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HOR Horticulture --- cultivation methods --- horticulture --- nutrient film technique ( NFT ) --- thesis
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Pseudomonas fluorescens --- Rhizobacteria --- Growth --- Inoculation --- Wastewater --- Wastewater treatment --- Epuration des eaux --- Pgpr --- Epuvalisation --- Nutrient film technique
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Wastewater treatment --- plants --- Purification --- Wastewater --- hydroponics --- Nft --- Nutrient film technique --- Epuration biologique
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Culture hydroponique. --- Culture hydroponique --- hydroponics --- Horticulture --- horticulture --- Solution nutritive --- nutrient solutions --- Substrat de culture --- growing media --- Substance nutritive minérale --- Mineral nutrients --- Physiologie de la nutrition --- Nutrition physiology --- Culture maraîchère --- Vegetable growing --- Culture sans sol --- Soilless culture --- HOR Horticulture --- soilless growth --- horticulture. --- Nft --- Nutrient film technique
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Wastewater treatment --- technology --- Phragmites australis --- Vegetable growing --- Solanum melongena --- Capsicum annuum --- nutrition. --- nutrition --- Project evaluation --- Salmonella --- Escherichia coli --- Scirpus lacustris --- Solanum lycopersicon --- Nutrient film technique --- Ecoulement permanent --- Fleurus --- Nyons --- Corroy --- Propriete bacteriologique --- Eau de baignade --- Senegal. --- Senegal --- Morocco --- Portugal --- Belgium --- France
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"Let me tell you a story," each film seems to offer silently as its opening frames hit the screen. But sometimes the film finds a voice-an off-screen narrator-for all or part of the story. From Wuthering Heights and Double Indemnity to Annie Hall and Platoon, voice-over narration has been an integral part of American movies.Through examples from films such as How Green Was My Valley, All About Eve, The Naked City, and Barry Lyndon, Sarah Kozloff examines and analyzes voice-over narration. She refutes the assumptions that words should only play a minimal role in film, that "showing" is superior to "telling," or that the technique is inescapably authoritarian (the "voice of god"). She questions the common conception that voice-over is a literary technique by tracing its origins in the silent era and by highlighting the influence of radio, documentaries, and television. She explores how first-person or third-person narration really affects a film, in terms of genre conventions, viewer identification, time and nostalgia, subjectivity, and reliability. In conclusion she argues that voice-over increases film's potential for intimacy and sophisticated irony.
Voice-overs. --- Motion picture plays, American --- Motion pictures --- History and criticism. --- adaptation theory. --- adaptations. --- all about eve. --- annie hall. --- barry lyndon. --- book to movie. --- documentary film. --- double indemnity. --- exposition. --- film adaptation. --- film criticism. --- film interpretation. --- film studies. --- film technique. --- film theory. --- film. --- filmmaking. --- how green was my valley. --- literature. --- media. --- naked city. --- narration. --- narrative theory. --- narrative. --- newsreels. --- nonfiction. --- opening frames. --- platoon. --- popular culture. --- radio. --- red river. --- silent film. --- storytelling. --- television. --- tv. --- voice over. --- wuthering heights.
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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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