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Aotearoa New Zealand practice Irving Smith builds with the land, not on it. Their projects open up, condense, focus, and interpret both the natural and the human-made settings of the ‘far far away’, where they live. These architects see their practice, research and teaching, based in the small town of Whakatū-Nelson on Aotearoa-New Zealand’s South Island, as an adventure. Unfinished and Far Far Away traces their internationally-awarded approach of participating with existing landscapes before generating new contexts. Ten projects across a range of scales, typologies and landscapes show how these architects articulate wood and other local materials to create beautiful homes, places to work, and sites to play. Irving Smith see their work as never finished, but always opening itself up to new ways to question how we can continue to live and thrive in these sites.

Environnement naturel --- Maison individuelle --- Bâtiment culturel --- Nouvelle Zélande

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This book investigates the functions of animal imagery in narratives of the Conquest of the Americas, showing how depictions of animals' treatment and symbolism disrupt narratives of this period as a mutually beneficial encounter between cultures.

Animaux --- Impérialisme --- Dans la littérature. --- Nouvelle-Angleterre (États-Unis) --- Découverte et exploration espagnoles --- Colonies espagnoles --- dans la littérature

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This first comprehensive English collection of the interviews of Jacques Rivette (19282016) documents his career through chronology, filmography, bibliography, and image stills. A comprehensive introduction places this work in the wider context of twentieth-century social change. Rivettes films, like many of the works of the French New Wave, seem to have avoided the aging process entirely, remaining as playful, fresh, and quietly spectacular as the day they were made. Indeed, his body of work may be the most impressive of the French New Wave. Celine and Julie Go Boating (1974) has been recognized as possibly the best film to emerge from the post-New Wave era, even as Paris Belongs to Us (1961) is one of the best pictures to emerge from the New Wave itself. Rivette was hardly the most prolific director, however, and the length of his films has often counted against him. Nonetheless, his clinical, self-reflexive essays in film form reveal him as a cinematic purist whose commitment to the celluloid muse hardly diminished from the heady days of the early 1950s to the end of his career in 2009. Beyond inspiring the New Wave movement and continuing to reflect, and reflect on, its central tenets, Rivettes enduring contribution to the history of film is unquestionably evident in his sensitive treatment of the histories and destinies of women, especially through strong roles for actresses. During the six decades of his career, nonetheless, he struck a subtle balance not only between female and male characters, but also between political and personal obsession, between myth and fiction, between theater and cinema, in films that, in addition to having influenced such contemporary filmmakers as Claire Denis, Jim Jarmusch, Olivier Assayas, and David Lynch, continue to redefine the art of cinema around the world.

Nouvelle Vague (cinéma) --- Rivette, Jacques, --- Critique et interprétation. --- Réalisateurs de cinéma --- Criticism and interpretation. --- Motion pictures --- Motion picture producers and directors --- New wave films --- History

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Une série de contributions analysant les conséquences du numérique sur le milieu du travail dans toute son entité, qu'il s'agisse des conséquences positives ou négatives, dans le concept d'entrepreneuriat, d'empathie, d'innovations ou d'utopie. ©Electre 2024

Travail --- Entreprises --- Changement organisationnel --- Technologies de l'information et de la communication --- Economie numérique --- Effets des innovations technologiques --- Effets des innovations technologiques --- travail --- NTIC --- nouvelle économie --- changement social

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Quels liens se tissent entre un territoire et les films qui le représentent ? Des sentiers de l’île de Ré aux rivages de la côte basque ou aux territoires plus secrets de la forêt landaise ou de la Montagne limousine, la région Nouvelle-Aquitaine est de longue date une terre d’élection pour les tournages de cinéma et de télévision. Cet ouvrage explore la très grande cinégénie des paysages néo-aquitains et s’interroge sur les territoires qu’elle privilégie ou qu’elle laisse dans l’ombre. Elle envisage tour à tour le territoire comme terre d’accueil ou lieu refuge, aussi bien pour les victimes des vicissitudes de l’histoire contemporaine que pour les citadins en quête d’un havre de sérénité et de verdure, l’inscription dans ces territoires de genres tels que le polar ou le thriller, ou encore la réinvention d’un territoire par le truchement de la fiction et le statut des lieux – « ordinaires » ou « remarquables » – qu’elle représente. Des "Combattants" à "Madre", des "Petits Mouchoirs" à "La Promesse" ou à "Meurtres à", l’ouvrage analyse films d’auteur et grand public, téléfilms et séries tournés en Nouvelle-Aquitaine. Rassemblant les contributions d’une douzaine d’universitaires, il recueille également la parole de réalisateurs (Abel Moreno, Peter Dourountzis) qui ont tourné dans la région et évoque la mission patrimoniale de la Cinémathèque de Nouvelle-Aquitaine.

Cinéma --- Motion pictures --- Thèmes, motifs. --- Plots, themes, etc. --- Nouvelle-Aquitaine (France) --- France --- Au cinéma. --- À la télévision. --- In motion pictures.