Relevant bibliographies by topics / André fils

Academic literature on the topic 'André fils'

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Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "André fils"

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Wénin, André. "Les «sacrifices» d’Abraham et d’Anne. Regards croisés sur l’offrande du fils." Études théologiques et religieuses 76, no. 4 (2001): 513–27. http://dx.doi.org/10.3406/ether.2001.3662.

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Les commentateurs n’ont guère exploré le lien qui unit le récit de l’offrande de Samuel en 1 S 1/1-2/21 et la célèbre page de Gn 22/1-19 où Abraham offre son fils sur la montagne. Après avoir proposé une clé de lecture nouvelle pour le récit de l’Aqéda, André Wénin tente de montrer que de tels liens existent à divers niveaux. Autour de la situation des acteurs, des motifs narratifs mais aussi des enjeux anthropologiques et théologiques, un jeu d’échos se développe entre les deux récits et conduit à s’interroger sur la signification d’un tel rapprochement.
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Jacobs, A. "De Ikoon van de Drieëenheid." Het Christelijk Oosten 39, no. 2 (November 18, 1987): 69–83. http://dx.doi.org/10.1163/29497663-03902002.

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L’icône de la Sainte Trinité A partir du 5e siècle on rencontre dans l’iconographie l'image des trois personnes qui rendant visite à Abraham sont assises à sa table. C'était la préfiguration de l'eucharistie, mais en même temps Ie symbole de la Trinité. Petit à petit cette image devient l'icône de la Trinité, les trois personnes étant prése ntées comme trois anges. Au 9e siècle la composition des trois figures prend la forme pyramidale. L'icône portera désormais Ie titre de „La Sainte Trinité”. C'est André Roublev qui a créé au 15e siècle l’image parfaite de cette icóne: ici plusieurs lignes du passé convergent et ferment une synthèse admirable. Bien sûr, les spécialistes qui ont étudié cette icóne en donnent une interprétation différente et divergente. Roublev place les trois personnes dans l'ordre suivant: Père, Fils et Saint Esprit, Ie Fils se trouvant au milieu. L'article expose les arguments en faveur de cette thèse.
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Deveikienė, Vaiva, and Steponas Deveikis. "EDUARDO ANDRĖ LIETUVOJE KURTŲ PARKŲ ISTORINĖS IR MENINĖS RAIDOS TYRIMAI: NAUJAUSI FAKTAI, ATRADIMAI IR ĮŽVALGOS." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 3 (September 30, 2011): 184–99. http://dx.doi.org/10.3846/tpa.2011.20.

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At the end of 19th century, the financial powers of a famous Lithuanian family, the counts Tyszkiewicz, encouraged a major re-construction and development of their manors, and allowed creating (with the assistance of well-known European architects) unique landscape views in the towns of Lentvaris, Palanga, Traku Voke, and Uzutrakis. All of these architecture ensembles have the common heritage of great landscaped parks by a famous French landscape architect Edouard André (1840–1911) and his son René André (1867–1942). This article discusses all four parks, which are considered to be significant resources of recreation and culture tourism and important cultural and natural heritage. These residences of family Tysz- kiewicz were to be in places of natural beauty and landscape exceptional. Publications regarding parks in Lithuania created by E. and R. André are numerous. However, the authors of this overview examined these ensembles with the view of cultural and artistic development, and will discuss here the aspects and trends of the complex uses of these manors and parks. It is particularly interesting to consult the book of E. André General Treaty of the Composition of Parks and Gardens, published by Masson in 1879, in which E. André covered all aspects of the business, still receives attention from landscapers today as much as it outlines the new directions of the profession. Major works by landscaper intended to create natural and picturesque (pittoresque) effects, to used ripraps, flows of water, waterfalls, balustrades and areas of greenery as viewing points, to contrast the methods used. It is particularly interesting to consult the letters and logbooks of René André, and article about the Palanga Park at Revue horticole on 1906, which contain many allusions and remarks to different Lithuanian park’s construction works in 1898–1899. In 1898 young Belgian landscape architect Jules Buyssens (1872–1958) was called upon to direct the construction works in Palanga and other places. The reliable Boisard, responsible for the ripraps, rockworks in the different parks, accompanied him. Not all of the concepts of the creators have been successfully realized in these manors; some visions blurred in the events of the 20th century. But currently, the existing elements of these ensembles, the actualized projects, and research, collectively permit reconstruction of these ensembles, adapting them for today’s leisure and recreational purposes. Résumé Dans cet article nous présentons nos recherches faites sur les parcs en Lituanie, conçus par Edouard André (1840–1911) et son fils René André (1867–1942). En Lituanie nous en comptons quatre, tous dans les anciens domaines de la famille noble et riche de Tyszkewicz à Lentvaris, Palanga, Traku Voké et Uzutrakis. Ces parcs représentent le patrimoine de l’art des jardins de la fin de 19ème siècle à la composition mixte. Tous les quatre parcs sont bien adaptés aux conditions géographiques, climatiques, orthographiques des lieux. Un traité «L’art des jardins…» écrit par Édouard André et publié en 1879 chez éditeur parisien Masson, réédité par Laf- fitte à Marseille en 1986, servait du socle pour étudier et com- prendre des sources et les motivations du créateur des parcs. Le maître E. André a écrit : «il faut chercher l’effetpittoresque avant tout». Ce grand architecte paysagiste et botaniste avait bien conçu ses projets en empruntant des fonds du paysage, en proposant les vues sur la mer Baltique à Palanga, sur les lacs à Lentvaris et Uzutrakis, en créant et multipliant des scènes aquatiques et de rochers dans le milieu des parcs, en utilisant les plantations indigènes et apportées. Les parterres de broder- ies ou fleuristes autours des palais et chateaux sont encore visibles dans tous les parcs. Les spécialistes des parcs peuvent consulter une autre source sur la création du parc à Palanga – un article de René André dans la «Revue horticole» en 1906. Cet article, illustré d’une vue à vol d’oiseau en chromolithographie ainsi que les plans aquarellés des parcs de Lentvaris et de Palanga nous apportent encore des précisions. Les lettres, la correspondance retrouvée ainsi que des carnets de route de René André présentés par nos collègues français nous permettent de comprendre le circuit des voyages professionnels, de dater avec précision bon nombre de chantiers chez les comtes Tyszkiewicz en 1898–1899. Selon des avis de famille André et des lettres d’époque les parcs en Lituanie sont exécutés par les spécialistes de l’équipe d André : les rochers par Boisard et les plantations – par jeune paysagiste belge Jules Buyssens (1872–1958), le dernier, un collaborateur d’André a travaillé en Lituanie beaucoup plus. En donnant l’analyse de la création d’E.André, de la rétrospective du développement nous présentons la vision ainsi que les suggestions sur les parcs des anciens domaines à Lentvaris, Palanga, Trakų Vokė et Užutrakis. Le développement de la ville de Vilnius ainsi que la ville de Palanga impose pour les parcs son habitude, son mouvement des visiteurs. Dans ce bijou des jardins, comme dans tous les anciens parcs et jardins, nous trouverons le patrimoine scientifique, artistique, éducatif ainsi qu’écologique et récréatif. La qualité de la vision de grand professionnel fait que certains lieux destinés au moment de leur création à une clientele privée, exigeante et fortunée, ont pu être réappropriés depuis lors par le grand public et se sont adaptés à leur nouvelle fonction avec souplesse. Le parc botanique de Palanga en est un vivant témoin en Lituanie. Il faut suivre dans les autres parcs. La situation naturelle et géographique dans les trois parcs à côté de Vilnius est extrêmement privilégiée et les rend susceptibles de devenir des vecteurs de tourisme de qualité. Santrauka Lietuvoje turime keturis tarptautinės reikšmės kraštovaizdžio architektūros paveldo objektus žymaus prancūzų kraštovaizdžio architekto Eduardo Andrė (1840–1911) su sūnumi Renė Andrė (1867–1942) XIX a. pab. kurtus parkus grafų Tiškevičių dvaruose Lentvaryje, Palangoje, Trakų Vokėje ir Užutrakyje. Visi jie, nežiūrint skirtingo likimo ir skirtingos priežiūros, išsaugojo žymaus parkų kūrėjo raiškos dvasią, kompozicijos principus, meninius akcentus ir netgi detales. Tai nuostabus kultūros paveldas ir ekonominis (kultūrinio turizmo, rekreacijos) bei edukacinis išteklius. Šio paveldo pažinimas nuolat auga, plečiasi, atskleidžia naujų klodų ir įžvalgų. 2011 m., minėdami garsaus parkų kūrėjo Eduardo Andrė (1840–1911) šimtąsias mirties metines, turime puikią progą ir pareigą apibendrinti naujausius tyrinėjimus, pirmiausia remdamiesi archyvinės (ikonografinės, autentiškų tekstų, užrašų) medžiagos ir natūros tyrimais bei publikacijomis. Turime galimybę panagrinėti XIX a. pabaigos laiškus ir užrašus, eskizus ir parkų planus, sudarytus parkų kūrėjų ranka. Naujausiais tyrimais ir ankstesnių inventorizacijų medžiagos analize paremta studija turėtų būti svarbi parkotyros ir parkotvarkos metodologijai ir padėti formuluoti rekomendacijas šio kraštovaizdžio architektūros paveldo apsaugos ir gaivinimo projektams.
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Podkrižnik, Mimi. "Les visages ambigues d'André Breton." Acta Neophilologica 36, no. 1-2 (December 1, 2003): 137–42. http://dx.doi.org/10.4312/an.36.1-2.137-142.

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L'article porte sur une machinerie d'images du célebre pilier du mouvement surréaliste français André Breton. Cette figure extraordinaire, mais aussi contradictoire, a d'un côté changé la vie et la vision de tous ceux qui l'ont connue, et n'a en meme temps cessé de changer aussi sa propre façon d'etre. Une personnalité hors du commun, qui écrit des livres et des lettres, qui parle a haute voix, qui s'engage politiquement, qui s'exile, qui est cible de ses adversaires, reste souvent dogmatique en public, mais parle beaucoup plus librement en privé. Pere fouettard qui a ses interdits, ses tabous, qui crie familles je vous hais et ne peut supporter la métamorphose de ses disciples, se métamorphose en un pere et (plus tard) fils aimable. Celui qui veut appartenir a la famille des grands indésirables, trouve sa place parmi les plus grands désirables du 20e siecle.
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Collin, Marc. "André Ouimet, Journal de prison d’un fils de la Liberté, 1837-1838, Montréal, Éditions Typo, 2006, 155 p." Recherches sociographiques 48, no. 2 (2007): 119. http://dx.doi.org/10.7202/016421ar.

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Oki, Oki cahyo nugroho, and Ridwan Yudha Pratama Ridwan. "Gemblak stereotype film “kucumbu tubuh indahku” by Garin Nugroho." COMMICAST 3, no. 3 (November 7, 2022): 266–75. http://dx.doi.org/10.12928/commicast.v3i2.5734.

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Film is one of the electronic media that has a huge appeal among the public. Films also play an active role in conveying messages or information, but with very neat packaging. Make the message or information more interesting and entertain the audience. Based on this, many films always contain events or phenomena, one of which is the film "A Memories of My Body". Where this film tells the story of LGBT people and is associated with ancient culture, namely the Lengger and Gemblak dances, this paper aims to find out the analysis of William Gamson and Andre Modigliani's framing of the Gemblak stereotype in the film "A Memories of My Body," which was made by Garin Nugroho and released on April 18, 2019. The theory used is framing analysis from William Gamson and André Modigliani. The methodology used in this research is descriptive qualitative. The data analysis technique uses the Umberto Eco concept by determining the framing device (metaphor, exemplar, catchphrase, depiction, visual image). ) and tools of reasoning (roots, principle of appeal, consequences).The results show that in the film "A Memoir of My Body" by Garin Nugroho there is a depiction of Gemblak as a sexual deviation and feminism, which can lead to public opinion.
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Vanderschelden, Isabelle. "André Téchiné: The Subtle Exploration of Identities: Bill Marshall (2007) André Téchiné." Film-Philosophy 11, no. 3 (October 2007): 247–53. http://dx.doi.org/10.3366/film.2007.0040.

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Dalle Vacche, Angela. "André Bazin's Film Theory: Art, Science, Religion." Artium Quaestiones 31, no. 1 (December 20, 2020): 191–207. http://dx.doi.org/10.14746/aq.2020.31.7.

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Always keen on the spectators’ freedom of interpretation, André Bazin’s film theory not only asks the famous question “What is cinema?,” but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin’s “anti-anthropocentric” ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema’s ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin’s emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic’s metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema’s lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera’s fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas.
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Fort, Jeff. "André Bazin's Eternal Returns: An Ontological Revision." Film-Philosophy 25, no. 1 (February 2021): 42–61. http://dx.doi.org/10.3366/film.2021.0156.

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The recent publication of André Bazin's Écrits complets (2018), an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple (“Bazin and ontology”) nonetheless retains its fascination. Rather than attempting to provide a systematic reworking of this couple along well established lines, particularly those defined by realism and indexicality, this article proposes to shift the notion of ontology in Bazin from its determination as actual existence toward a more radical concept of ontology based on the notion of mimesis, particularly as articulated, in a Heideggerian mode, by Philippe Lacoue-Labarthe. This more properly ontological concept, also paradoxically and radically improper, is shown to be at work already in Bazin's texts, and it allows us to see that far from simplistically naturalizing photographic technology, Bazin does the contrary: he technicizes nature. If Bazin says that the photograph is a flower or a snowflake, he also implies that, like photographs, these are likewise a kind of technical artifact, an auto-mimetic reproduction of nature. Bazin likewise refers to film as a kind of skin falling away from the body of History, an accumulating pellicule in which nature and history disturbingly merge. This shifted perspective on Bazin's thinking is extended further in reference to Georges Didi-Huberman on the highly mimetic creatures known as phasmids, insects that mimic their environement. I extend this into the dynamic notion of eternal return, an implicit dimension of Bazin's thinking, clarified here in reference to Giorgio Agamben and the “immemorial image” which, like Bazin's “Death Every Afternoon,” presents an eminently repeatable deathly image, an animated corpse-world that can be likened to hell.
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Amad, Paula. "Film as the “Skin of History”." Representations 130, no. 1 (2015): 84–118. http://dx.doi.org/10.1525/rep.2015.130.4.84.

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Why did the notoriously antimontage film theorist André Bazin champion Nicole Védrès’s Paris 1900 (1947), a kaleidoscopic film de montage compiled from scraps of archival film, including footage of a death recorded live? How did archival films and death on film together mediate for Bazin the fatal coupling of “total war” and “total History,” and why were archival films seen by others to raise urgent questions of historical philosophy? This essay explores the intensified historical consciousness that developed around archival films and the representability of death after the Second World War. Reinserting documentary as the missing key to Bazin’s so-called realist film theory, I argue that Bazin found in Paris 1900 a new archive-inflected and essayistic model of film’s historicity whose full potential continues to be realized in the explosion of archival filmmaking today.
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Dissertations / Theses on the topic "André fils"

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Davor, Abazovic. "Film och andra rörliga bilder som läromedel?" Thesis, Malmö högskola, Lärarutbildningen (LUT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35485.

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Syftet med föreliggande uppsats var att undersöka gymnasielärarnas användning av rörliga bilder i undervisningen, i olika ämnen där både gymnasiegemensamma-/kärnämnen och profil-/karaktärsämnen finns representera. Undersökningen utgick från antagandet att ovanstående förekommer – men i varierande grad – och sökte därför reda på hur och varför det rörliga materialet används i undervisningssammanhang samt vilka typer av rörliga bilder det handlar om. Av intresse var också hur lärarna får fram det rörliga material, hur de tänker kring och arbetar med avsändare och källkritik vid såväl val av material som i klassrummet samt hur de upplever att deras elever förhåller sig till den här typen av undervisning.Metoden för undersökningen var den kvalitativa forskningsintervjun. Sex stycken intervjuer genomfördes med gymnasielärare - som undervisar i svenska, engelska, matematik, fysik, historia, samhällskunskap, religion, fotografi, form, bild, grafisk design, kultur och idéhistoria, instrument, digitalt skapande samt ljudläggning – på en mindre skolenhet med inriktning mot estetik och media. Undersökningens resultat visar att rörliga bilder av många olika sorter förekommer i hög utsträckning i undervisningen. Det rörliga materialet används för att skapa en känsla och intresse för ämnet samt för att visualisera processer, skeenden och begrepp. Några av lärarna producerar också eget material som läggs upp på internet och på så sätt blir tillgängligt för eleverna även utanför lektionstiden. Man ställer samma kvalitetskrav på rörliga bilder som på läroboken, men rätt återgivning av fakta är inte alltid det viktigaste eftersom ”fel” historieskrivning i en spelfilm kan användas för att träna elevernas kritiska tänkande. Lärarna hyser ingen misstro mot populärkultur, snarare ser lärarna den som ett sätt att närma sig eleverna på deras egna villkor. Lärarna jobbar kritiskt med medier. Lärarna arbetar också för att visa olika perspektiv och uppmuntrar olika tolkningar vid diskussioner av rörliga bilder, men upplever att det många gånger finns en kulturell friställdhet hos eleverna som göra att de inte vill eller inte kan diskutera det de ser. Det samma gäller frågor om källkritik. Lärarna är själva noga med vilka avsändare som finns bakom det de visar. Lärarna upplever att deras elever besitter en viss mediekunnighet men att de ofta väljer att inte använda den i skolsammanhang.Lärarna visar ofta rörligt material som de själva redan äger eller som de hittar via internet. Ingen av lärarna verkar låna materialet från någon officiell mediecentral. Lärarna bryter många gånger mot upphovsrättslagen, men de visar inte någon medvetenhet kring det i intervjuerna. Om lagbrotten sker på grund av okunskap eller ett medvetet val framgår inte.På grund av det låga antalet intervjuade lärare kan inte studiens resultat göra några anspråk på generaliserbarhet. Den breda representationen av ämnen innebär dock att undersökningens resultat skulle kunna användas som underlag för vidare diskussioner kring exempelvis utformningen av ett övergripande mediepedagogiskt arbete på den berörda skolenheten.
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Hoel, Christian. "Den moderna krigsfilmen : Om den amerikanska andra världskrigs-stridsfilmsgenren." Thesis, University of Skövde, School of Humanities and Informatics, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-86.

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Jeanine Basingers bok The World War II Combat Film presenterar en annars väldigt oupmärksammad genre, den amerikanska Andra Världskrigs-stridsfilmen. Utifrån den mall som Basinger beskriver i boken har jag här diskuterat och analyserat hur Saving Private Ryan håller sig till mallen som skapats av tidigare stridsfilmer. Mallen består i korthet av en mängd element som används genomgående i genren; såsom gruppen, hjälten, målet och fienden. Dessa element förekommer från den första andra världskrigs-stridsfilmen Bataan från 1943 och har konsoliderats och utvecklats sedan dess. Slutsatsen blir att även om SPR blivit känd som en nydanande och orginell film så är håller den sig nästan slaviskt till mallen, det enda som möjligt kan skilja den lite från andra filmer i genren är det ursprungliga målet, det är inte vanligt att ha ett såpass politiskt inkorrekt mål som att rädda en enda man.

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Merlin, Dieter [Verfasser]. "Die Kunst der Projektion : Romantik und Dekonstruktion in den Filmen André Téchinés / Dieter Merlin." Kiel : Universitätsbibliothek Kiel, 2012. http://d-nb.info/1024489833/34.

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Wendler, André [Verfasser], Lorenz [Akademischer Betreuer] [Gutachter] Engell, and Peter [Gutachter] Geimer. "Anachronismen: Historiografie und Kino / André Wendler ; Gutachter: Lorenz Engell, Peter Geimer ; Betreuer: Lorenz Engell." Weimar : Professur Medienphilosophie, 2012. http://d-nb.info/1115807145/34.

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Marino, Andre Adam. "Performance of the UNIX file system : Andre Adam Marino." Thesis, Queensland University of Technology, 1992.

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Souza, Geórgia Cynara Coelho de. "Para ver e ouvir: A música de André Abujamra no cinema brasileiro." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-10072018-152739/.

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O presente trabalho visa investigar a contribuição do compositor, instrumentista, ator e artista multimídia André Abujamra ao cinema brasileiro no que tange à composição de trilhas sonoras musicais e à articulação destas com os filmes a que se dirigem. A ideia foi abordar o percurso do artista no cinema a partir de sua estreia em longas-metragens ficcionais, no início da Retomada do cinema brasileiro (1995), buscando a relação entre seu processo criativo, a diversidade de referências musicais e a atuação multifacetada no campo das artes para verificar as características de sua assinatura musical cinematográfica. Neste sentido, fizemos o exercício de uma análise fílmica com foco no som e em suas articulações com a imagem, relacionando a música de André Abujamra tanto a outros elementos sonoros constituintes dos filmes de que participa como compositor - canções preexistentes, ruídos, diálogos, efeitos de silêncio e outros - , quanto aos diversos elementos visuais - fotografia, planos, movimentos de câmera, cenários, montagem e outros. Almejamos, ainda, conhecendo a trajetória de Abujamra e as relações extrafílmicas entre sua música e os diferentes contextos e condições de composição e produção musical para discos e filmes, compreender o lugar do compositor no processo de realização cinematográfica no Brasil. Propomos uma análise estética e contextual das obras cinematográficas ficcionais em longa-metragem com trilha musical assinada por Abujamra, articulada à sua biografia e às formulações teóricas brasileiras e estrangeiras relacionadas ao som e à música de cinema.
This study aims to investigate the contribution of the composer, instrumentalist, actor and multimedia artist André Abujamra to brazilian cinema, in reference of the composition of musical soundtracks and its articulation with films they were created for. It was intended to approach the artist\'s career in film from his debut in fictional feature films at the beginning of \'Retomada\' of brazilian cinema (1995), looking for the relationship between the creative process, the diversity of musical references and multifaceted activities in the arts, to verify the characteristics of his film scoring signature. It was an exercise of a film analysis focused on sound and its joints with the image, by relating André Abujamra scores both to other sound elements of the films in which he participates as a composer - pre-existing songs, noises, dialogues, silence effects and others - and to the various visual elements of those films - photography, plans, camera movements, scenarios, film editing and others. From knowing Abujamra\'s carreer and extra-filmic relations between his music and the different contexts and conditions of composition and production for records and films, this study also aims to understand the place of the composer in the filmmaking process in Brazil. It proposes an aesthetic and contextual analysis of fictional feature films whose scores are signed by Abujamra, linked to his biography and Brazilian and foreign theoretical formulations about film sound and music.
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Hera, Daniel [Verfasser], and André [Akademischer Betreuer] Zimmermann. "Leiterplattenbasiertes Packaging zur Systemintegration mittels Film-Assisted Transfer Molding / Daniel Hera ; Betreuer: André Zimmermann." Stuttgart : Universitätsbibliothek der Universität Stuttgart, 2018. http://d-nb.info/1162893648/34.

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Tigervall, Carina. "Folkhemsk film : Med ”invandraren” i rollen som den sympatiske Andre." Doctoral thesis, Umeå : Sociologiska institutionen, Umeå universitet, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-457.

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Bernard, de Courville Florence. "Problématique du double cinématographique dans Oedipe roi de Pier Paolo Pasolini, Hiroshima mon amour d'Alain Resnais et dans les analyses critiques d'André Bazin." Paris 3, 2004. http://www.theses.fr/2004PA030144.

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Œdipe roi de Pier Paolo Pasolini (1967), Hiroshima mon amour d’Alain Resnais (1959) et les textes critiques d’André Bazin se donnent à la fois comme les témoins et les acteurs d’une relation théorique en acte qui se propose de réfléchir à la notion de mimesis dans la modernité cinématographique. Ces trois systèmes sont le fondement d’une interrogation sur la représentation et l’imitation cinématographiques au sein de ce que Jacques Rancière nomme « le régime esthétique de l’art », à partir d’un retour vers ce qui constitue l’essence de la mimesis : les textes de Platon et ceux d’Aristote. Une hypothèse est ici avancée : du cinéma moderne émergerait un paradoxe, celui du double cinématographique, suivant lequel le cinéma serait à la fois présenté comme une duplication, la reproduction parfaite de son modèle, reproduction qui double le monde jusqu’à se confondre avec lui, et comme le double grotesque des corps, ressemblance trompeuse, épuisée, imitation dérisoire d’un modèle. Ce double statut implique que la duplication cinématographique soit régie par une logique du même et de l’autre, de l’identité et de la différence, de la présence et de l’absence. Cette émergence de la mimesis au cœur du cinématographique soustrait la copie cinématographique, le double, à la valeur de l’imitation ontique, saisie comme imitatio, comme action de reproduire ou de chercher à reproduire suivant la logique de l’homoïosis, d’où la nécessité d’étudier les conséquences de l’immersion de ce concept antique dans la notion de modernité cinématographique
Edipo Re by Pier Paolo Pasolini, Hiroshima mon amour by Alain Resnais and reviews by André Bazin are the testimonies of a theory which tackles the problem of mimesis in the ²cinema modernity ²; this modernity has been raised by Gilles Deleuze. Those three systems are the basis of a questioning about the representation and imitation in cinema, within Jacques Rancière calls ² the ‘aesthetic’ form of art², a questioning based on the first texts dealing with mimesis : the works by Plato and Aristotle. Let’s bring forward the following hypothesis : modern cinema has emphasized a paradox entitled ² double cinématographique ², implying that cinema is both a duplication – a perfect reproduction of an original, a reproduction which copies the world to become one and the same thing – and a grotesque replica of a matter, a misleading resemblance, and a derisory imitation of an original. This double status implies that the cinema duplication is ruled by a logic of similarity and difference, a logic of presence and absence. This emergence of mimesis leads to the following awareness : the cinema replica does not only mean reproducing or trying to reproduce according to the homoïosis logic, hence the necessity of studying the consequences of the insertion of this antiquity concept in the "cinema modernity" notion
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Seyferth, Immanuel [Verfasser]. "Zwischen Dokumentation und Fiktion: Die Kongoreise von André Gide und Marc Allégret / Immanuel Seyferth." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2020. http://d-nb.info/1217974199/34.

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Books on the topic "André fils"

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Joret, Blandine. Studying Film with André Bazin. Amsterdam: Amsterdam University Press, 2019.

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Marshall, William. André Téchiné. Manchester: Manchester University Press, 2011.

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André Delvaux: Faccio film, sono felice. Padova: Esedra, 2008.

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André Delvaux legge L'Œuvre au noir. Lecce: Pensa multimedia, 2014.

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editor, Cardullo Bert, ed. André Bazin on French cinema, 1938-1958. Berlin: Logos Verlag Berlin, 2015.

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Koivunen, Anu. Film och andra rörliga bilder: En introduktion. Stockholm: Raster, 2008.

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1908-, Werner Gösta, ed. Drottningens juvelsmycke och andra bearbetningar för film. [Stockholm]: Hjalmar Bergman samfundet, 1992.

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Du cinéma plein les yeux: Affiches de façade peintes par André Azaïs. Toulouse: La Cinémathèque de Toulouse, 2013.

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Denegri, Andrés. Cine de exposición: Instalaciones fílmicas de Andrés Denegri. Edited by La Ferla, Jorge, curator, author and Fundación OSDE. Buenos Aires: Fundación OSDE, 2013.

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Denegri, Andrés. Cine de exposición: Nstalaciones fílmicas de Andrés Denegri. Edited by Denegri Andrés 1975-, La Ferla, Jorge, curator, writer of added text, and Fundación OSDE. Buenos Aires: Fundación OSDE, 2013.

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Book chapters on the topic "André fils"

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Nagl, Tobias, and Janelle Blankenship. "Alfred Andersch, André Bazin, Film." In Alfred Andersch, 269–88. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05482-1_14.

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Ruffinelli, Jorge. "Andrés Di Tella and Argentine Documentary Film." In Latin American Documentary Film in the New Millennium, 43–62. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-49523-5_3.

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van Coller, Hennie P., and Anthea Van Jaarsveld. "Chapter 15. André Brink’s A Dry White Season as film." In FILLM Studies in Languages and Literatures, 227–40. Amsterdam: John Benjamins Publishing Company, 2019. http://dx.doi.org/10.1075/fillm.12.15col.

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White, Daniel. "Documentary Intertext: André Singer’s and J. Stephen Lansing’s The Goddess and the Computer 1988." In Film in the Anthropocene, 287–308. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93015-2_9.

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Erstic, Marijana. "Livia als Emma." In »Madame Bovary, c'est nous!« - Lektüren eines Jahrhundertromans, 109–30. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839452844-009.

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Im Zentrum des Aufsatzes »Livia als Emma« steht Luchino Viscontis Film »Senso« (1954, dt. »Sehnsucht«). André Bazin zufolge ist dieser Film »der romanhaften Ästhetik ähnlich, die in der Tradition Flauberts steht und besonders durch den Naturalismus bekräftigt ist.« Zwar hat Viscontis Senso eine andere literarische Vorlage als Gustave Flauberts so genannten realistischen Roman »Madame Bovary«, doch ist seine Contessa Livia in ihrem Selbstbetrug und vielleicht auch in ihrem nüchtern geschilderten schwärmerischen Charakter Flauberts Figuren nahe. Diese sind bekanntlich für eine sentimentale Erziehung empfänglich, so vor allem, auf je unterschiedliche Art, Frédéric Moreau und Emma Bovary. Luchino Viscontis Film zeigt in flaubertscher Manier, was passiert, wenn der Wunsch nach einem anderen und vermutlich besseren Lieben und Leben jemanden ergreift, der zur Oberschicht gehört - und das inmitten einer Revolution. Der italienische Neorealist gestaltet in »Senso« aus der gleichnamigen Novelle Camillo Boitos einen filmischen und typisch italienischen Ehebruchsroman, der mit Verweisen auf die großen Romane des 19. Jahrhunderts arbeitet. So wird Livias und Emmas vergleichbare Vorliebe für Liebes-Sujets in Luchino Viscontis Film »Senso« auch als entlarvendes Kristallbild (Gilles Deleuze) eingesetzt. Der Beitrag befasst sich mit Parallelen und Unterschieden zwischen Text und Film.
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"Studying Film." In Studying Film with André Bazin, 17–46. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvrs8xh6.4.

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Dalle Vacche, Angela. "Science." In André Bazin's Film Theory, 55–97. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190067298.003.0003.

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Biology is the most important science in Bazin’s theory. By rejecting Herbert Spencer’s survival of the fittest, the film theorist valorizes the holism of Darwinian evolution and the randomness of quantum physics. Due to the physical materiality of photographic tracing, Bazin rejects the Platonic equations of algebra and the static structures of classical geometry. Representative of the anti-Euclidean modern mathematics of change, contingency, and motion, the metaphor of the “integral” from calculus highlights the quasi-documentary, improvisational approach of a few Italian neorealist films. The difference between Italian neorealism and other cinematic realisms, based on a quantitative approach and naturalistic details, is that everything happens as if it were unfolding for the very first time. Neither a style nor a genre nor a repeatable formula, Italian neorealism deals with changing subjective perceptions within unpredictable social relations.
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"1. Studying Film." In Studying Film with André Bazin, 17–46. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048542086-002.

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Dalle Vacche, Angela. "Introduction." In André Bazin's Film Theory, 1–15. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190067298.003.0001.

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Bazin’s work explores a key question: What is a human, in contrast to an animal, a plant, an object or a machine? A human is simultaneously a rational animal and an irrational being. Human irrationality can lead to cruelty and madness unless it becomes creativity through art, or it turns into spirituality through irrational belief. Well aware that a human being can reduce the Other to an animal or an object, Bazin’s anti-anthropocentric ethos upholds empathy and coexistence. At the same time, Bazin approves of the anthropomorphic nature of human perception. For him, anthropomorphism is an automatic response that taps into the unavoidable contiguity of humans, animals, and things. Notorious for his dislike of Soviet montage, Bazin’s essays on children’s fairy tales, animal documentaries, and Robert Montgomery’s Lady in The Lake (1947) prove that, in his film theory, editing is as important as camera movement in filmmaking.
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Dalle Vacche, Angela. "Art." In André Bazin's Film Theory, 16–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190067298.003.0002.

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Bazin’s mainstream cinema dialogues with various art forms, such as painting in the post–World War II art documentary. The pictorial canvas is a static object within a centripetal frame that focuses on artistic virtuosity and separates itself from the rest of the world. By contrast, cinema’s centrifugal screen specializes in events unfolding in time and photographically grounded in the world. Two art documentaries, especially, challenge painting’s centripetal stillness: Alain Resnais’s Van Gogh (1948) explores objects’ power to appeal to cinema’s objectifying lens. Alternatively, Henri-Georges Clouzot’s The Mystery of Picasso (1956) is the first “Bergsonian” art documentary ever made. Its central topic is the creative evolution of autonomous surfaces, rather than the hand of the artist controlling the production of a static object.
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Conference papers on the topic "André fils"

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Bertrand, Laëtitia. "« La vieille Italie » entre âge d'or et décadence : l'art en péril dans André del Sarto (1833), Lorenzaccio (1834) et Le Fils du Titien (1838) de Musset." In Les chefs-d'œuvre inconnus au XIXe siècle. Fabula, 2021. http://dx.doi.org/10.58282/colloques.6908.

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Me´ndez, Tilmer H., Marco A. Ciaccia, Jorge E. Torres, and Sergio E. Di´az. "On the Numerical Prediction of Finite Length Squeeze Film Dampers Performance With Free Air Entrainment." In ASME Turbo Expo 2008: Power for Land, Sea, and Air. ASMEDC, 2008. http://dx.doi.org/10.1115/gt2008-50368.

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Squeeze Film Dampers (SFDs) are commonly used in turbomachinery to dampen shaft vibrations in rotor-bearing systems. The main factor deterring the success of analytical models for the prediction of SFD’s performance lays on the modeling of dynamic film rupture. Usually, the cavitation models developed for journal bearings are applied to SFDs. Yet, the characteristic motion of the SFD results in the entrapment of air into the oil film, producing a bubbly mixture that cannot be represented by these models. There is a need to identify and understand the parameters that affect air entrainment and subsequent formation of a bubbly air-oil mixture within the lubricant film. A previous model by Diaz and San Andre´s advanced estimation of the amount of film-entrapped air, based on a non-dimensional number that related both geometrical and operating parameters but limited to the short bearing approximation (i.e., neglecting circumferential flow). The present study extends their work to consider the effects of finite length-to-diameter ratios. This is achieved by means of a finite volume integration of the two-dimensional, Newtonian, compressible Reynolds equation combined with the effective mixture density and viscosity defined in the work of Diaz and San Andre´s. A flow balance at the open end of the film is devised to estimate the amount of air entrapped within the film. The results show, in dimensionless plots, a map of the amount of entrained air as a function of the Feed-Squeeze Flow Number, defined by Diaz and San Andre´s, and the Length-to-Diameter Ratio of the Damper. Entrained air is shown to decrease as the L/D ratio increases, going from the approximate solution of Diaz and San Andre´s for infinitely short SFDs down to no air entrainment for an infinite length SFD. The results of this research are of immediate engineering applicability. Furthermore, they represent a firm step to advance the understanding of the effects of air entrapment on the performance of SFDs.
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Me´ndes, Tilmer, Marco A. Ciaccia, Jorge E. Torres, and Sergio E. Di´az. "On the Amount of Air Entrainment Into Finite Length Squeeze Film Dampers." In ASME/STLE 2007 International Joint Tribology Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/ijtc2007-44330.

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Squeeze Film Dampers (SFDs) are routinely employed to reduce vibration amplitudes and isolate structural components in gas jet engines, high performance compressors and, occasionally, water pumps. Most open-ended squeeze film dampers in practice present the phenomenon of air entrapment. It is generally accepted that the presence of air reduces the damping capability of the SFD, especially at large amplitudes and high frequencies of vibrations. Thus, there is a need for a reliable model of practical use in the analysis of high performance turbomachinery SDFs operating with air entrainment. Di´az and San Andre´s advance a model for estimation of air entrapped into the film lands. This model is based on a dimensionless number that relates geometric and operational parameters, but is strictly valid only for infinitesimal length bearings. The present research has by objective extending the previous work of Di´az and San Andre´s for prediction of air entrainment and entrapment on finite length bearings. The Reynolds lubrication equation for a homogeneous mixture is solved using the finite volume method. The results are shown in a map that allows determining air volume content in the film as a function of the dimensionless parameter created by Di´az and San Andre´s (Squeeze-Feed Flow Number, γ) and the length-diameter ratio (L/D). This work represents a significant step towards a better understanding of air entrainment in finite length Squeeze Film Dampers.
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Torres, Jorge E., and Sergio E. Di´az. "Finite Length Squeeze Film Dampers With Air Entrainment: Non-Dimensional Maps and Their Applicability." In ASME Turbo Expo 2010: Power for Land, Sea, and Air. ASMEDC, 2010. http://dx.doi.org/10.1115/gt2010-22561.

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Squeeze Film Dampers (SFDs) are bearings that support large motion amplitudes when traversing rotor-bearing systems critical speeds. Actual practice demands bearings with operating conditions of low oil supply pressure and high frequency. In open-ended SFDs, large amplitudes of journal motion draw air into the film gap. The air ingested and entrapped results in a bubbly mixture that affects the dynamic performance and the overall damping capability of the SFDs. Diaz and San Andre´s [11] developed a model to predict the amount of air ingested into SFDs with open-ends. They proposed an innovative non-dimensional number to estimate the amount of air entrapped in the film gap, but their analytical results are limited to short length bearings. Mendez et al. [13] extended the results of Diaz and San Andre´s to finite length bearings, devising a Finite Volume Method (FVM) scheme. Even though their research presented new and significant results, they lack wider applicability that includes different geometries or boundary conditions. The present research proposes the solution of the Reynolds equation by the finite element method. Results computed by this formulation explore non-dimensional maps for determination of the amount of entrapped air. The results show that for fixed lubricant properties the amount of entrapped air depends exclusively on three dimensionless parameters: feed-squeeze flow number, length to diameter ratio, and dimensionless orbit radius.
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Jonsson, Natasha, Ida Martinsson, and Rebecca Wikström. "Representera flera!" In SLM ONLINE: Projektarbeten från kandidatprogrammet Språk, litteratur och medier. Linköping University Electronic Press, 2020. http://dx.doi.org/10.3384/wcc28/repr.

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Om oss Vi som står bakom projektet Representera flera heter Rebecca, Natasha och Ida. Vi studerar kandidatprogrammet Språk, litteratur och medier vid Linköpings unversitet och det här är vårt slutprojekt i kursen att publicera i den medierade offentligheten. Vårt mål med bloggen är att belysa underrepresentation av kvinnor i populära genrer av film och spel. Vi vänder oss främst till ungdomar i högstadiet, men våra texter ska även fungera som undervisningsmaterial till lärare och andra med pedagogiska yrken.
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Torres, Jorge E., and Sergio E. Diaz. "Comparison of Air Ingestion vs. Dimensionless Parameters in Squeeze Film Dampers." In ASME/STLE 2009 International Joint Tribology Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/ijtc2009-15023.

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Ingestion and entrainment of air into the Squeeze Film Dampers (SFDs) with open end result in a bubbly mixture that affects their damping capacity. The industrial applications demand dampers with low pressure supply and operating high speed, it means, it exists a necessity of propose a model to predict the air ingestion in this kind of bearing. Diaz and San Andre´s reported results of an extend research to quantify the effect bubbly mixture in the performance of the SFDs. They also advanced an analytic model for short infinity bearings (L/D = 0) which estimate the air ingestion as function of non-dimensional number named by them feed squeeze flow number. Me´ndez et al. advanced the understanding of the effect air entrainment. They propose a new dimensionless map to estimate the air volume fraction in finite length bearings. Although, their results are immediate applicability, they do not have been validated. The present work looks for confirm the results presented by Me´ndez et al. To achieve this, it is solved a compressible Reynold equation with a different numerical method. The results indicate that is necessary another dimensionless number to estimate the entrapment air and the dimensionless map proposed by Me´ndez et al. is valid only to bearings with an eccentricity-clearing ratio of 0.5248.
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Gustafsson, Agnes, and Matilda Lundén. "Diginär: Digital exkludering av äldre." In SLM ONLINE: Projektarbeten från kandidatprogrammet Språk, litteratur och medier. Linköping University Electronic Press, 2020. http://dx.doi.org/10.3384/wcc28/diginar.

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Om oss Vi som driver diginär heter Agnes Gustafsson och Matilda Lundén och vi är två studenter på Linköpings universitet som läser sista terminen på kandidatprogrammet “Språk, litteratur och medier”. Diginär är resultatet av ett projekt där vi fick i uppgift att lyfta ett aktuellt ämne i dagens samhälle. Som vi nämnt i några av våra texter så känner vi att detta är ett problem som är svårt för de berörda att lyfta så de själva inte rör sig på de plattformar där problemet bör diskuteras. Då vi båda har äldre personer i vår närhet som upplever digital exkludering kände vi att det var ett ämne vi vill lyfta för att hjälpa våra mor- och farföräldrar, och alla andra som riskerar att hamna utanför i samhället. Med våra texter vill vi informera och upplysa allmänheten om detta samhällsproblem så att alla får samma förutsättningar för att utföra vardagliga sysslor i vårt samhälle! Vill du veta mer om digital exkludering? Läs gärna våra texter och se vår film, eller varför inte slänga iväg en kommentar så att vi kan skapa en diskussion? Glada hälsningar, Agnes och Matilda
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Gustafsson, Agnes, and Matilda Lundén. "Diginär." In SLM online: Att publicera i den medierade offentligheten – Bloggprojekt vt 2021. Linköping University Electronic Press, 2021. http://dx.doi.org/10.3384/10.3384/wcc28/diginar.

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Om oss Vi som driver diginär heter Agnes Gustafsson och Matilda Lundén och vi är två studenter på Linköpings universitet som läser sista terminen på kandidatprogrammet “Språk, litteratur och medier”. Diginär är resultatet av ett projekt där vi fick i uppgift att lyfta ett aktuellt ämne i dagens samhälle. Som vi nämnt i några av våra texter så känner vi att detta är ett problem som är svårt för de berörda att lyfta så de själva inte rör sig på de plattformar där problemet bör diskuteras. Då vi båda har äldre personer i vår närhet som upplever digital exkludering kände vi att det var ett ämne vi vill lyfta för att hjälpa våra mor- och farföräldrar, och alla andra som riskerar att hamna utanför i samhället. Med våra texter vill vi informera och upplysa allmänheten om detta samhällsproblem så att alla får samma förutsättningar för att utföra vardagliga sysslor i vårt samhälle! Vill du veta mer om digital exkludering? Läs gärna våra texter och se vår film, eller varför inte slänga iväg en kommentar så att vi kan skapa en diskussion? Glada hälsningar, Agnes och Matilda Sociala medier Instagram Youtube Facebook #diginär
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Reports on the topic "André fils"

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Schneidermann, Nanna, Amalie Bakkær Munk Andersen, and Tanja Kronborg Hansen. Seks dimensioner af adgang til kunst og kultur for ensomme ældre i Musikalske Besøgsvenner. Aarhus University, May 2024. http://dx.doi.org/10.7146/aul.524.

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Hvad vil det sige at have adgang til kunst- og kulturlivet? Det er ét af de spørgsmål som projektet Musikalske Besøgsvenner stiller. Igennem intimkoncerter i hjemmet undersøger projektet værdien af deltagelse i kulturlivet for brugere af besøgsvennetjenester og andre tilbud for sårbare borgere med mulige ensomhedsproblematikker. Denne rapport beskriver hvordan Musikalske Besøgsvenner har arbejdet med adgang til kultur og viser, hvordan adgang i denne sammenhæng er mere end blot fysisk adgang, men også indeholder hvad vi kalder dimensioner af social, sanselig, følelsesmæssig, tidslig og relationsbaseret adgang. Vi undersøger flerdimensionel adgang til kunst og kultur ved at udfolde deltagernes erfaringer, som vi har indsamlet igennem etnografisk feltarbejde. Igennem vores feltarbejde har vi brugt visuelle og deltagende metoder som en måde at skabe viden om de sanselige, sociale, stemningsmæssige aspekter af det kunstneriske møde. I løbet af processen med at arbejde med billederne og film fra koncerterne indså forskningsgruppen, at disse medier kan give læseren adgang til erfaringer fra musikalske besøgsvenner på en anden måde end teksten tillader. Derfor er rapporten her bygget op omkring billeder, filmklip og personlige historier fra Musikalske Besøgsvenner, som viser adgang til kunst og kultur som et flerdimensionelt forhold, og hvad netop dette koncertformat kan bidrage med i forhold til at give sårbare borgere adgang til musikalske møder. Vi viser, hvordan adgang til konventionel kunst- og kulturliv kan forstås relationelt, snarere end som et spørgsmål om at "aktivere" passive borgere. Adgang til kulturlivet er forbundet med komplekse økonomiske, socio-materielle og sociale relationer.
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