Auswahl der wissenschaftlichen Literatur zum Thema „Ethnologie – Au cinéma“
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 "Ethnologie – Au cinéma" 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 "Ethnologie – Au cinéma"
Guigou, Muriel. „Ethnologie et cinéma“. Journal des anthropologues, Nr. 90-91 (01.12.2002): 433–36. http://dx.doi.org/10.4000/jda.2171.
Der volle Inhalt der QuelleLanglois, Christine, Alain Morel und Colette Piault. „Cinéma et ethnologie européenne“. Terrain, Nr. 6 (01.03.1986): 72–77. http://dx.doi.org/10.4000/terrain.2899.
Der volle Inhalt der QuelleLatour, Eliane de, und Alain Morel. „Ethnologie et cinéma : regards comparés“. Terrain, Nr. 21 (01.10.1993): 150–58. http://dx.doi.org/10.4000/terrain.3079.
Der volle Inhalt der QuelleLeclerc, Nadège. „Le cinéma-ethnologie de Francesca Comencini, citoyenne engagée“. Transalpina, Nr. 19 (01.10.2016): 145–58. http://dx.doi.org/10.4000/transalpina.450.
Der volle Inhalt der QuelleATACK, M. „Review. L'Autre et le sacre: surrealisme, cinema, ethnologie. Thompson, C. W. (ed.)“. French Studies 53, Nr. 3 (01.07.1999): 364. http://dx.doi.org/10.1093/fs/53.3.364.
Der volle Inhalt der QuelleBusser, Rogier, Peter Post, H. J. M. Claessen, Arne Aleksej Perminow, Aone Engelenhoven, René Berg, Will Derks et al. „Book Reviews“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 151, Nr. 3 (1995): 446–70. http://dx.doi.org/10.1163/22134379-90003043.
Der volle Inhalt der QuelleSimard, Jean. „Un siècle de films ethnologiques et de transmission du patrimoine immatériel“. Terrains 5 (06.10.2008): 71–85. http://dx.doi.org/10.7202/019027ar.
Der volle Inhalt der QuelleGlass, Aaron, Brad Evans und Colin Browne. „“Ethnology as an Epic”: The Modern Cinema of Edward S. Curtis and the Kwakwa̲ka̲’wakw“. Getty Research Journal 16 (01.08.2022): 67–90. http://dx.doi.org/10.1086/721985.
Der volle Inhalt der QuelleMartins, Hugo. „Rites of passage in the cinema of Yasujiro Ozu“. New Cinemas: Journal of Contemporary Film 19, Nr. 1 (01.07.2021): 23–37. http://dx.doi.org/10.1386/ncin_00025_1.
Der volle Inhalt der QuelleAverianova, Nina. „FEATURE FILMS AS AN EFFECTIVE WAY OF DE-CONFLICTING OF THE UKRAINIAN SOCIETY“. Almanac of Ukrainian Studies, Nr. 27 (2020): 8–13. http://dx.doi.org/10.17721/2520-2626/2020.27.1.
Der volle Inhalt der QuelleDissertationen zum Thema "Ethnologie – Au cinéma"
Scherer, Marie-Catherine. „L' individu et le Nous dans le cinéma cubain (ICAIC 1960-2002) : mise en dialogue des discours fictionnels, personnels et officiels“. Paris, EHESS, 2013. http://www.theses.fr/2013EHES0547.
Der volle Inhalt der QuelleThis research postulates that cinematographic expression, and especially fiction films, constitutes a highly interesting field of research, since it allows for discovery and analysis of aspects of the imagination regarding the society, its history and the daily life of its people. Regarding the cuban context, the question of the dynamic representation of the relationship between the individual and the "We" (the collectif entity of reference) appears to be crucial. According to revolutionary ideology, each individual was called upon to engage actively in the construction of a new society that would finally give everyone the opportunity to be fulfilled both individually and collectively. However, the profund national and international changes occuring at the beginning of the 1990s, generating a social and economic crisis that had never seen before, modified the individual's relationship with the surrounding society. Through the analysis of over forty fiction films and their connection with various personal, official and theoretical discourses, this survey examines how the relationship between the individual and the We has been represented since the 1960s and especially since the 1990s. What references - ideological, cultural, affective - can and must the sense of belonging to the We rely on in order to continue making sense? How is the We being imagined so as to answer today's demand to include, in an egalitarian way, the diversity of individuals?
Davila, Andrés. „Les formes de la transe dans le cinéma expérimental ethnographique contemporain“. Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030026.
Der volle Inhalt der QuelleThis research focuses on the work of contemporary filmmakers whose artistic practice takes up one of the central themes of ethnographic cinema: the phenomenon of trance. Artists such as Marc et Éric Hurtado (Jajouka, quelque chose de bon vient vers toi, 2012), Tiane Doan na Champassak & Jean Dubrel (Natpwe, le festin des esprits, 2013), Vincent Moon (Collection Petites Planètes), Soundwalk Collective & Patti Smith (Illuminations, 2018) and Susana de Sousa Dias (Fordlândia Malaise, 2019), explore new avenues of ethnographic research through experimental film. Although relatively distant in their respective fields of experimentation, these artists approach different dimensions of trance in the same spirit of discovery. To do so, they mainly resort to formal invention and to production and distribution processes outside the film industry. The works of these artists have a specific approach to cinema and are characterized by the use of film (Super 16mm, 16mm, Super 8 and 8mm), the exploration of the particularities of perception, the disdain for standardized digital formats and the use of the powers of sound and music to create a sensory experience. Furthermore, in these works we see how trance cults in the contemporary world, mostly popular, continue to resist subordination to religious systems. In many cases, the trance forms of these cults find strong resonances with the myths, poetry, and music of traditions that depart from religious orthodoxy. Thus, the marginal and sometimes transgressive character of these practices, in relation to institutional religions, often gives them a subversive and libertarian dimension. This research work uses an interdisciplinary method and questions the relationship between this group of films and ethnomusicology, the anthropology of possession, ethnographic cinema and experimental cinema
Roche, Thierry. „Du cinéma comme de l'anthropologie : le pouvoir de la mise en scène, mise en scène du pouvoir“. Paris, EHESS, 2000. http://www.theses.fr/2000EHESA074.
Der volle Inhalt der QuelleDamiens, Caroline. „Fabriquer les peuples du Nord dans les films soviétiques : acteurs, pratiques et représentations“. Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF013/document.
Der volle Inhalt der QuelleThis thesis focuses on the representations of indigenous peoples of the North in Soviet fiction films and made for TV movies. Mobilizing several approaches — film analysis, the cultural history of cinema, the history of representations and Soviet political history — it confronts films with non-film sources (press, paper archives, interviews) in order to highlight the construction of a subjective point of view. It also studies the production of these representations, in both its most concrete and symbolic dimensions. The issue of the participation or non-participation of indigenous peoples in the creation of their image on film, whether in front of or behind the camera, is another central question. The filmic representations of the peoples of the North, constantly torn between visions of “progress” and “authenticity,” operate on the screen as images that allowed the Soviet Union to evaluate its own perception of modernity. From the 1920s to the 1980s, images of indigenous people shifted along a spectrum ranging from the incarnation of backwardness to be eliminated in the name of Sovietization to the embodiment of harmony with nature, now lost or threatened. Moreover, taking into account the question of the contribution of the indigenous people to the creation of their own image, this thesis demonstrates that cinema became a complex space, where different readings and uses were possible according to the position of the participants
Lu, Jiejing. „Écritures documentaires de l’histoire dans la Chine contemporaine : Hu Jie, Folk Memory Project, Mao Chenyu“. Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030027.
Der volle Inhalt der QuelleThis dissertation wishes to contribute to the studies about the independent documentary film creations in contemporary China which confront national history. In an intellectual and artistic context, where the exhumation and transmission of the buried facts are repressed or bereft of public representation, we would like to observe three exemplary cases in this regard : HU Jie, Folk Memory Project, and MAO Chenyu. Our study will try to characterise the different propositions and the principal gestures in their experimentations of documentary writing style.For HU Jie, the principal gesture is also the seminal gesture of classical documentary filmmaking : to establish the facts. Based on collected testimonials and archival footage, HU Jie explores in his practice how the subjects of his films and the historical facts would come to shape intelligibly. Folk Memory Project is an ongoing participatory documentary experience that engages amateur filmmakers or citizens to go back to their families’ rural villages, and film elders’ memories about difficult times. The project sees its practice as creation, investigation, transmission, but also intimate introspection. In the case of MAO Chenyu, who centers his work in the rural region and China’s peasantry, with his innovative approach that explores perpetually about the possible articulation between cinema and other practices, his work provides an ethnographic thinking to history writing.These three practices all participate to the critical approach of history writing in sounds and images, which reclaims history's collective and plurality becoming
Boukala, Mouloud. „D’une anthropologie partagée à une anthropologie partageable : documentaires halieutiques et pêche artisanale au lac Atitlán (Guatemala)“. Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20082.
Der volle Inhalt der QuelleSummary: the present study is concerned, in an anthropological perspective, with connecting actors and researchers to the halieutic management of a resource of which the economic and social visibility is rapidly growing.The observation and the analysis of the small-scale fishing such as it is practised by the Indians Tzutuj' iil on the lake Atitlán (Guatemala) constitutes a key activity in which the crossed configuration of the subjectivity and the collective appears, a privileged environment where relations nets are woven between the fishermen, between the fishermen and the lake, between the fishermen and the researcher.To appreciate what is taking place collectively; links were set up between cinematographic and anthropological fields. This research leads jointly a sensitive approach - the cinema - and a social and cultural approach to report links stamped with contingency and not unequivocal between the collective representations and the practices. Contrary to a shared anthropology where the name of a director predominates, this work creates a shareable anthropology within which the plural, this grammatical mode of the relativity, turns out to be convenient for a science of the diversity. So, from a halieutic stage where traditional movements are unfold, this study favours, thanks to new technologies, the social connections under an interactive angle. It is part of the structure of a participative research and promotes “an ethnography in network” where meshing are representative of the way the actors are connected with one another in a horizontal way
Archimbaud, Nicolas. „Vie quotidienne et soins des personnes âgées dépendantes en milieu hospitalier : une enquête filmique à l’hôpital Bretonneau (AP-HP, Paris 18ème)“. Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100169.
Der volle Inhalt der QuelleThis thesis deals with the daily life of the elderly who are patients at the Bretonneau Geriatric hospital, in Paris 18th arrondissement. It studies how these dependent or mentally-ill elders are cared for, focusing on innovative drug-free therapies (art therapy, esthetic therapy, psychomotricity).The field survey took place between 2008 and 2010 and used the method of exploratory filming, making the camera the main tool for the research. Three documentary films were made : Day Hospital (117 min), Short Stay (67 min) and Long Stay (120 min). While shedding some light on the way the institution works, these documentaries show the everyday life of a few patients and make them the main characters of the films. The written part analyses the strategy and the results of the field survey. It stresses the ethical issues raised by the presence of the filmmaker-observer in a highly sensitive environment and with very vulnerable subjects. The detailed analyses deal with the three main themes of the films : configuration of space and of material environment, physical techniques helping with loss of autonomy, interaction rituals between caregivers and patients
Coelho, Rafael Franco. „Iniciação : um olhar videografico sobre mito e ritual Xavante“. [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285003.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T21:29:13Z (GMT). No. of bitstreams: 1 Coelho_RafaelFranco_M.pdf: 54800298 bytes, checksum: 2b5fd744ab59afd296b3419731e92178 (MD5) Previous issue date: 2007
Resumo: O objetivo deste trabalho foi a produção de um documentário de curta metragem sobre o ritual de iniciação Xavante realizado entre maio e agosto de 2005, na Terra Indígena de Sangradouro localizada no Estado do Mato Grosso. Primeiramente apresenta-se uma breve introdução sobre aspectos importantes da estrutura social Xavante necessários à compreensão do ritual de iniciação, e, a seguir, a partir da pesquisa de campo foi feita uma descrição detalhada do referido ritual. Posteriormente, descreve-se o processo de criação do vídeo. Para tanto, foi adotado, como referência básica da pesquisa, o documentário Wapté M¿nhõnõ: a iniciação do jovem Xavante, realizado por uma equipe de quatro Xavante e um índio Suyá durante as oficinas de formação de cinegrafistas da ONG ¿Vídeo nas Aldeias¿. Em seguida, os resultados obtidos na pesquisa de campo, pesquisa bibliográfica e filmografia foram aplicados à apresentação e discussão da decupagem, organização do material bruto, estrutura narrativa e roteiro de montagem do documentário aqui realizado. Finalmente, o conceito de voz no cinema documentário é apresentado para uma reflexão sobre a linguagem do filme aqui proposto
Abstract: The purpose of this work was the production of a short documentary film about the Shavante¿s initiation ritual realized in 2005 between May and August in indian village called Sangradouro located in State of Mato Grosso. A brief introduction on important aspects of Shavante social structure is initially presented to permit understanding of the initiation ritual followed by a detailed description of its ritual based on the field research. In follow, the process of the video creation was described. For this, the documentary film Wapté M¿nhõnõ: a iniciação do jovem Xavante produced by a team of four Shavante indian and a Suyá indian during workshops of ONG ¿Video nas Aldeias¿ for formation of camera man was taken as a basic reference of research. Then, the field and bibliographic research and cinematographic results were applied on the presentation and discussion of selection and organization of rude material organization, of narrative structure and of assembly script for the documentary film here related. Finally, the voice concept in documentary film is presented for a reflection about the language of the short film produced.
Mestrado
Mestre em Artes
Marin, Nadja Woczikosky. „Memória, violência e território: de zapiway a cacique e a constituição do Povo Cinta Larga“. Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-15022018-102302/.
Der volle Inhalt der QuelleJoão Bravo was born neither João nor Bravo nor Cinta Larga. When the cacique was born, long before official contact with FUNAI (National Indian Foundation), life in the villages was very different from what it is today. Based on the memories of the cacique and other indigenous leaders, this work discusses the possibilities of working with memory, biography and life trajectories in anthropology and the importance of extending the scope of native narratives and interpretations in the context of asymmetrical forces in the representations of the past and the present. In the last fifteen years the Cinta Larga people have appeared in national and international news as a consequence of the violent conflicts related to the invasion of the miners and the exploitation of diamonds within the indigenous territory. The record of the memories in its own terms has became then an Indigenous leaders demand as they recognize the political importance of these representations. The research also addresses the potencials and limits of camera use and participatory video methodologies in the field, as well as the concept of ethnobiography developed by filmmaker Jorge Prelorán.
Julien, Frédéric. „La co-création à l'épreuve : enjeux éthiques et épistémologiques de la pratique du cinéma documentaire en milieu autochtone“. Mémoire, 2013. http://www.archipel.uqam.ca/5422/1/M12917.pdf.
Der volle Inhalt der QuelleBücher zum Thema "Ethnologie – Au cinéma"
1948-, Collier Malcolm, Hrsg. Visual anthropology: Photography as a research method. Albuquerque: University of New Mexico Press, 1986.
Den vollen Inhalt der Quelle findenHeider, Karl G. Seeing anthropology: Cultural anthropology through film. Boston: Allyn and Bacon, 1997.
Den vollen Inhalt der Quelle findenHeider, Karl G. Seeing anthropology: Cultural anthropology through film. 2. Aufl. Boston: Allyn and Bacon, 2001.
Den vollen Inhalt der Quelle findenR, Rollwagen Jack, Hrsg. Anthropological filmmaking: Anthropological perspectives on the production of film and video for general public audiences. Chur, Switzerland: Harwood Academic Publishers, 1988.
Den vollen Inhalt der Quelle findenSeeing anthropology: Cultural anthropology through film. 3. Aufl. Boston: Allyn and Bacon, 2004.
Den vollen Inhalt der Quelle findenSarah, Pink, Kürti László und Afonso Ana Isabel 1960-, Hrsg. Working images: Visual research and representation in ethnography. London: Routledge, 2004.
Den vollen Inhalt der Quelle findenMusée d'arts africains, océaniens, amérindiens de Marseille., Hrsg. Cinéma =: Cinema. [Marseille]: Musées de Marseille, 1992.
Den vollen Inhalt der Quelle findenKrista, Harper, Hrsg. Participatory visual and digital methods. Walnut Creek, California: Left Coast Press, 2013.
Den vollen Inhalt der Quelle findenPeter, Wogan, Hrsg. Hollywood blockbusters: The anthropology of popular movies. New York: Berg Publishers, 2009.
Den vollen Inhalt der Quelle findenSutton, David E. Hollywood blockbusters: The anthropology of popular movies. New York: Berg Publishers, 2009.
Den vollen Inhalt der Quelle findenKonferenzberichte zum Thema "Ethnologie – Au cinéma"
Olarescu, Dumitru. „Ethnological motifs in the non-fiction film“. In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.07.
Der volle Inhalt der Quelle