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Zeitschriftenartikel zum Thema "France In motion pictures":
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Heinemann, Julia. „Motion Pictures of the Royal Family“. French Historical Studies 44, Nr. 2 (01.04.2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.
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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.
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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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Herowati, Herowati, Agung Pambudi und Nurbayti Nurbayti. „Metode Pembelajaran Sistem Pakar Diagnosa Penyakit Ikan Hias Air Tawar Pada SMK Negeri 2 Tangerang“. CICES 3, Nr. 1 (28.02.2017): 48–60. http://dx.doi.org/10.33050/cices.v3i1.422.
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The year 1830, munculah called zoetrope, cylindrical object with empty spaces with pictures drawn by hand on the surface of it. While playing, the same motion effect. The year 1870, an inventor from France, Emile Reynaud added a mirror in the middle of the cylinder space. A few years later, he discovered the version of Windows will arise. By adding light reflector and lenses to magnify images on the screen. The year 1892, he did a demonstration in Paris's Theatre Optique, with hundreds of images using the hands to cause the effect of motion pictures for 15 minutes. Rouben Mamoulian, an American film director born in 1929 demonstrated various types of sound in a movie. This is then pushed the filmmaker makes the soft-spoken. The first film camera that uses a color separation. Technicolor Camera that was discovered in 1932 using the principle of "Three-strip" that divides the image into the three primary colors red, yellow, blue (cyan, magenta, yellow). This camera into movie production tool fullcolor using the principle of the "three-strip"
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Bakker, Gerben. „Stars and Stories: How Films Became Branded Products“. Enterprise & Society 2, Nr. 3 (September 2001): 461–502. http://dx.doi.org/10.1093/es/2.3.461.
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Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate massive brand-awareness and to persuade consumers to see a new film. Data from the United States, Britain, and France showing the disproportionate distribution of income and fame among stars confirm their role as persuaders. Ultimately, film producers extended the life of their products by licensing their instant, tradable brands to other consumer goods industries.
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Guerin, Antoine, Antonio Abellán, Battista Matasci, Michel Jaboyedoff, Marc-Henri Derron und Ludovic Ravanel. „Brief communication: 3-D reconstruction of a collapsed rock pillar from Web-retrieved images and terrestrial lidar data – the 2005 event of the west face of the Drus (Mont Blanc massif)“. Natural Hazards and Earth System Sciences 17, Nr. 7 (18.07.2017): 1207–20. http://dx.doi.org/10.5194/nhess-17-1207-2017.
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Abstract. In June 2005, a series of major rockfall events completely wiped out the Bonatti Pillar located in the legendary Drus west face (Mont Blanc massif, France). Terrestrial lidar scans of the west face were acquired after this event, but no pre-event point cloud is available. Thus, in order to reconstruct the volume and the shape of the collapsed blocks, a 3-D model has been built using photogrammetry (structure-from-motion (SfM) algorithms) based on 30 pictures collected on the Web. All these pictures were taken between September 2003 and May 2005. We then reconstructed the shape and volume of the fallen compartment by comparing the SfM model with terrestrial lidar data acquired in October 2005 and November 2011. The volume is calculated to 292 680 m3 (±5.6 %). This result is close to the value previously assessed by Ravanel and Deline (2008) for this same rock avalanche (265 000 ± 10 000 m3). The difference between these two estimations can be explained by the rounded shape of the volume determined by photogrammetry, which may lead to a volume overestimation. However it is not excluded that the volume calculated by Ravanel and Deline (2008) is slightly underestimated, the thickness of the blocks having been assessed manually from historical photographs.
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Fauser, Annegret. „Sounding the Tricolore: France and the United States during World War ii“. Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, Nr. 1-2 (25.04.2017): 9–21. http://dx.doi.org/10.7202/1039609ar.
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During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.
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Ulff-Møller, Jens. „Film trade diplomacy between France and the United States: American and European policies toward the motion picture industry 1945–1971“. Innovation: The European Journal of Social Science Research 33, Nr. 4 (01.10.2020): 406–22. http://dx.doi.org/10.1080/13511610.2020.1838263.
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Mazzotti, Stéphane, Hervé Jomard und Frédéric Masson. „Processes and deformation rates generating seismicity in metropolitan France and conterminous Western Europe“. BSGF - Earth Sciences Bulletin 191 (2020): 19. http://dx.doi.org/10.1051/bsgf/2020019.
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Most of metropolitan France and conterminous Western Europe is currently located within the Eurasia intraplate domain, far from major plate boundaries (the Atlantic ridge and Nubia – Eurasia convergence zone). As in other intraplate regions, present-day deformation and seismicity rates are very slow, resulting in limited data and strong uncertainties on the ongoing seismotectonics and seismic hazards. In the last two decades, new geological, seismological and geodetic data and research have brought to light unexpected deformation patterns in metropolitan France, such as orogen-normal extension ca. 0.5 mm yr−1 in the Pyrenees and Western Alps that cannot be associated with their mountain-building history. Elsewhere, present-day deformation and seismicity data provide a partial picture that points to mostly extensive to strike-slip deformation regimes (except in the Western Alps foreland). A review of the numerous studies and observations shows that plate tectonics (plate motion, mantle convection) are not the sole, nor likely the primary driver of present-day deformation and seismicity and that additional processes must be considered, such as topography potential energy, erosion or glacial isostatic adjustment since the last glaciation. The exact role of each process probably varies from one region to another and remains to be characterized. In addition, structural inheritance (crust or mantle weakening from past tectonic events) can play a strong role in deformation localization and amplification up to factors of 5–20, which could explain some of the spatial variability in seismicity. On the basis of this review, we identify three research directions that should be developed to better characterize the seismicity, deformation rates and related processes in metropolitan France: macroseismic and historical seismicity, especially regarding moment magnitude estimations; geodetic deformation, including in regions of low seismicity where the ratio of seismic to aseismic deformation remains a key unknown; an integrated and consistent seismotectonic framework comprising numerical models, geological, seismological and geodetic data. The latter has the potential for significant improvements in the characterization of seismicity and seismic hazard in metropolitan France but also Western Europe.
Dissertationen zum Thema "France In motion pictures":
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Van, Liew Maria. „Democratic women : gender, national discourse and the cinema of post-Franco Spain /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.
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Strauss, Angela L. „The economic impact of film tourism on small communities“. Th author, 2003. http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail=.
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Thesis (M.A.)--University of Wisconsin-Stout., 2003. "December, 2003". "A research paper submitted in partial fulfillment of the requirements for the Master of Science Degree with major in Global Hospitality; Approved: 3 semester credits (signature) professor Lynnette Brouwer; The Graduate School, University of Wisconsin-Stout." Description based on 2005 edition printed on Aug. 2, 2007 from http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail= Bibliography p. 36-40. Also available online (viewed 2 Aug. 2007) at address: http://www.worldcatlibraries.org/wcpa/oclc/55215981?page=frame&url=http%3A%2F%2Fwww.uwstout.edu%2Flib%2Fthesis%2F2003%2F2003straussa.pdf&title=&linktype=digitalObject&detail=
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Noble, Fiona. „Post-transition transitions : childhood, performance and immigration in post-Franco Spanish cinema“. Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=227226.
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Emerson, John. „The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /“. Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
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Lehin, Barbara. „Cinema and society : Thatcher's Britain and Mitterand's France“. Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/1249/.
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This thesis examines the representation of society in British and French cinemas of the 1980s. In this comparative study, the choice of this particular decade was motivated by the coming to power of the Conservative Party in Britain and the Socialist Party in France. Since the two governments adopted 'extreme' policies increasing the strengths and weaknesses traditionally found in their film industries, British cinema struggled even harder while French cinema enjoyed a strong financial support from the state. A significant feature of these two national cinemas in relation to films about society was the predominance of the realist vein in Britain and the comedy genre in France. This generic discrepancy was highly influential in the way the two national cinemas referred to social issues in the 1980s and most scholars have argued that British cinema widely discussed the state of its society whereas, on the whole, French cinema avoided to do so. What this research hopefully demonstrates is that, despite different generic approaches, British and French cinemas equally contributed to depict their contemporary societies. To analyse how these two societies were represented on screen, three main areas are studied thematically: first people in power (public institutions and individuals), second the world of work, and third the family. After a brief summary of social issues in Britain and France in relation with the aforementioned themes, discussions of their filmic representations are based on the films themselves, the textual analysis of films taken as case studies and their critical reception. I will argue that in the 1980s, British cinema offered the overall image of a class-bound society where individuals - living side by side - were unable to escape their social fate. The paradox of this cinema made by a majority of left-wing filmmakers was that ultimately it favoured a rather traditional view of society. By contrast, my research shows that the idea of friendship and solidarity prevailed over economic and social hardship in French cinema. Although this depiction of society was largely consensual, it nevertheless opened the debate for social alternatives.
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Oscherwitz, Dayna Lynne. „Representing the nation cinema, literature and the struggle for national identity in contemporary France /“. Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.
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Phillips, Alastair. „City of darkness, city of light : the representation of Paris in the 1930s French films of the German émigrés“. Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/110873/.
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Paris is one of the key sites of meaning regarding France's cinematic output. This thesis surveys the contribution German émigré filmmakers made to the French cinema of the 1930s through a series of case studies of their depiction of the nation's capital city. It argues that this contribution was both typical and singular. The émigrés engaged directly with traditions of Parisian representation, but they also played a distinctive role in the important debate over the direction early French sound filmmaking should take. The body of the thesis contains detailed textual analysis of many émigré productions which have hitherto been ignored within film history. It contextualises this analysis with comparative discussion of films made by indigenous professionals and an examination of past and present intertextual aspects of Parisian culture. The thesis moves beyond aesthetic concerns to also consider the political, industrial and social significance of the work of the émigré Filmmakers. The reception of their films is located within a history of the Franco-German relationship as a whole. By drawing widely upon supporting documentation in critical and trade journals of the time, the thesis provides a new history of a crucial transitional point in the development of European film culture.
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Trippe, William Micah. „Where are the urban mechanics? : the case of the French city film 1926-1930“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610501.
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Ward, Glenn. „Journeys into perversion : vision, desire and economies of transgression in the films of Jess Franco“. Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6928/.
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Due to their characteristic themes (such as 'perverse' desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish 'sex and horror' specialist Jess Franco. My textual and contextual analysis shows that Franco's films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco's treatment of 'aberrant' and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco's portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. But these possibilities do not amount to the 'radicality' sometimes attributed to the exploitation field. Focusing on international co-productions from early 1960s to mid 1970s, I discuss the ideological ambivalence of their fascination with 'perversity' and 'otherness'. Chapter 1 argues that The Awful Dr Orlof challenges dominant standards of quality in contemporary Spanish cinema, that its figuring of monstrosity contains a potential critique of Francisco Franco's dictatorship, and that it only partially destabilises the genre's traditional gender codes. Chapter 2 discusses femme fatale stereotypes and fantasy tropes in Venus in Furs. Mixing visual discourses of 'high' and 'low' culture in an evocation of male 'mad love', this film dramatises vision in a way which problematises the notion of the mastering, coherent gaze. Chapter 3 argues that Franco's female vampire films embody, while reflexively estranging, heteronormative male fascination with the 'otherness' of female/'lesbian' desire. Franco's supposed transgressivity is often referred to as Sadeian; through a reading of Demoniac and Franco's 'captive women' imagery, the final chapter therefore discusses the political possibilities, contradictions and limitations of Franco's Sadeian representations.
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Langlois, Suzanne 1954. „La résistance dans le cinéma français de fiction (1944-1994) /“. Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.
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The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared with the written history of the Resistance. The sources for this work include both visual and written materials: films, preliminary documents, censorship files, and film criticism. Nine interviews provide an additional aspect to this corpus. The parallel drawn between the historiography of the Resistance and the films allowed for a better understanding of the fluctuating relationship between film and historical studies. Also, the examination of this filmography from the perspective of women resisters permitted filmic analysis to move beyond the traditional and politically oriented evaluations of films based on Gaullist or communist memory.
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Carrière, Louise. Les relations cinématographiques France-Québec. Montréal, Qué: Centre de recherche cinéma/réception de l'Université de Montréal, 1994.
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kydd, Elspeth. „Motion Pictures“. In The Critical Practice of Film, 17–37. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_2.
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Czitrom, Daniel. „Early Motion Pictures“. In Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.
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Walters, James. „Perpetual motion pictures“. In The Routledge Companion to World Cinema, 382–92. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-32.
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Walls, W. David. „Motion Pictures, Economics of“. In The New Palgrave Dictionary of Economics, 1–7. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_1942-1.
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Prinz, Jesse. „Affect and Motion Pictures“. In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 893–921. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_38.
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Walls, W. David. „Motion Pictures, Economics of“. In The New Palgrave Dictionary of Economics, 9164–70. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1942.
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Szanto, Mickaël. „The Pont Notre-Dame, Heart of the Picture Trade in France (Sixteenth-Eighteenth Centuries)“. In Moving Pictures, 77–91. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.seuh-eb.4.2017005.
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Sigal, Leonid, und Michael J. Black. „Predicting 3D People from 2D Pictures“. In Articulated Motion and Deformable Objects, 185–95. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11789239_19.
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Konferenzberichte zum Thema "France In motion pictures":
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MAEDA, Toshiyuki, Masumi YAJIMA und Akiyoshi WAKATANI. „Frequency-based Skill Analysis for Motion Pictures“. In 2018 12th France-Japan and 10th Europe-Asia Congress on Mechatronics. IEEE, 2018. http://dx.doi.org/10.1109/mecatronics.2018.8495892.
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Shimizu, Jun, Takahiro Ito, Yoshiyuki Tsuji und Yutaka Kukita. „PIV and LIF Measurements of Flow in the Vicinity of Moving Interface“. In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22749.
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The interface between overlaid fluids can become unstable when the fluids are excited vertically. Ito et al. (1999) studied a combined excitation problem where the fluids were excited vertically in a stationary cylinder while the interface motion was restricted by the mobility of the fluid-fluid-wall contact line. They found that the contact line exhibits stick-slip-like motion for the combination of fluids and wall material used in their experiments (water and kerosene oil in a cylinder made of acrylic resin). The flow above and beneath the interface is visualized by adding small particles. A vertical, diametral cross section of the test section is illuminated by a 509-nm Argon laser sheet. The experimental data presented in this paper were taken using ‘EXPANCEL’ particle tracer with a typical diameter of 10 µm, added to the water above and beneath the interface. Pictures are taken by a high-speed CCD camera at a rate of 120 frame/s. Each uninterlaced (120 frame/s) video frame is divided into 640 × 480 pixels for image processing. The fluid velocity is obtained for each 2.95 mm × 2.95 mm area by using the PIV technique. Visualization studies have revealed that the nonuniform velocity distribution above and below the interface extends to a much greater depth than the wave amplitude. Streamlines were taken by using Rhodamine-B fluorescent dye which was added to water beneath the interface and excited with an Ar laser fan beam, with a CCD camera.
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Lagendijk, R. L., und M. I. Sezan. „Motion compensated frame rate conversion of motion pictures“. In [Proceedings] ICASSP-92: 1992 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 1992. http://dx.doi.org/10.1109/icassp.1992.226178.
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Alexander, P. „Development of integral holographic motion pictures“. In Display Holography: Fifth International Symposium, herausgegeben von Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201899.
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Chuang, Yung-Yu, Dan B. Goldman, Ke Colin Zheng, Brian Curless, David H. Salesin und Richard Szeliski. „Animating pictures with stochastic motion textures“. In ACM SIGGRAPH 2005 Papers. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1186822.1073273.
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Karaki, Koichi, Hiroko Sasaki und Masaharu Mitsunaga. „Holographic motion pictures by hole burning“. In International Conferences on Optical Fabrication and Testing and Applications of Optical Holography, herausgegeben von Toshio Honda. SPIE, 1995. http://dx.doi.org/10.1117/12.215315.
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Baecker, Ronald, Alan J. Rosenthal, Naomi Friedlander, Eric Smith und Andrew Cohen. „A multimedia system for authoring motion pictures“. In the fourth ACM international conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/244130.244142.
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Abdulsamet, Hasiloglu, und Tosun Olcay. „Identification system from motion pictures: LBPH application“. In 2017 International Conference on Computer Science and Engineering (UBMK). IEEE, 2017. http://dx.doi.org/10.1109/ubmk.2017.8093546.
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Mayhew, Christopher A. „True Three-Dimensional Animation In Motion Pictures“. In OE LASE'87 and EO Imaging Symp (January 1987, Los Angeles), herausgegeben von David F. McAllister und Woodrow E. Robbins. SPIE, 1987. http://dx.doi.org/10.1117/12.940133.
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Awatsuji, Yasuhiro, Aya Komatsu, Masatomo Yamagiwa und Toshihiro Kubota. „Motion pictures of propagating ultrashort laser pulses“. In 26th International Congress on High-Speed Photography and Photonics, herausgegeben von Dennis L. Paisley, Stuart Kleinfelder, Donald R. Snyder und Brian J. Thompson. SPIE, 2005. http://dx.doi.org/10.1117/12.567035.
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Berichte der Organisationen zum Thema "France In motion pictures":
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Koschmann, Anthony, und Yi Qian. Latent Estimation of Piracy Quality and its Effect on Revenues and Distribution: The Case of Motion Pictures. Cambridge, MA: National Bureau of Economic Research, August 2020. http://dx.doi.org/10.3386/w27649.
