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Motion pictures --- Production and direction. --- film --- filmtechniek --- filmproductie --- digitale film --- scenario --- camerawerk --- filmklank --- filmregie --- filmdistributie --- filmindustrie --- filmtheorie --- filmgenres --- Eisenstein Sergei --- Bazin André --- guerilla filmmaking --- 791.41 --- 791.42
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791.43 --- film --- 791.41 --- filmdistributie --- film en recht --- economie --- recht --- film en economie --- filmproductie --- filmtheorie --- 791.43 Filmkunst. Films. Cinema --- Filmkunst. Films. Cinema --- Motion pictures --- Cinéma --- Research --- Economic aspects --- Recherche --- 316.774 --- 316.774 Massamedia--(communicatiesociologie); technologische aspecten zie {659.3} --- Massamedia--(communicatiesociologie); technologische aspecten zie {659.3} --- Research.
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Film --- Imperialism in motion pictures. --- Motion pictures --- Colonies in motion pictures --- Impérialisme au cinéma --- Cinéma --- Colonies au cinéma --- Political aspects --- History --- Colonies --- Aspect politique --- Histoire --- Impérialisme --- Histoire et critique --- Au cinéma --- History. --- film --- filmgeschiedenis --- twintigste eeuw --- documentaire film --- kolonialisme --- imperialisme --- Groot-Brittannië --- filmtheorie --- filmproductie --- filmdistributie --- 791.43 --- Impérialisme au cinéma --- Cinéma --- Colonies au cinéma --- Imperialism in motion pictures --- Histoire et critique. --- Au cinéma. --- Impérialisme --- Au cinéma.
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Beschrijving van geschiedenis en actualiteit van het filmgebeuren in België.
Film --- History --- Belgium --- Belgique --- België --- Films --- Films cinématographiques --- #BAVD --- #SBIB:004.AANKOOP --- #SBIB:309H1313 --- #A0012A --- 624.1 Film --- 791.43 --- Jan-Pieter Everaerts --- animatie --- computeranimatie --- documentaires --- film --- filmdistributie --- filmexploitatie --- filmgeschiedenis --- filmproductie --- tekenfilm --- televisie --- 791 --- filmkunst --- speelfilms --- tekenfilms --- 20e eeuw --- 798.42 --- animatiefilm --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- film, geschiedenis der filmkunst, België --- geschiedenis
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In de Eerste Wereldoorlog kwam de Antwerpse dierentuin in grote moeilijkheden. Dieren stierven door voedseltekort en bombardementen. Er kwamen steeds minder bezoekers. Het faillissement dreigde. In 1915, volle oorlogstijd, nam de directie een drastische beslissing. De feestzaal werd omgetoverd tot een bioscoop, met live-orkest. Het werd een weergaloos succes. Dankzij de nieuwe inkomsten kon de Antwerpse ZOO de oorlogsjaren overleven. Ook na de oorlog floreerde de bioscoop. In 1929 werd succesvol de omslag naar de geluidsfilm gemaakt. Midden jaren dertig ging het de bioscoop steeds minder voor de wind. De concurrentie in de buurt was flink toegenomen. In 1936 hield de directie het voor bekeken. In dit boek leest en ziet u het hele verhaal.
film --- filmgeschiedenis --- bioscopen --- 791.43 --- interbellum --- eerste wereldoordlog --- twintigste eeuw --- dierentuinen --- dierentuin van Antwerpen --- Antwerpen --- België --- C4 --- #SBIB:309H1313 --- #SBIB:309H1312 --- 798.42 --- 798.17 --- filmdistributie --- wereldoorlog I --- zoo --- Dierentuinen --- dierentuin --- Media en communicatie --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- Filmwezen: bedrijfseconomische aspecten, productie- en distributiestructuren --- film, geschiedenis der filmkunst, België --- film- en videokunst, bioscoopbedrijf - distributie --- Exhibitions --- History of Antwerp --- Antwerp Zoo --- anno 1910-1919 --- anno 1920-1929 --- anno 1930-1939
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Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity-or both at once.From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.
Motion picture audiences --- Video art --- Motion pictures and the arts. --- Art and motion pictures. --- Motion picture industry --- History. --- Technological innovations. --- kunst --- film --- filmtheorie --- filmgeschiedenis --- video --- videkunst --- filmproductie --- filmdistributie --- experimentele film --- 791.41 --- Film industry (Motion pictures) --- Moving-picture industry --- Art and moving-pictures --- Motion pictures and art --- Arts and motion pictures --- Moving-pictures and the arts --- Electronic art --- Experimental television --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Motion pictures and the arts --- Art and motion pictures --- History --- Technological innovations --- Cultural industries --- Motion pictures --- Arts --- Art, Modern --- Performance art --- Television --- Experimental films --- Performing arts --- Audiences --- Art et cinéma. --- Art vidéo --- Cinéma Industrie --- Cinéma et arts. --- Cinéma --- Media Studies. --- Motion picture audiences. --- Video art. --- Histoire. --- Innovations. --- Publics. --- Time-based art
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"In these two volumes of original essays, scholars from around the world address the history of British colonial cinema stretching from the emergence of cinema at the height of imperalism, to moments of decolonization and the ending of formal imperialism in the post-Second World War"--
Film --- Motion pictures --- Colonies in motion pictures --- Cinéma --- Colonies au cinéma --- Colonies --- History --- Histoire --- Great Britain --- Grande-Bretagne --- Impérialisme --- Cinéma et propagande --- Colonies in motion pictures. --- Histoire et critique --- Au cinéma --- Colonies. --- Great Britain. --- History. --- film --- filmgeschiedenis --- twintigste eeuw --- documentaire film --- postkolonialisme --- kolonialisme --- Groot-Brittannië --- filmtheorie --- filmproductie --- filmdistributie --- 791.43 --- Documentary films --- Historical films --- Imperialism in motion pictures. --- Motion pictures in propaganda --- World War, 1939-1945 --- Performing arts --- Political aspects --- Motion pictures and the war. --- Film & Video --- General. --- History & Criticism. --- Cinéma --- Colonies au cinéma --- Imperialism in motion pictures --- World War, 1939-1945, in motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures) --- Motion pictures and the war --- History and criticism --- Colonial Film Unit (Great Britain) --- Histoire. --- Histoire et critique. --- Au cinéma. --- Impérialisme --- Cinéma et propagande --- Au cinéma.
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