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Books on the topic 'Auteurs de technologie'

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Author: Grafiati
Published: 26 July 2024

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1

Jean-Louis, Weissberg, and Centre de création industrielle, eds. "1984" et les présents de l'univers informationnel: 34 auteurs pour un colloque. Paris: Centre Georges Pompidou, Centre de création industrielle, 1985.

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2

Susan, Anderson, ed. Web 2.0 hot apps, cool projects: Language arts. Eugene, OR: Visions Technology in Education, 2010.

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3

Windows Media 9 series by example. San Francisco: CMP Books, 2003.

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4

How to do everything with Dreamweaver 4. New York: Osborne/Mcgraw Hill, 2001.

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5

Zakas, Nicholas C., Jeremy McPeak, and Joe Fawcett. Professional Ajax. 2nd ed. Indianapolis, USA: Wrox, 2007.

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6

Zakas, Nicholas C. Professional Ajax. 2nd ed. Indianapolis, IN: Wiley Technical Pub., 2007.

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7

Zakas, Nicholas C. Professional Ajax. New York: John Wiley & Sons, Ltd., 2007.

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8

Zakas, Nicholas C. Professional Ajax. New York: John Wiley & Sons, Ltd., 2007.

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9

Latrive, Florent. Du bon usage de la piraterie: Culture libre, sciences ouvertes. Paris: Exils, 2004.

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10

Troon, Simon R. Cinematic Encounters with Disaster. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9798765101537.

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Cinematic Encounters with Disastertakes Hollywood’s disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terrestrial threat as the starting point for an analytical trajectory that works toward new understandings of how cinema shapes and informs our conceptions of disaster and catastrophe. It examines a range of films from distinct regional and industrial contexts: Hollywood, indie movies, different kinds of documentaries from the US and elsewhere, and auteurist-realist cinema from Europe and Asia. Moving across and beyond critical and industrial categories that often inform thinking about cinema, this book contends that different approaches to film style can push us to imagine disaster in distinct ways, with distinct ethical connotations. Framed by contemporary concerns around the global climate crisis and the advent of the Anthropocene, questions about how films can best offer responses to historical exigency guide the book’s explorations of spectacular 2010s blockbusters likeGravity(2013) andSan Andreas(2015), environmental documentaries including the paradigmaticAn Inconvenient Truth(2006), post-disaster films by auteurs including Abbas Kiarostami and Lav Diaz, and more. Conceiving of disaster as intersubjective ethics between humans and nonhuman alterity – forces of nature, errant technology, monsters, ghosts, and other entities – it analyses how formal techniques and narrative strategies render encounters in which human protagonists are confronted with the threat of death and respond in ways that can be instructive for our planet’s present juncture.
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11

Durden, Mark. Fifty Key Writers on Photography. Taylor & Francis Group, 2013.

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12

Durden, Mark. Fifty Key Writers on Photography. Taylor & Francis Group, 2013.

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13

Durden, Mark. Fifty Key Writers on Photography. Taylor & Francis Group, 2013.

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14

Fifty key writers on photography. 2013.

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15

Miyao, Daisuke. Ozu and the Aesthetics of Shadow. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0008.

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If the cohesive image of Ozu Yasujiro in auteur criticism by far is the director who consistently uses high-key lighting, this chapter questions and complicates it by examining the technologies and techniques of cinematography and lighting employed in There Was a Father (Chichi ariki, 1942). The chapter aims to underscore the internal challenge that Ozu’s films issued to the dominant mode of filmmaking at Shochiku, the company that maintained the kabuki-style lighting at least during the black-and-white period of filmmaking in Japan, especially when the so-called aesthetics of shadow (kage no bigaku) was emerging as the dominant discourse in film criticism and practice.
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16

Miller, Henry K., ed. The Essential Raymond Durgnat. British Film Institute, 2014. http://dx.doi.org/10.5040/9781838711658.

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Raymond Durgnat was a maverick voice during the golden age of film criticism. From the French New Wave and the rise of auteurism, through the late 1960s counter-culture, to the rejuvenated Hollywood of the 1970s, his work appeared in dozens of publications in Britain, France and the USA. At once evoking the film culture of his own times and anticipating our digital age in which technology allows everyone to create their own 'moving image-text combos', Durgnat's writings touch on crucial questions in film criticism that resonate more than ever today. Bringing together Durgnat's essential writing for the very first time, this career-spanning collection includes previously unpublished and untranslated work and is thoroughly introduced and annotated by Henry K. Miller.
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17

Wagner, Jon Nelson, and Tracy Biga MacLean. Television at the Movies. Inc, 2008. http://dx.doi.org/10.5040/9798765100684.

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The overview of television criticism, which this book provides, comes appropriately at a moment of change. Television is becoming dramatically different as a result of new and developing technologies such as cable, HDTV, satellite transmission and broadband distributions. By concentrating on the still-dominant notion of television, what the authors call "Classical Network Television," they argue that it is as important to understand this model as it is to understand Classical Hollywood Cinema. The co-authors have a unique approach to the study of television, viewing its history and reception not only through important articles about the medium, but also through analyzing how Hollywood auteur cinema has commented on television over the decades, in films such as Tootsie, Network, The Last Picture Show, A Face in the Crowd, Rollerball, The King of Comedy and others. Not only does this reflect the pervasive use of cinema theory to discuss television, it also helps to emphasize the importance of clarifying the distinctions between the criticisms of the two media. Television at the Movies argues that the study of television is a crucial aspect of understanding our recent and contemporary culture, and it provides an illuminating point of entry for students and researchers in the field.
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18

How to Do Everything with Dreamweaver 4. New York: McGraw-Hill, 2002.

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19

The Joy of Dreamweaver® MX. New York: McGraw-Hill, 2003.

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20

How to Do Everything with FrontPage 2000. New York: McGraw-Hill, 2001.

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21

Zakas, Nicholas C., Jeremy McPeak, and Joe Fawcett. Professional Ajax. Wiley & Sons, Incorporated, John, 2007.

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22

Zakas, Nicholas C., Jeremy McPeak, and Joe Fawcett. Professional Ajax. Wiley & Sons, Incorporated, John, 2009.

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23

Zakas, Nicholas C., Jeremy McPeak, and Joe Fawcett. Professional Ajax. Wiley & Sons, Incorporated, John, 2011.

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24

Drupal For Dummies. John Wiley & Sons, Inc., 2011.

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25

Drupal For Dummies. New York: John Wiley & Sons, Ltd., 2009.

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