Auswahl der wissenschaftlichen Literatur zum Thema „Critique cinématographique – Italie – 1970-“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Inhaltsverzeichnis
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Critique cinématographique – Italie – 1970-" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Critique cinématographique – Italie – 1970-"
Archambault, Fabien. „La révolte bolonaise de 1964 : massification de la culture du football et politisation du supportérisme dans l’Italie des années 1960“. Parlement[s], Revue d'histoire politique N° 29, Nr. 1 (05.04.2019): 255–66. http://dx.doi.org/10.3917/parl2.029.0255.
Der volle Inhalt der QuelleMénard, Olivier. „L’implication du clergé et du laïcat dans les ciné-clubs étudiants au Québec, 1949-1970“. Articles 73 (09.12.2011): 61–75. http://dx.doi.org/10.7202/1006567ar.
Der volle Inhalt der QuelleMorettin, Eduardo, und Ismail Xavier. „La critique cinématographique au Brésil et la question du sous-développement économique : du cinéma muet aux années 1970“. 1895, Nr. 77 (01.12.2015): 8–31. http://dx.doi.org/10.4000/1895.5052.
Der volle Inhalt der QuelleRobert, Marc-André. „Une semaine dans la vie de camarades (1976) : manifeste cinématographique de la contre-culture québécoise1“. Revue d’histoire de l’Amérique française 67, Nr. 2 (02.12.2014): 193–221. http://dx.doi.org/10.7202/1027647ar.
Der volle Inhalt der QuelleMecchia, Giuseppina. „Oublier Napoléon: l’économie du travail immatériel dans les grands romans de Stendhal“. Nottingham French Studies 55, Nr. 1 (März 2016): 62–78. http://dx.doi.org/10.3366/nfs.2016.0139.
Der volle Inhalt der QuelleDissertationen zum Thema "Critique cinématographique – Italie – 1970-"
Darchino, Stefano. „« Cinema demenziale » : catégorisation et réception critique italienne du cinéma comique américain des années 1970 aux années 1980“. Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080068.
Der volle Inhalt der QuelleThis research focuses on the use of the category cinema demenziale (literally “demented cinema”) by Italian reviewers with respect to four American films, initially qualified as “comedies” for their release in theaters in the late 1970s and early 1980s: Animal House (1978), 1941 (1979), Airplane! (1980), and The Blues Brothers (1980). This new category was influenced by the turbulent political context in Italy at the time, with critics interpreting these films as subversive and dissident. Roberto Silvestri, the principal inventor of cinema demenziale, defined it as a left-wing cinema. A methodology applying Janet Staiger’s “historical materialist approach to reception studies” casts light on the cultural and political background to the construction and emergence of this category in the press. Particularly important in this account are the movement of 1977 (the most intense wave of protests and social movements in Italy since 1968-1969), the publication of the Italian edition of Mikhail Bakhtin’s book on François Rabelais, and the critical reception of the four feature films. We also retrace the development of cinema demenziale from the 1980s to the present era, where the term is still well-known and in common use; for instance, we examine in detail various Italian publications’ proposals to extend the grouping to include a larger corpus of films. This first doctoral dissertation on cinema demenziale explores movies and critical texts that have thus far received little scholarly attention
Hallé, Esther. „Antonio Pietrangeli, critique et création (1940-1965). : pensées du réalisme cinématographique“. Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC042.
Der volle Inhalt der QuelleAntonio Pietrangeli (1919-1968) has been a prominent figure in Italian cinema, as a critic throughout the 1940’s and as a director from 1953. As an actor in the critical debates during the elaboration of neorealism, Pietrangeli places his first film (Empty Eyes, 1953) under the auspices of a neorealist ending season. This style will evolve afterwards towards a realism conceived under the concepts of loss and incompleteness, which is particularly visible in the light of his concern to the condition of women. The present study proposes the first french-language monography about the work of Pietrangeli, with the ambition to establish a dialogue between his critical and filmic work. The hypothesis of a Pietrangelian conception of cinematographic realism, by revealing specific relations between critics and creation, established a dialogue where the realistic question appears as a conceptual tool, which enlightens Pietrangeli's contribution to the elaboration of a cinematic modernism. The first three chapters trace back a "realistic struggle", which is fully part of Italian neorealism’s historiography, and is characterized by its moral specificity. It announces an epistemological transition, meaning that the conception of cinema moves away from an idealistic tradition in favor of existential perspectives, embodied in a filmography where reality, becoming questionable, indicates a skeptical phenomenology, which constitutes the core of the fourth and fifth chapters
Henry, Christel. „"A cidade das flores " : pour une réception culturelle au Portugal du cinéma néoréaliste italien comme métaphore possible d'une absence“. Caen, 2002. http://www.theses.fr/2002CAEN1350.
Der volle Inhalt der QuelleGheller, Enrico. „La politique et les auteurs : le néoréalisme italien au prisme de la cinéphilie française (1946-1956)“. Thesis, Normandie, 2021. http://www.theses.fr/2021NORMC005.
Der volle Inhalt der QuellePost-war Italian cinema has its rightful place in history under the label of "neorealism". It is a pantheonisation that is still difficult to question today, which often schematises the image of this cinema in an arbitrary manner. One of the peculiarities of this current is its ease of adaptation beyond the Alps: indeed, this film movement has sparked off a very virulent debate in France, which has seen the participation of all strata of the intelligentsia. The neo-realist canon was consolidated on the basis of a handful of films andthanks to the critical work of a few committed intellectuals, as well as the popular press. The editors of specialised magazines and daily newspapers have the privilege of a primacy of gaze on transalpine cinematic novelties: most often outside the traditional distribution channels, within the many film clubs operating in the Parisian context, critics, journalists and writers discover a cinema that they soon call the "Italian school". These observations force us to question several stereotypes about this cinema: shooting in the street, nonprofessional actors and current affairs subjects do not prevent post-war Italian cinema from following in the footsteps of what was, after all, a traditional production. These conclusions make it necessary today to return to the critical debates of the immediate post-war period with a new and impartial look, in order to deepen the complexity of the process of reception of neorealism
Oggero, Elisa. „Une cinématographie et une scénographie d’avant-garde : Carlo Levi et le cinéma (1930-1950)“. Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1036.
Der volle Inhalt der QuelleIn recent years there have been many in depth studies and publications on Carlo Levi's literary and artistic works. However, a section of his work, in particular his work in set design, script writing and film making in general, has been largely neglected by critics. Carlo Levi's association with the film industry started at the beginning of the nineteen thirties and extended to the beginning of the nineteen fifties. During these years, Carlo Levi had the opportunity to work not only with famous artists like Enrico Paulucci, Italo Cremona and Carlo Mollino, with whom he designed the film sets of Patatrac and Pietro Micca, but also with men of letters of the stature of Mario Soldati, Rocco Scotellaro and Alberto Moravia. The aim of this study is to trace Carlo Levi's career in cinema using information found in archived documentation of various types and from various sources: from sets, synopses and story-boards but also in previously unpublished commercial contracts. The films that he produced cover all genres: from comedy to drama and from documentaries to musicals. Our work makes a hereto unknown section of Carlo Levi's work accessible, thereby contributing to the rediscovery of a major 20th century author
Cavaleri, Giuseppe. „Le cinéma italien en France : histoire, société et diffusion : étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino“. Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100096/document.
Der volle Inhalt der QuelleOne may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals
È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival
Deloingce-Veenendaal, Véronique. „Le personnage dans l'oeuvre cinématographique de Luchino Visconti“. Paris 4, 2006. http://www.theses.fr/2005PA040147.
Der volle Inhalt der QuelleFrom Livia Serpieri to the Prince of Salina, from Angelica to Gustav von Aschenbach, the cinema of Luchino Visconti has given birth to a number of characters among the most unforgettable produced by the art of cinema. This study attempts to depict the creative process and the technical means brought into play by Luchino Visconti and those who worked with him in order to build up and to give life to heroic figures mostly originating from the pens of the greatest authors. Research draws largely on accounts of close collaborators of the director and is divided into two parts. The first part treats the physical reality of the characters and looks for the causes behind the visual perfection of Visconti costumes. These reasons are to be found as much in the history of Italian cinema as in the application of a strict Visconti method. The second part attempts to grasp the hero in a socio-economic context and to draw a moral portrait. Particular attention has been paid to the literary origins of the Visconti hero, and especially to an analysis of the fundamental influence which the work of Marcel Proust had on Visconti's creativity
Quaquarelli, Lucia. „Objets de fiction, quelques fonctions narratives de l'objet romanesque (France-Italie 1980-1990)“. Paris 3, 2003. http://www.theses.fr/2003PA030088.
Der volle Inhalt der QuelleThis work deals with the study of objects in novels. It lays out a " functional " analytical path of these magical objects, based on the reading of a number of Italian and French novels from the Eighties. Although these fictive objects generally manifest an important utility profile - in a similar way to their cousins in the real world (by the necessity of resemblance and internal motivation) - they equally always possess a fictional and functional role which goes beyond such a profile. It is a role which appears around the relation the objects establish with the characters and the events of the story or, on another level, with the narration. A role which registers constants within the history of the novel, from which it is interesting to measure the distance, rather than the points in common, which mark the most recent production. This is the reason why this study proposes two distinct paths between the objets which punctuate the novels of the Eighties. The first follows the traces of the relation which ties the fictive objects to the characters and the second questions the functions of the fictive objects with regard to the narration. Only two paths are proposed in the vast and complex network of invisible relations at the heart of which the object can be found; two paths which pan out far from the will to taxonomize or be exhaustive. Two analytic itineraries which respond to the necessity to account for the specificity of the corpus of fiction chosen, with for a backdrop a diachronic-dialectic literary dimension from which this specificity can be grasped
Repetto, Benedetto. „Le documentaire Italien : la contestation cinématographique dans l'ère Berlusconienne“. Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLV069.
Der volle Inhalt der QuelleThe present study debates the Italian documentary in Berlusconi’s era reflecting on its interactions with historical and cultural transformations in Italy. This documentary production reveals the urge to expose power mechanisms and seek truth in a moment when making political cinema looked difficult. We started from the theory that a political protest documentary certainly existed, and the study of the social context in which a certain movie was realized allows us to establish the frame in which the authors operated their criticism. The documentary focused on reality, correlating with history and memory. It served as an archive for struggles. These movies witness painful stories, but also show the resisting fraction of a people. This kind of documentary aspires to being the historical memory of that Italy
Murru, Matilde. „L'image et la culture de la Sardaigne dans la filmographie italienne du deuxième après-guerre à la fin des années 70“. Paris 3, 2002. http://www.theses.fr/2002PA030100.
Der volle Inhalt der QuelleLand of bandits or exotic holiday paradise ? It seems that from its first appearances on the screen Sardinia offers only these two clichés. This paper intends to go beyond the commonplace to precisely analyse the image the cinema has given to Sardinian culture and reality, with its language and its peculiar features. During our study, documentary films and fictions concerning the island have been considered from the Second Post-War to the end of seventies. The documentary films have been divided in six thematic groups relating to historic periods and to the most important problems of Sardinian society. In terms of fiction, we sought to draw up an inventory of all films which recall, directly or indirectly, Sardinia from Cenere (1916) with Eleonora Duse to Marco Ferreri's Chiedo asilo (1979). Finally we point out two short interviews with Gavino Ledda and with the Taviani brothers, respectively author and directors of the most famous film abroad and probably the only one which was able to portray clearly some Sardinian reality