Auswahl der wissenschaftlichen Literatur zum Thema „Sourds – Cinéma“
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Zeitschriftenartikel zum Thema "Sourds – Cinéma"
Cellura, Thaïs. „Être aesh pour un étudiant sourd“. Empan 132, Nr. 4 (14.12.2023): 50–57. http://dx.doi.org/10.3917/empa.132.0050.
Der volle Inhalt der QuelleAlberdi Urquizu, Carmen. „Between Missed and Denied, a Word in Search of Voice“. L’Entre-deux et l’Imaginaire, Nr. 37 (30.06.2016): 151–63. http://dx.doi.org/10.35562/iris.1477.
Der volle Inhalt der QuelleAlberdi Urquizu, Carmen. „Between Missed and Denied, a Word in Search of Voice“. L’Entre-deux et l’Imaginaire, Nr. 37 (30.06.2016): 151–63. http://dx.doi.org/10.35562/iris.1477.
Der volle Inhalt der QuelleNarváez, Isabel Cómitre, und Esther Sedano Ruiz. „Sous-titrage créatif pour enfants sourds et malentendants : les contes au cinéma“. Palimpsestes, Nr. 32 (04.02.2019): 203–22. http://dx.doi.org/10.4000/palimpsestes.3635.
Der volle Inhalt der QuelleGoldmark, Daniel. „The Sounds of Early Cinema (review)“. Notes 59, Nr. 1 (2002): 67–69. http://dx.doi.org/10.1353/not.2002.0123.
Der volle Inhalt der QuelleSoares, Natália de Castro. „Relações sinestésicas entre imagem e som, entre cor e som e alguns exemplos no cinema silencioso“. Revista Laika 2, Nr. 3 (01.06.2013): 164–84. http://dx.doi.org/10.11606/issn.2316-4077.v2i3p164-184.
Der volle Inhalt der QuelleCalabretto, Roberto. „The Soundscape in Michelangelo Antonioni's Cinema“. New Soundtrack 8, Nr. 1 (März 2018): 1–19. http://dx.doi.org/10.3366/sound.2018.0113.
Der volle Inhalt der QuelleLeduc, Véro. „Est-Ce Vraiment une Bande Dessinée? Langues des Signes, Déconstruction et Intermédialité“. Canadian Journal of Disability Studies 8, Nr. 1 (21.02.2019): 58–97. http://dx.doi.org/10.15353/cjds.v8i1.471.
Der volle Inhalt der QuelleJr., Wenceslao Machado de Oliveira. „O que seriam as geografias de cinema?“ Txt: Leituras Transdisciplinares de Telas e Textos 1, Nr. 2 (31.12.2005): 27. http://dx.doi.org/10.17851/1809-8150.1.2.27-33.
Der volle Inhalt der QuelleKaraduman, Arzu. „Crystal sounds in contemporary film and TV“. Soundtrack, The 14, Nr. 1 (01.06.2023): 3–17. http://dx.doi.org/10.1386/ts_00018_1.
Der volle Inhalt der QuelleDissertationen zum Thema "Sourds – Cinéma"
Fougère-Danezan, Barbara. „Surdité et cinéma : un choc qui fait empreinte“. Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H302.
Der volle Inhalt der QuelleDespite the fact that, to date, only a couple of books treat of deafness in cinema, we should not hastily conclude that this subject lacks interest. We even postulate that this subject offers unsuspected richness. Our thesis thus engages in the exploration of this complex and dynamic relationship which exists between cinema and deafness, by observing it from different angles. We will therefore rely on Deaf and Disability Studies to examine the various marks that deafness has left in cinematographic art, as well as those left by cinema in Deaf culture. To do this, we will look back in history and seek to understand how cinema and the deaf community meet, influence each other or come into conflict. From Demenÿ's first phonoscopic productions to contemporary mainstream productions, including creations in sign language, we will highlight the often overlooked role of deaf people in the history of cinema, as subjects, actors, producers and directors. Our exploration will lead us to ask ourselves what transformations cinema undergoes, both in its form and in its content, when it comes into contact with Deaf culture, and vice versa. We will also examine the efforts made by those who seek to make cinema a “common” space for deaf and hearing people
Https://youtu.be/Evq_Jgd4DBU
Ouédraogo, Adama. „Les nouveaux formats sonores dans le champ de l'esthetique du cinéma“. Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20131.
Der volle Inhalt der QuelleIntroduced to the cinema a few decades after the birth of this art, sound has always felt the place is hers. Even today, although much progress as synchronization with the image, the acceptance of sound in film creation, improved sound quality, the spatial-wrap are among its other elements greet. The latter, specializing and envelope with the audiovisual films seem to be left to thank you for firms that compete in the market. Documents that address this area are hardly except in some few lines reviewed. Questions remains unanswered why the use of multichannel sound in cinema? What could be the reasons for the continued aesthetic according to Aristotelian and Kantian theories of art?
Katinakis, Nicolina. „L'influence du cinéma dans l'écriture romanesque de Marguerite Duras“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33293.
Der volle Inhalt der QuelleThis thesis attempts to explain in what way cinema influences the novelistic writing of Marguerite Duras. More specifically, this study exposes the three novels' generical, intertextual, thematical and semiotical characteristics in order to establish how they contribute to the creation of a particular writing style influenced by cinema.
Bourehla, Hedia. „La tradition orale, source d'inspiration à la création cinématographique arabe“. Paris 1, 1997. http://www.theses.fr/1997PA010604.
Der volle Inhalt der QuelleThe oral tradition is a mode of traditional way of communication that has played a key role as a vehicle of the knowledge transmission in the arabo-islamic culture. The advent of the Islam and its expansion has led to a major change from an "oral type culture" to a "visual type culture" based mainly on written documents, and image figuration, thus, dispite the religion opposition to the image reproduction. Among the many representation modes that had appeared at that time, calligraphy, which became a new artistic way of writing, the miniature, the painting, the shadow theater, the western theater and in general arts of the image ether fixed or in movement, were from the most important artistic changes. Those new communication moves had evolved as major ways of communication, the oral tradition which had been the unique vehicle for the collective memory storage has to adapt effectively itself to remain as a source of inspiration for artists and creators. One of the most obvious new adaptation mode of the oral tradition that had appeared, the audiovisual creation was one from the most significant. But the audiovisual creation faced many problems mainly because it was a technique imported from foreigner countries. Many trials of the safeguard of the oral tradition have been carried out by several producers and film makers from the oral world the cinema and the television indeed way and do represent the best way to preserve the basic elements of the oral tradition. However the transition from an oral tradition to an image representation tradition (i. E. Cinematographic account) will necessarly lead to a change in the langage form. The analysis of some films made directors form the arab culture, and inspired from earther oral traditio, illustrates the different attitude of the arab film directors towards the inherited patrimony which varies from one to another depending on this moral and intellectual standards in life. Nevertheless, and despite the difficulties faced by the arab oral tradition in integrating completly transmission mode (i. E, cinema), the oral account can without doubt generate new narrative forms in the arab cinema and can be one of the most significant source of its authenticity
Benoist, Sophie. „Johnny Depp : de l'art de la métamorphose à l'art du paradoxe“. Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030121.
Der volle Inhalt der QuelleFrom Wes Craven’s A Nightmare on Elm Street (1984) to Rob Marshall’s Pirates of theCarribean: On Stranger Tides (2011), Johnny Depp has built one of the most original andeclectic careers in the history of American film acting. As early as his first two big roles hehas exhibited a strong sense of artistic ethic from which he has rarely departed. In JohnWaters’ Cry-Baby (1989), he exaggerated each gesture, each facial expression. The followingyear, he starkly impersonated Tim Burton’s half machine, half human Edward Scissorhands.Since his debut, the characters played by Depp rarely escaped this transformative urge,which draws inspiration from various aesthetic sources and culminates in the skilful use ofboth underplay and overplay. Depp creates new forms of artistic expression by merging andharmonising these two opposing styles
Guglielmetti, Yohann. „De la relation entre musique et images, en prenant comme témoin le cinéma du réalisateur-compositeur Tom Tykwer“. Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H317/document.
Der volle Inhalt der QuelleThe perennial search of comprehension by the visual, of emotions generated by music, opens an horizon of paradoxes in cinema that merits further consideration. Filmmaker-composer Tom Tykwer's aesthetics that allows him to direct movies as Wagner composes his operas by writing scores and libretto, and whose inflexibility of his double function is probably unique in cinema, serve us as model to strengthen our revision of some commonly admitted thoughts about the relationship between music and images. We reassess the definition of music as sound material of films, the question of its concordance with the image, of its indépendence even though it integrates an unified whole, as well as its connection with the senses and their transcendence. Images as material substrate and music as element of consciousness in this director-composer's work retain their autonomy of sense while the score is closely connected to the film'structure. They are consistent with a complementary relation that questions an entire paradigm based on the idea of analogy or convergence, in short, of a duality between images and music in cinema
Boey, Danny. „The national specificity of horror sources in Asian horror cinema“. Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50769/1/Danny_Boey_Thesis.pdf.
Der volle Inhalt der QuelleKang, Chang Il. „Les débuts du cinéma en Corée : entre projection et spectacle vivant“. Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080032.
Der volle Inhalt der QuelleThis research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces
Dallaire, Frédéric. „Création sonore et cinéma contemporain : la pensée et la pratique du mixage“. Thèse, Paris 10, 2014. http://hdl.handle.net/1866/11587.
Der volle Inhalt der QuelleThis thesis describes and analyzes the esthetic, material and conceptual conditions that make the acoustic structures of contemporary cinema possible. The refinement of tools used for manipulating sound, the growing importance the sound designer and the emergence of a new space for sounds to coexist in (brought on by Dolby and multichannel sound systems) are factors that, over the past 30 years, have transformed the way we work with and listen to sound in film. These transformations reveal a new paradigm: mixing gradually imposed itself as the creative and perceptual act capable of accounting for our contemporary sensibility. This thesis explores the effects of the “thought process of mixing” (which functions by resonance, simultaneity, dosage and modulation) on the way we hear and understand the cinematographic experience. Working from the accounts of sound designers (Murch, Beaugrand, Thom Allard…), theoretical texts on film sound (Cardinal, Chion, Campam), documentaries on improvisational musicians (Lussier, Glennie, Frith), fiction films with a acute acoustic sensibility (Denis, Van Sant), philosophical texts on perception (Leibniz, James, Straus, Szendy…) and analyses of the cinematographic sound apparatus, this thesis renders audible the tensions, the recurrences, the structural connections and the problems, old and new, that forge and direct the theoretician, the artist and the auditor’s way of listening. By questioning the auditory dimension of perception, action, space and thought, this thesis aims to change the way we hear, create and think cinema.
Dias, Fabiana Quintana 1982. „Orfeu = do mito à realidade brasileira uma análise da trilha sonora dos filmes "Orfeu Negro" (1959) e "Orfeu" (1999) baseados na peça "Orfeu da Conceição" de Vinicius de Moraes“. [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284437.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T06:51:07Z (GMT). No. of bitstreams: 1 Dias_FabianaQuintana_M.pdf: 6613270 bytes, checksum: faf596c45dfc10530af2d819ca323be8 (MD5) Previous issue date: 2011
Resumo: Esta pesquisa tem como objetivo estudar a trilha sonora dos filmes "Orfeu Negro", de Marcel Camus (1959) e "Orfeu", de Cacá Diegues (1999), integrando música instrumental, canção, sound design e edição de som enquanto elementos criativos das obras e sua relação com as outras linguagens que compõem a totalidade dos filmes. Será feita uma decupagem imagética e sonora analisando a trilha musical como recurso articulatório da narrativa fílmica. Serão observadas, também, as estratégias encontradas pelos diretores ao realizar a transcrição do mito Orfeu para a linguagem audiovisual. A dramaturgia dos filmes será analisada a partir de sua referência direta que é a peça "Orfeu da Conceição" de Vinicius de Moraes, que antecipou musicalmente a bossa nova. A análise compreenderá, ainda, o modo pelo qual a música se insere na dramaturgia específica do cinema e a importância do pensamento sonoro cinematográfico. O universo musical de Orfeu é tão vasto que, para se compreender as trilhas musicais dos filmes, será necessário visitá-lo em sua longa história, nas várias manifestações do mito, especialmente as dramático-musicais
Abstract: This reseach deals about the Orfeu's soundtrack including music, songs, sound design and sound edition from the movies "Black Orpheus", directed by Marcel Camus (1959), and "Orfeu", directed by Cacá Diegues (1999), likewise a creative elements and their relationships the sound and film language as a whole. The Orfeu's musical universe is so great that, to understand the soundtracks of the movies it's necessary visit and know the history of musical dramaturgy, in what many manifestations of the myth are found. The objective is to make an image and sound decupage by means of an analysis of the soundtrack as a narrative film resource. There'll be analysed too the director's strategies to make the transcription of the Orpheu's myth using the conventions of the film's language. The start point is the seminal work of Vinicius de Moraes - "Orfeu da Conceição" - that influences bossa nova and the related films. These analysis will include, either, the way music is used to articulate the dramaturgy in those movies, and the importance of the cinematografic's musical thought
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Bücher zum Thema "Sourds – Cinéma"
1941-, Abel Richard, Altman Rick 1945- und Domitor Conference (5th : 1998 : Library of Congress), Hrsg. The Sounds of early cinema. Bloomington, IN: Indiana University Press, 2001.
Den vollen Inhalt der Quelle findenEntendre le cinéma. Paris: Klincksieck, 2010.
Den vollen Inhalt der Quelle findenLe son au cinéma. Arras: Artois presses université, 2010.
Den vollen Inhalt der Quelle finden1959-, Wallengren Ann-Kristin, Hrsg. Today's sounds for yesterday's films: Making music for silent cinema. New York: Palgrave Macmillan, 2015.
Den vollen Inhalt der Quelle findenRaine, Michael, und Johan Nordström, Hrsg. The Culture of the Sound Image in Prewar Japan. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089647733.
Der volle Inhalt der QuelleJournal audiobiographique: Radiophonie, arts, cinéma. Lyon]: Nouvelles éditions Scala, 2016.
Den vollen Inhalt der Quelle findenZavattini, Cesare. Cinema. Milano: Bompiani, 2002.
Den vollen Inhalt der Quelle findenTurkish German cinema in the new millennium: Sites, sounds, and screens. New York: Berghahn Books, 2012.
Den vollen Inhalt der Quelle findenNougaret, Claudine. Le son direct au cinéma: Entretiens. Paris: Institut de formation pour les métiers de l'image et du son, 1997.
Den vollen Inhalt der Quelle findenPisano, Giusy. Une archéologie du cinéma sonore. Paris: CNRS, 2004.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Sourds – Cinéma"
Windisch, Anna K., Claus Tieber und Phil Powrie. „From Unheard to Meaningful: When Music Takes Over in Film“. In When Music Takes Over in Film, 1–11. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_1.
Der volle Inhalt der QuelleSisto, Antonella C. „Sounding Fascism in Cinema“. In Film Sound in Italy, 17–39. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137387714_2.
Der volle Inhalt der QuelleToole, Floyd E. „Sound in Cinemas“. In Sound Reproduction, 305–36. Third edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315686424-11.
Der volle Inhalt der QuelleBridgett, Rob. „The Long Shadows of Cinema“. In Working with Sound, 52–54. London: Focal Press, 2023. http://dx.doi.org/10.4324/9781003354352-16.
Der volle Inhalt der QuelleAudissino, Emilio. „Gottfried Huppertz’s Metropolis: The Acme of ‘Cinema Music’“. In Today’s Sounds for Yesterday’s Films, 45–63. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137466365_4.
Der volle Inhalt der QuelleBhatt, Olympia. „Musical Beginnings and Trends in 1920s Indian Cinema“. In The Sounds of Silent Films, 123–38. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137410726_8.
Der volle Inhalt der QuelleLetcher, Christopher. „Post-Apartheid Cinema“. In The Routledge Companion to Screen Music and Sound, 318–27. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-26.
Der volle Inhalt der QuelleGolan, Yvonne Kozlovsky. „How Holocaust Documentaries Defined Documentary Cinema“. In Sources for Studying the Holocaust, 194–207. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003248620-19.
Der volle Inhalt der QuellePontara, Tobias. „Musical Offerings, Soothing Sounds and Sacrificial Acts“. In Andrei Tarkovsky’s Sounding Cinema, 96–117. New York : Routledge, 2020. | Series: Music and sound on the international screen: Routledge, 2019. http://dx.doi.org/10.4324/9780429297618-5.
Der volle Inhalt der QuelleTieber, Claus, und Anna K. Windisch. „Introduction: ‘The Birth of Cinema from the Spirit of Music’“. In The Sounds of Silent Films, 1–9. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137410726_1.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Sourds – Cinéma"
NEWELL, P., K. HOLLAND, S. TORRES-GUIJARRO, S. CASTRO und E. VALDIGEM. „CINEMA SOUND: A NEW LOOK AT OLD CONCEPTS“. In Reproduced Sound 2010. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17273.
Der volle Inhalt der QuelleHolman, Tomlinson. „Cinema Sound Quality Redux“. In SMPTE Technical Conference. IEEE, 2005. http://dx.doi.org/10.5594/m00396.
Der volle Inhalt der QuelleLEEMBRUGGEN, G., und P. NEWELL. „WHY DOES CINEMA SOUND QUALITY MOSTLY FAIL TO REALISE ITS POTENTIAL SOME INTERESTING RESULTS FROM THE SMPTES 2014 REPORT ON CINEMA SOUND SYSTEMS“. In Reproduced Sound 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16192.
Der volle Inhalt der QuelleDalgleish, M., und S. Whitfield. „LAYERING THE SENSES: EXPLORING AUDIO PRIMACY IN MULTI SENSORY CINEMA“. In Reproduced Sound 2021. Institute of Acoustics, 2021. http://dx.doi.org/10.25144/13795.
Der volle Inhalt der QuelleELLIOTT, D., K. HOLLAND und P. NEWELL. „THE AUDIBILITY OF COMB-FILTERING DUE TO PERFORATED CINEMA SCREENS“. In Reproduced Sound 2014. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16239.
Der volle Inhalt der QuelleGEDEMER, LA, und T. WELTI. „VALIDATION OF THE BINAURAL ROOM SCANNING METHOD FOR CINEMA AUDIO RESEARCH“. In Reproduced Sound 2013. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16436.
Der volle Inhalt der QuelleNEWELL, P., JG GARCÍA und K. HOLLAND. „AN INVESTIGATION INTO THE ACOUSTIC EFFECT OF CINEMA SCREENS ON LOUDSPEAKER PERFORMANCE“. In Reproduced Sound 2013. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16438.
Der volle Inhalt der QuelleAMPEL, FJ. „THE EVOLUTION OF, AND CURRENT DEVELOPMENTS IN, NON COMMERCIAL CINEMA/SURROUND AUDIO TECHNOLOGY“. In Reproduced Sound 1993. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20622.
Der volle Inhalt der QuelleDolci, Marco, Lamberto Tronchin, Francesca Merli und Antonella Bevilacqua. „Cinema Sound and audio 3D: the case study of Cinema Lux, Rome, Italy“. In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610881.
Der volle Inhalt der QuelleLeembruggen, G. „TEMPORAL STRUCTURE OF THE SPECTRAL LEVELS WITHIN PRE-RECORDED SPEECH, MUSIC AND CINEMA MATERIAL“. In REPRODUCED SOUND 2020. Institute of Acoustics, 2020. http://dx.doi.org/10.25144/13370.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Sourds – Cinéma"
Dabrovolskas, Audrius. In Search of Film Policy and Film Exhibition Model Based on Mission Economy: the Case of the Baltic Film Industries. Publishing House - Vilnius Business College, Juni 2023. http://dx.doi.org/10.57005/ab.2023.1.2.
Der volle Inhalt der QuelleVargas-Herrera, Hernando, Juan Jose Ospina-Tejeiro, Carlos Alfonso Huertas-Campos, Adolfo León Cobo-Serna, Edgar Caicedo-García, Juan Pablo Cote-Barón, Nicolás Martínez-Cortés et al. Monetary Policy Report - April de 2021. Banco de la República de Colombia, Juli 2021. http://dx.doi.org/10.32468/inf-pol-mont-eng.tr2-2021.
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