Pictures (1923-1967) --- American Vitagraph Company --- United States of America --- CINEMA --- COMPAGNIES DE PRODUCTION ET STUDIOS --- SOCIETE ET LE CINEMA --- VITAGRAPH --- ETATS-UNIS
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Women in motion pictures. --- Motion pictures --- Psychoanalysis. --- Voice. --- Motion pictures and women. --- Feminism and motion pictures. --- Women and psychoanalysis. --- Women --- Communication --- Psychoanalysis and women --- Psychoanalysis --- Motion pictures and feminism --- Women and motion pictures --- Speaking --- Human sounds --- Language and languages --- Music --- Throat --- Diaphragm --- Elocution --- Larynx --- Speech --- Psychology --- Psychology, Pathological --- Psychological aspects. --- Communication. --- Physiological aspects --- Freud, Sigmund, --- Freud, Sigmund --- Feminism and motion pictures --- Motion pictures and women --- Women and psychoanalysis --- Women in motion pictures --- 791.41 --- experimentele film --- feminisme --- film --- film en psychoanalyse --- filmtheorie --- Freud Sigmund --- geluid --- gender studies --- lichamelijkheid --- psychoanalyse --- 82:159.9 --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- 82:159.9 Literatuur en psychologie. Literatuur en psychoanalyse --- Literatuur en psychologie. Literatuur en psychoanalyse --- Psychological aspects --- Psychoanalyse --- Cultuur en religie. --- Femmes dans les films --- Psychologie et le cinema --- Voix dans les films
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