Academic literature on the topic 'Chanson et cinéma'
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Journal articles on the topic "Chanson et cinéma":
Calvet, Louis-Jean, and Jean-Claude Klein. "3. Chanson et cinéma." Vibrations 4, no. 1 (1987): 98–109. http://dx.doi.org/10.3406/vibra.1987.985.
Sichi, Gérard. "Anouilh et son temps : les allusions à l’actualité." Études littéraires 41, no. 1 (October 5, 2010): 129–43. http://dx.doi.org/10.7202/044575ar.
Fendler, Ute, and Christoph Vatter. "Évangéline multimédia. Un mythe acadien entre américanité et américanisation." Globe 7, no. 2 (February 18, 2011): 59–79. http://dx.doi.org/10.7202/1000861ar.
Robin, Régine. "Pour un imaginaire grand parisien." Études littéraires 45, no. 2 (March 4, 2015): 13–24. http://dx.doi.org/10.7202/1028973ar.
Carani, Marie. "Francine COUTURE, (dir.), Les arts et les années 60 : architecture, arts visuels, chanson, cinéma, danse, design, littérature musique, théâtre." Recherches sociographiques 34, no. 2 (1993): 359. http://dx.doi.org/10.7202/056785ar.
Hauser, Claude. "La Suisse et le Québec au temps de la Révolution tranquille. Échos et effets de la francophonie en périphérie culturelle." Globe 13, no. 1 (October 6, 2010): 73–98. http://dx.doi.org/10.7202/044640ar.
Haine, Malou. "Le magazine américain Vanity Fair (1913-1936) : vitrine de la modernité musicale à Paris et à New York." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (April 25, 2017): 23–37. http://dx.doi.org/10.7202/1039610ar.
Cardinal, Serge. "Où (en) est (l’étude de) la musique (au cinéma ?) du film ?" Articles 33, no. 1 (June 12, 2014): 35–49. http://dx.doi.org/10.7202/1025554ar.
Bellemare, Luc. "De Montmartre à Broadway : le cabaret Au matou botté de Montréal (1929-1932)." Mens 16, no. 1 (February 20, 2017): 63–105. http://dx.doi.org/10.7202/1038984ar.
Armianov, Gueorgui. "L’amour et la sexualité dans les variétés non-standard bulgares." Acta Universitatis Lodziensis. Folia Litteraria Romanica, no. 16 (May 19, 2021): 95–103. http://dx.doi.org/10.18778/1505-9065.16.09.
Dissertations / Theses on the topic "Chanson et cinéma":
Pellerin, Agnès. "Représenter le peuple : la chanson dans le cinéma portugais." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080054.
Questioning the “popular” anchoring of the song, this dissertation aims to shed light on the dynamics of the people’s representation, throughout the history of Portuguese cinema, from silent cinema of the 1920’s to contemporary productions. Eclectic song sequences (fado, etc.) punctuate this cinematography, triggering different representations of the people, depending on its political moments. On the one hand, this work proposes to bring to light the construction, often incomplete and contradictory, of the supposedly topos of the “portugality”, inherited from the XIXe century and relayed by the regime’s propaganda. On the other hand, it analyses the ways these stereotypes have been criticized, particularly through the quest for modernity of the late 1950’s cinema, which tries to show the people in relation to the “real country”, as opposed to the essentialist age-old nation that will be undermined by the Carnation revolution (1974). Covering thirty films, the chronological case analysis contributes to the sound studies of Portuguese cinema, and highlights some particularly significant contemporary films like those of Miguel Gomes. This thesis, which falls within the recent renewal of Portuguese cinema studies, bases its approach on Sound studies contributions and aesthetic theories (Rancière, Deleuze). It aims to broaden the tools of song politics applied to film music, beyond the strictly textual, aesthetic or script issues, which often reduce these “musical moments” to a conformist entertainment, spreading the image of a sentimentalist and depoliticized people, in spite of their complexity and ability to empowerment (Amy Herzog)
Bloch-Robin, Marianne. "Théorie et pratique de la musique vocale au cinéma : l’œuvre de Carlos Saura." Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST0034.
The purpose of this thesis is the study of the aesthetic and narrative function of vocal music in the non musical work of fiction of the Spanish filmmaker Carlos Saura. The role of vocal music in his films is indeed of central importance and not largely studied. In the first part we have analyzed the evolution of the use of music in works done during the half of the century, which embraced the filmography of the Aragonese filmmaker. We have also been able to put very prominently, a strong authorial affirmation by means of a restricted control of musical choices and different collaborations with composers of original music. The characterization of songs text used, enabled us to identify a corpus of twenty-two vocal works, which constituted the core of our study. In the second part, we studied the specific role of vocal music through its influence on the order, the time and space of the narrative. Vocal works can, in effect, constitute a spatial transition and temporal tool functioning as an analepsis or a prolepsis or again being considered as a narrative level on its own. In the third part, we viewed vocal music from an angle of quotation and a viewpoint which enables to reveal: that of the characters first. Subsequently, considering vocal music in its transtextual dimension, we have studied the universalizing and external viewpoint that it vehicles. Finally, we have noticed that vocal songs can also reveal the intention of the filmic enunciator
Thibeault, François. "La dynamique de trouple ou la représentation de relations triangulaires dans le cinéma français : le cas de Wild Side, des Chansons d’amour et d’À trois on y va." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39602.
Deguire, Daphné. "Les traversées d’une tradition : identité culturelle et remédiation de la chanson populaire au Québec." Thèse, 2014. http://hdl.handle.net/1866/12537.
Cet ouvrage, qui prend principalement la forme d’un texte argumentatif, constitue la portion écrite de ce mémoire et fait suite à un travail de réflexion sur l’ensemble d’une production cinématographique, de sa conception à sa réception. Il fait alors état d’un processus créatif à travers diverses étapes et accompagne la partie création, un moyen-métrage documentaire qui a pour titre Les Saisons Lyriques. Ces chapitres se veulent un outil pour toute personne désirant faire l’expérimentation audiovisuelle qui pose la question suivante : en quoi le choix du média cinématographique est efficace pour parvenir à transporter et véhiculer un sujet ? Dans ce mémoire, le sujet est accessoire et sert principalement de matière à démontrer pourquoi le cinéma, plus précisément le cinéma documentaire, est un moyen d’expression fidèle pour transposer une idée et ainsi produire l’effet attendu, même lorsqu’il y a croisement et interaction entre les médias. Cette étude aidera subséquemment à évaluer à quels niveaux un média peut se retrouver à travailler au service d’un autre. Bien que le sujet soit secondaire, il est adéquat dans ce contexte au sens où il porte sur un objet artistique diffusé par divers médias : la chanson. Celle-ci, représentant l’objet d’étude concret, est entourée d’un sujet plus élaboré : la transformation de l’identité culturelle québécoise à travers la remédiation de la chanson populaire.
This work, which mainly takes the form of an argumentative text, represents the written part of this master’s thesis and follows a process of reflection on a film production, from its conception to its reception. It exposes the results of a creative process through various stages and accompanies the creation part, Les Saisons Lyriques, which is a documentary film. These chapters are intended as a tool for any film artist wishing to do audiovisual experimentation that raises the question of how the choice of the film media is effective to carry and convey a subject. In this thesis, the subject is incidental and serves as material to show why the documentary film is a reliable way of expression to translate an idea and produce the desired effect, even when there is interaction between one media and another. This study will help to evaluate subsequent levels at which media can be found working in the service of another. Although the subject is secondary, it is appropriate in this context in that it concerns an artistic object broadcast by various kinds of media: the song. The latter, representing the subject of specific study, is surrounded by a more elaborate topic: the transformation of Quebec's cultural identity through the remediation of the popular song.
Morin-Simard, Andréane. "L'interférence musicale au cinéma, à la télévision et dans le jeu vidéo." Thèse, 2014. http://hdl.handle.net/1866/11628.
Given the pervasiveness of popular music in the contemporary media landscape, it is not unusual to find the same song in multiple soundtracks. Based on theories of intertextuality and communication, this thesis seeks to define the relationship which develops between two or more narrative and / or interactive works that share the same song, and to understand the effects of such recontextualizations on the spectator’s and gamer’s experience. The first chapter reviews the narrative and ludic functions of music with a summary of major works on film, television and video game music. The second chapter questions the notion of reference in the context of repeated uses of the same popular song. The concept of musical interference is proposed using different variations on the term « interference » derived from the works of Michel Serres, Sébastien Babeux and Philip Tagg. The theoretical framework is applied to the analysis of the media trajectories of two songs in chapters three and four. Finally, the complex relationships between works incorporating the same song to their narrative are illustrated with the figure of the network.
Books on the topic "Chanson et cinéma":
Althaus, Jean-Pierre. Emmanuelle Seigner: Cinéma, théâtre, mode et chanson. Lausanne: Favre, 2014.
Crevel, René. Écrits sur l'art et le spectacle: Peinture, sculpture, photographie, cinéma, musique, ballet, théâtre, chanson, music-hall, cirque. Toulouse]: Éditions Ombres, 2011.
Bloch, Jérôme. Music' Quiz: Du classique au jazz et à la chanson, de Vivaldi à Gillespie : quel mélomane êtes-vous?, en 260 questions et réponses, la musique de A à Z. Gémenos: Res publica, 2010.
Demougin, Françoise. Cinéma et chansons: Pour enseigner le français autrement : une didactique du français langue seconde. Paris: Delagrave, 1999.
Lehu, Jean-Marc. La publicité est dans le film: Placement des produits et stratégie de marque au cinéma, dans les chansons, dans les jeux vidéo. Paris: Editions d'organisation, 2006.
Nasta, Dominique, Marie Cadalanu, and Sophie Dufays. Connaît-On la Chanson?: Usages de la Chanson Dans les Cinémas d'Europe et d'Amérique Latine Depuis 1960. Lang AG International Academic Publishers, Peter, 2019.
Nasta, Dominique, Marie Cadalanu, and Sophie Dufays. Connaît-On la Chanson?: Usages de la Chanson Dans les Cinémas d'Europe et d'Amérique Latine Depuis 1960. Lang AG International Academic Publishers, Peter, 2019.
Nasta, Dominique, Marie Cadalanu, and Sophie Dufays. Connaît-On la Chanson?: Usages de la Chanson Dans les Cinémas d'Europe et d'Amérique Latine Depuis 1960. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2018.
Nasta, Dominique, Marie Cadalanu, and Sophie Dufays. Connaît-On la Chanson?: Usages de la Chanson Dans les Cinémas d'Europe et d'Amérique Latine Depuis 1960. Lang AG International Academic Publishers, Peter, 2019.
Les Arts et les annees 60: Architecture, arts visuels, chanson, cinema, danse, design, litterature, musique, theatre. Diffusion, Prologue, 1991.
Book chapters on the topic "Chanson et cinéma":
Kopeleva, Galina. "La civilisation française dans le cadre des événements culturels étudiants à l’Institut de la culture d’État de Saint-Pétersbourg." In Quelles compétences en langues, littératures et cultures étrangères ?, 41–50. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.3880.
Aumont, Charlotte. "« Pourquoi ne chantes-tu pas ? » Évoquer et invoquer le passé : la chanson dans Good Men, Good Women." In Le cinéma de Hou Hsiao-hsien, 137–46. Presses universitaires de Rennes, 2013. http://dx.doi.org/10.4000/books.pur.76091.