Auswahl der wissenschaftlichen Literatur zum Thema „Cinéma – Thèmes, motifs – Belgique“
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Zeitschriftenartikel zum Thema "Cinéma – Thèmes, motifs – Belgique"
Aubenas, Jacqueline. „Le soleil septentrion“. Cinémas 8, Nr. 1-2 (26.10.2007): 47–65. http://dx.doi.org/10.7202/024742ar.
Der volle Inhalt der QuelleAurouet, Carole. „Le cinéma sous l’oeil et la plume du poète surréaliste Robert Desnos“. Tangence, Nr. 124 (23.09.2021): 49–71. http://dx.doi.org/10.7202/1081687ar.
Der volle Inhalt der QuelleGalafa, Beaton. „Le corps noir et le racisme dans Lupin (2021) de George Kay et François Uzan“. (Des)troços: revista de pensamento radical 4, Nr. 2 (21.11.2023): e47480. http://dx.doi.org/10.53981/destroos.v4i2.47480.
Der volle Inhalt der QuelleDissertationen zum Thema "Cinéma – Thèmes, motifs – Belgique"
Couturier, Louise. „Motifs esthétiques et imaginaires ancestraux : le cinéma des frères Dardenne et l'imaginaire social de Cornelius Castoriadis“. Electronic Thesis or Diss., Paris 10, 2022. http://www.theses.fr/2022PA100013.
Der volle Inhalt der QuelleThe Dardenne Brothers’ cinematography takes place in a very changing society. The economic crisis, the fading of industrial template, the beginning of the postindustrial area drive to a lake of landmarks. The Dardenne’s fiction films react against this loss of social significations. We can find in aesthetic patterns filled with ancient imaginary values. Those patterns are bound to a network of social and ancestral meanings. Those meaning values exceed their functional dimension. They carry meanings and uses coming from yore. They act like bridges toward their previous occurrences, which are myths, tales, holy scriptures, etc. We assume that those patterns are a way to resist disillusioning. Ancestral imagination comes in order to overcome the vanishing of social imagination. At this point, we can say that the Dardenne’s filmography deals with Cornelius Castoriadis’ socio-philosophy. The Greek philosopher of the twentieth century’s work is about social imagination and how societies exist thanks to a structural imagination. This preoccupation seems to reemerge in the Dardenne’s aesthesis as a guideline. Their images carry fictions bound to foundation stories. Which are able to federate people as a community. This cinematography revives ancestral imaginary. This collective memory strengthens the feeling of membership to the human community. The aesthesis pattern engages the imagination process. It joins the narration. As a matter of fact, those stories lead to the main characters’ consciousness as other people are human too
Aguirre, Sylvie. „Formes et aspects de l'invisibilité dans le cinéma classique“. Montpellier 3, 2000. http://www.theses.fr/2000MON30038.
Der volle Inhalt der QuelleKuhne, Joëlle. „Personnages d'eau au cinema essai d'analyse anthropofilmique“. Strasbourg 2, 1999. http://www.theses.fr/1999STR20048.
Der volle Inhalt der QuelleGombeaud, Adrien. „L'organisation de l'espace dans le cinéma coréen des années 80 à nos jours“. Paris, INALCO, 2002. http://www.theses.fr/2002INAL0024.
Der volle Inhalt der QuelleDrame, Claudine. „Les représentations de la shoah au cinéma en France 1945-1985“. Paris, EHESS, 2001. http://www.theses.fr/2001EHES0026.
Der volle Inhalt der QuelleMarsh, Patrick. „Le cinema irlandais contemporain : a la recherche d'une identite“. Paris 3, 2000. http://www.theses.fr/2000PA030128.
Der volle Inhalt der QuelleDuarte-Simões, Teresa Cristina. „Carlos Diegues et la représentation de l'esclave au Brésil : Etude de "Ganga Zumba", "Xica da Silva" et "Quilombo"“. Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10009.
Der volle Inhalt der QuelleNuevo, Éric. „La configuration labyrinthique : le cinéma et ses sentiers qui bifurquent“. Amiens, 2012. http://www.theses.fr/2012AMIE0001.
Der volle Inhalt der QuelleThe feature of the maze captivates by the impenetrability of its mysteries and the deep impression that it generates on those who are seeking its meaning-"impression" has here to be understood both as "feeling" or "perception" and as "footprint" engraved in the mass spirit. This feature is well known: a sinuous pattern that one covers while wandering around, either fo fun or as a test. This work examines the way this feature, as we know it, spreads into several representations or patterns, and how these representations scatter into a corpus of movies in order to become a maze-shape. Furthermore, it aims at understanding how directors from different worlds put the pieces of a known, abstract shape together as if they were trying to reproduce a complex piece of machinery from its individual componants
Gerstenkorn, Jacques. „La Métaphorique dans le film de fiction : Les jeux de la ressemblance au cinéma“. Paris, EHESS, 1990. http://www.theses.fr/1990EHES0301.
Der volle Inhalt der QuelleAubert, Alain. „Propositions pour une "scenaristique" : "l'intrigue scenarique"“. Paris 3, 1996. http://www.theses.fr/1997PA030023.
Der volle Inhalt der QuelleThe "scenaric plot" can be found in film scenarisation. In order to study it, we will situate scenarisation in cinema as a whole. Cinema is divided into ten sub-territories that determine the scenario. This will constitute the general environment of the plot. We can then subdivide scenarisation in eight polarities. Besides sources and investigation, we can distinguish : idea, problematic, scheme, character, plot, spatial organisation, timing and dialogue. This will constitute the specific internal environment of the plot. We will then validly deal with the analysis of the "scenaric plot". In the first place, it is made of matter of "contents", which can be seen as composed of "semantic basins" (from "law" to "destiny"). Secondly, it seems to conform to a same form of expression, or obliged ternary existential scheme (situation-action-situation). Then it comes out, thanks to its own matter of expression, not the characters, but four axis of interactions: socio-economical, strutural, dramaturgical, and socio-psychic. At last, it complies with certain modes of the form of expression (logic, credibility: dramatization, "satirisation"). We then can foresee a "scenaristic"
Bücher zum Thema "Cinéma – Thèmes, motifs – Belgique"
Bourgeois, Nathalie. Grand / petit au cinéma. Arles (Bouches-du-Rhône): Actes Sud junior, 2006.
Den vollen Inhalt der Quelle findenSiety, Emmanuel. La peur au cinéma. Arles (Bouches-du-Rhône): Actes Sud junior, 2006.
Den vollen Inhalt der Quelle findenPisano, Giusy. L'amour fou: Au cinéma. [Paris]: A. Colin, 2010.
Den vollen Inhalt der Quelle findenAndré, Emmanuelle. Esthétique du motif: Cinéma, musique, peinture. Paris: Presses Universitaires de Vincennes, 2007.
Den vollen Inhalt der Quelle findenBurdeau, Marie-Mathilde, und Slavoj Z. iz ek. Tout ce que vous avez toujours voulu savoir sur Lacan sans jamais oser le demander à Hitchcock. [Nantes]: Capricci, 2010.
Den vollen Inhalt der Quelle finden1948-, Perraton Charles, und Université du Québec à Montréal. Groupe d'études et de recherches en sémiotique des espaces., Hrsg. Le cinéma: Imaginaire de la ville : "du cinéma et des restes urbains", prise 2. Montréal: Groupe d'études et de recherches en sémiotique des espaces, Université du Québec à Montréal, 2001.
Den vollen Inhalt der Quelle findenBernardi, Sandro. Antonioni, personnage paysage. Saint-Denis: Presses universitaires de Vincennes, 2006.
Den vollen Inhalt der Quelle findenLópez, Carmen María López. El cine en el pensamiento y la creación de Javier Marías. Vigo, Pontevedra (España): Editorial Academia del Hispanismo, 2019.
Den vollen Inhalt der Quelle findenAgel, Henri. Le beau ténébreux à l'écran. Paris: L'Harmattan, 1998.
Den vollen Inhalt der Quelle findenStähli, Adrian, Thomas Späth und Tomas Lochman. Antike im Kino: Auf dem Weg zu einer Kulturgeschichte des Antikenfilms. Basel: Verlag der Skulpturhalle Basel, 2008.
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