Auswahl der wissenschaftlichen Literatur zum Thema „Dardennes Brothers“
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Zeitschriftenartikel zum Thema "Dardennes Brothers"
Wheatley, Catherine. „The Third City: The Post Secular Space of the Dardenne Brothers' Seraing“. Film-Philosophy 23, Nr. 3 (Oktober 2019): 264–81. http://dx.doi.org/10.3366/film.2019.0116.
Der volle Inhalt der QuelleYang, Hyunjin. „Moral Imagination through Dilemma Narrative of Forgiveness: Centering on Dardenne Brothers’ “Le fils”“. Korean Association for Literacy 14, Nr. 1 (28.02.2023): 473–89. http://dx.doi.org/10.37736/kjlr.2023.02.14.1.473.
Der volle Inhalt der QuelleCho, Chang-Yeol. „Film Acting Method of Dardenne Brothers“. Journal of the Korea Entertainment Industry Association 16, Nr. 3 (30.04.2022): 77–90. http://dx.doi.org/10.21184/jkeia.2022.4.16.3.77.
Der volle Inhalt der QuelleJungbum Shin. „A Study of the Dardenne Brothers’ Cinema Space“. journal of the moving image technology associon of korea 1, Nr. 21 (Dezember 2014): 153–67. http://dx.doi.org/10.34269/mitak.2014.1.21.008.
Der volle Inhalt der QuelleCooper, Sarah. „Mortal Ethics: Reading Levinas with the Dardenne Brothers“. Film-Philosophy 11, Nr. 2 (Juni 2007): 66–87. http://dx.doi.org/10.3366/film.2007.0011.
Der volle Inhalt der QuelleAhn, Soong-Beum. „Meaning of 'Labor' and Aesthetic in Dardenne Brothers' Films“. Journal of the Korea Contents Association 12, Nr. 9 (28.09.2012): 93–105. http://dx.doi.org/10.5392/jkca.2012.12.09.093.
Der volle Inhalt der QuelleDillet, Benoit, und Tara Puri. „Left-over Spaces: The Cinema of the Dardenne Brothers“. Film-Philosophy 17, Nr. 1 (Dezember 2013): 367–82. http://dx.doi.org/10.3366/film.2013.0021.
Der volle Inhalt der QuelleRushton, R. „Empathic projection in the films of the Dardenne brothers“. Screen 55, Nr. 3 (01.09.2014): 303–16. http://dx.doi.org/10.1093/screen/hju027.
Der volle Inhalt der QuelleOh, Bobae. „The Language-Image of the Dardenne Brothers Representing Solidarity: Focusing on Their Film, Deux jours, une nuit“. Hankuk University of Foreign Studies Literature Studies 90 (31.05.2023): 85–104. http://dx.doi.org/10.22344/fls.2023.90.85.
Der volle Inhalt der QuellePark, Eun-Jee. „The politics of friendship and paternity: The Dardenne brothers’ Rosetta“. Studies in French Cinema 12, Nr. 2 (08.05.2012): 137–49. http://dx.doi.org/10.1386/sfc.12.2.137_1.
Der volle Inhalt der QuelleDissertationen zum Thema "Dardennes Brothers"
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
Steele, Jamie Nicholas. „The 'transnational regional' in Francophone Belgian cinema“. Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15434.
Der volle Inhalt der QuelleChevigny, Pier-Philippe. „Furie, curiosité, solidarité : mise en scène de la tension dans le cinéma des frères Dardenne“. Thèse, 2016. http://hdl.handle.net/1866/16140.
Der volle Inhalt der QuelleCe mémoire de recherche-création cherche à repérer trois figures de mise en scène dans le cinéma des frères Dardenne (la caméra portée à l'épaule, le cadrage restreint, le plan- séquence) et d’identifier en quoi celles-ci sont génératrices d’une tension transnarrative qui garde le spectateur en haleine, lui procure des affects, l'engage dans la narration, le choque ou le bouleverse : bref, lui fait vivre une expérience intense. Par une analyse de la scène d’ouverture de «Rosetta», nous décrirons comment la caméra mobile portée à l’épaule exprime l’affolement du personnage éponyme tout en proposant un pôle d’identification spectatoriel inédit. «Le Fils» sera ensuite étudié afin de cerner comment les frères Dardenne emploient le cadre comme un cache afin de générer une tension narrative dans une logique de réticence informationnelle. L’usage du plan-séquence, que nous suggérons d’interpréter comme une sorte de réalité virtuelle permettant de faire l’expérience de la solidarité sociale, fera également l’objet d’une analyse à partir de son usage dans «Deux jours une nuit». En guise de conclusion, nous verrons comment nous nous sommes inspirés de ces trois figures de mise en scène dans Tala, le court-métrage de fiction qui accompagne ce mémoire.
This research & creation thesis aims to identify three components of the Dardenne brothers' directing style (over-the-shoulder camera, tight framing and long take) and try to describe how they generate a transnarrative tension that captivates the audience, immerses it in the story, shock it or move it : in other words, these components make the viewer go through an intense experience. We will analyze the opening scene of "Rosetta" to describe how the over- the-shoulder camera visually translates the character's emotions whilst suggesting a new type of spectatorial identification. "Le Fils" will then be analyzed, hoping to demonstrate how the Dardennes' use of tight framing creates mystery and suspense by discarding narrative information. Finally, "Deux jours une nuit" will allow us to examine the brothers' use of the long take, which we choose to read as a type of virtual reality that allows the viewer to experience social solidarity. As a conclusion, we will explain how these three directing components have been recuperated in "Tala", the short fiction film that makes up the creation part of this thesis.
Bücher zum Thema "Dardennes Brothers"
Lamberti, Edward. Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.001.0001.
Der volle Inhalt der QuelleCinema Of The Dardenne Brothers Responsible Realism. Wallflower Press, 2012.
Den vollen Inhalt der Quelle findenMosley, Philip. Cinema of the Dardenne Brothers: Responsible Realism. Columbia University Press, 2013.
Den vollen Inhalt der Quelle findenThe Cinema Of The Dardenne Brothers Responsible Realism. Wallflower Press, 2012.
Den vollen Inhalt der Quelle findenMayward, Joel. Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Taylor & Francis Group, 2022.
Den vollen Inhalt der Quelle findenMayward, Joel. Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Taylor & Francis Group, 2022.
Den vollen Inhalt der Quelle findenMayward, Joel. Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Routledge, Chapman & Hall, Incorporated, 2022.
Den vollen Inhalt der Quelle findenMayward, Joel. Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Taylor & Francis Group, 2022.
Den vollen Inhalt der Quelle findenMayward, Joel. Dardenne Brothers Cinematic Parables: Integrating Theology, Philosophy, and Film. Routledge, 2022.
Den vollen Inhalt der Quelle findenDillet, Benoît, und Tara Puri. Political Space of Art: The Dardenne Brothers, Ai Weiwei, Burial and Arundhati Roy. Rowman & Littlefield Publishers, Incorporated, 2016.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Dardennes Brothers"
Mayward, Joel. „Conclusion“. In The Dardenne Brothers' Cinematic Parables, 233–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-9.
Der volle Inhalt der QuelleMayward, Joel. „Transcendent Realism“. In The Dardenne Brothers' Cinematic Parables, 142–90. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-7.
Der volle Inhalt der QuelleMayward, Joel. „Traces of Hope“. In The Dardenne Brothers' Cinematic Parables, 99–141. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-6.
Der volle Inhalt der QuelleMayward, Joel. „Integrating Theology, Philosophy, and Film Studies“. In The Dardenne Brothers' Cinematic Parables, 13–56. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-3.
Der volle Inhalt der QuelleMayward, Joel. „Film and Parable“. In The Dardenne Brothers' Cinematic Parables, 57–96. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-4.
Der volle Inhalt der QuelleMayward, Joel. „Guiding Images“. In The Dardenne Brothers' Cinematic Parables, 191–232. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-8.
Der volle Inhalt der QuelleMayward, Joel. „Introduction“. In The Dardenne Brothers' Cinematic Parables, 1–10. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-1.
Der volle Inhalt der QuelleLamberti, Edward. „Introduction“. In Performing Ethics Through Film Style, 29–32. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.003.0002.
Der volle Inhalt der QuelleO'Shaughnessy, Martin. „The Dardennes’ unwitting gifts“. In Looking Beyond Neoliberalism, 132–59. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474448628.003.0006.
Der volle Inhalt der QuelleMosley, Philip. „Responsible Realists“. In The Cinema of the Dardenne Brothers, 1–25. Columbia University Press, 2013. http://dx.doi.org/10.7312/columbia/9780231163293.003.0001.
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