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Through her filmmaking, writing, and cine-club activism, Dulac's passionate defense of the cinema as a lyrical art and social practice had a major influence on twentieth century film history and theory. In this work, Tami Williams makes unprecedented use of the filmmaker's personal papers, production files, and archival film prints to produce the first full-length historical study and critical biography of Dulac.
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Remnants of early films often have a story to tell. As material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing. If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured. When the question of origin is overlooked, the story can be lost. Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, "How did these moving images get here for me to see them?"This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.
Motion pictures --- Film archives --- History
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"Almost 75 years after its creation, this is the first published edition of Germaine Dulac’s What is Cinema? Composed of the cineaste’s lectures (1925-1939), compiled by her partner Marie-Anne Colson-Malleville, it illuminates the vital role of this pioneer of the 1920s French avant-garde, as an innovator of modern cinematic thought, who was reflecting, early on, in a sustained and analytical way about what cinema is."-- "Près de 75 années après sa conception, voici la première édition de Qu’est-ce que le cinéma ? de Germaine Dulac. Composé des nombreuses conférences de la cinéaste (1925-1939) assemblées par sa partenaire Marie-Anne Colson-Malleville, cet ouvrage éclaire le rôle majeur de cette pionnière de l’avant-garde française, innovatrice de la pensée cinématographique moderne, qui théorisait déjà, dès les années 1920, ce qu’est le cinéma."--
Cinéma, histoire --- Motion pictures --- Film criticism --- 798.3 --- filmkritiek --- filmgeschiedenis --- film --- cinema --- Frankrijk --- filmtheorie --- avant-garde --- cineasten --- Filmregisseurs --- feminisme --- vrouwelijke regisseurs en cineasten --- Motion picture criticism --- Moving-picture criticism --- Criticism --- Aesthetics --- History --- film, esthetiek en kritiek --- Evaluation --- History and criticism
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Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection's esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from "international" to "world" to "transnational" to "global" frames.
Motion pictures --- Africa. --- Asia. --- Europe. --- Latin America. --- Middle East. --- cinema. --- digital. --- film. --- global. --- international. --- media. --- technology. --- transnational. --- world. --- History --- Africa. --- Asia. --- Europe. --- Latin America. --- Middle East. --- cinema. --- digital. --- film. --- global. --- international. --- media. --- technology. --- transnational. --- world.
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