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Books on the topic 'Film souple'

Author: Grafiati

Published: 26 July 2023

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1

Richard, David Evan. Film Phenomenology and Adaptation. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722100.

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Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation’s source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.

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2

illustrator, Duchesne Séverine, ed. Si tu ne manges pas ta soupe ... Montrouge]: Frimousse, 2015.

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3

Baratti, Alessandro. Tutte le ore feriscono, l'ultima uccide!: (La deuxième souffle, 1966) di Jean Pierre Melville. Roma: Gremese, 2018.

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4

Le premier souffle: Roman. Paris: Calmann-Lévy, 2003.

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5

VIVIENNE, BLATTEIS ANGELA VELLA. SOUP CLEANSE: Eat your way to a clean, lean, nourished body in less than a week. [Place of publication not identified]: QUERCUS Publishing, 2016.

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6

Comprendre Godard: Travelling avant sur À bout de souffle et Le mépris. Paris: Colin, 2006.

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7

(Firm), Blue Source, ed. Blue Source. Tokyo, Japan: DesignEXchange Co., 2002.

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8

Perrier, c'est nous!: Histoire de la source Perrier et de son personnel. Paris: Atelier, 2005.

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9

Perrier-Nestlé, histoire d'une absorption: Histoire sociale d'une entreprise à l'heure des changements culturels, 1990-2000. Paris: Atelier, 2008.

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10

Schäfer, Christoph, and Gregory Pittman. Scribus: Open source desktop publishing : the official manual. Great Britain: FLES Books, 2009.

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11

Stevens, E. Charlotte. Fanvids. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985865.

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Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?

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12

Fini, Francesco. Soul Note: A label discography. Imola: Fini Editions, 1997.

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13

Feiler, Jesse. Sams teach yourself Drupal in 24 hours. Indianapolis, Ind: Sams Pub., 2010.

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14

Pragmatic guide to Subversion. Raleigh, North Carolina: Pragmatic Bookshelf, 2010.

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15

Version control with Git: Powerful techniques for centralized and distributed project management. Beijing: O'Reilly, 2009.

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16

Drupal development tricks for designers. Sebastopol, CA: O'Reilly, 2012.

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17

Drupal 7 development by example: Beginners guide : follow the creation of a Drupal website to learn, by example, the key concepts of Drupal 7 development and HTML 5. Olton, Birmingham [England]: Packt Pub., 2012.

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18

McCullough, Matthew (Matthew J.), ed. Version control with Git. 2nd ed. Beijing: O'Reilly, 2012.

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19

Inc, ebrary, ed. Sphinx Search Beginner's Guide: Implement Full-Text Search with Lightning Speed and Accuracy Using Sphinx. Olton, Birmingham: Packt Pub. Ltd., 2011.

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20

Silent mystery and detective movies: A comprehensive filmography. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2009.

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21

iText in action. 2nd ed. New York, NY: Manning Publications, 2011.

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22

Feiler, Jesse. Sams teach yourself Drupal in 24 hours. Indianapolis, Ind: Sams, 2010.

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23

Sams teach yourself Drupal in 24 hours. Indianapolis, Ind: Sams, 2010.

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24

Pro Drupal 7 for Windows developers. [Berkeley, Calif.]: Apress, 2011.

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25

Dossot, David. Mule in action. Greenwich, CT: Manning, 2010.

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26

Höhl, Wolfgang. Interactive environments with open-source software: 3D walkthroughs and augmented reality for architects with Blender 2.43, DART 3.0 and ARToolKit 2.72. Wien: Springer, 2009.

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27

Kenneth, Crowder, ed. Using Joomla. Beijing: O'Reilly, 2010.

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28

Inc, ebrary, ed. Joomla! 1.5 site blueprints: Tailor-made plans for easily building powerful exciting Joomla! sites. Birmingham, U.K: Packt Open Source, 2010.

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29

Drush User's Guide. Birmingham: Packt Publishing, Limited, 2012.

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30

author, Ye Changzhi, ed. Hello Joomla! yi qi gen zhe lei ji shang bai ge wang zhan shi wu jing yan de lao shi fu xue jia zhan ji qiao. Xinbei Shi: Song gang zi chan guan li gu fen you xian gong si, 2015.

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31

Inc, ebrary, ed. Joomla! 1.5 multimedia: Build media-rich Joomla! web sites by learning to embed and display multimedia content. Birmingham, U.K: Packt Pub., 2010.

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32

Calcote, John. Autotools: A practitioner's guide to GNU Autoconf, Automake, and Libtool. San Francisco: No Starch Press, 2010.

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33

Wells, Amanda Sheahan. York Film Notes: "A Bout De Souffle" (York Film Notes). York Press, 2000.

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34

Souffle: Breathing. Optica, 2003.

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35

Vogan, Travis. The NFL’s Smithsonian. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0004.

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This chapter focuses on the NFL Films archive, the largest sports film archive in the world. Building from the authenticity and emotional power the company assigns to film, president Steve Sabol calls the NFL Films archive “the soul of the NFL,” “the NFL's Smithsonian,” and “football's wine cellar.” NFL Films' archive consists of two main parts that serve overlapping functions: a fire-proof, temperature-controlled, limited-access vault that houses and safeguards nearly all the film the company has created and purchased since Blair Motion Pictures' beginning; a film library that organizes copies of footage for inclusion in the company's productions and for sale to clients. This chapter examines the NFL Films archive's role in the company's efforts to create, circulate, and control the National Football League's image.

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36

Lewis, Hannah. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0001.

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The introduction presents the book’s scope, approach, and organization. It recounts the history of the transition to synchronized sound film, which has largely been examined from the perspective of American cinema. However, because of aspects of French cinematic and musical culture that were unique to France, the transition unfolded in very different ways, becoming a hotly debated topic and resulting in divergent artistic responses. The introduction lays out the competing conceptions of sound film in France—for instance, its aesthetic proximity to either live theater or silent film, and its potential as a realist medium or a source of abstract fantasy—and the ways these conceptions played out in practitioners’ writings and films of the period. The films created during this “transitional” moment in filmmaking encourage us to reconsider long-held assumptions about the relationship between music and the moving image.

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37

Grossman, Julie. Women and Film Noir. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0003.

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This chapter explores the relationship between classic noir and female-authored pulp fiction. Linking noir with its female-authored source material will help reorient gender associations with film noir so that male experience is not its exclusive focus. Moreover, such linkage renders the shared concerns of film noir and melodrama more evident and interprets the relationship between gender and genre more as a dialogue, less as an opportunity to rank texts in terms of an evaluation-laden hierarchy. The chapter then looks at 1940s novels written by women that were brought to the screens as “film noirs.” These works exemplify the nonschematic presence of gender issues in noir and the continuities between the treatment of gender in the genre and the exploration of gender in the source novels.

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38

Marsh, Leslie L. Brazilian Women’s Filmmaking and the State during the 1970s and 1980s. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0002.

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This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.

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39

Avila, Jacqueline. Cinesonidos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.001.0001.

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Cinesonidos: Film Music and National Identity During Mexico’s Época de Oro is the first book-length study concerning the function of music in the prominent genres structured by the Mexican film industry. Integrating primary source material with film music studies, sound studies, and Mexican film and cultural history, this project closely examines examples from five significant film genres that developed during the 1930s through 1950s. These genres include the prostitute melodrama, the fictional indigenista film (films on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the revolutionary melodrama, and the comedia ranchera (ranch comedy). The musics in these films helped create and accentuate the tropes and archetypes considered central to Mexican cultural nationalism. Distinct in narrative and structure, each genre exploits specific, at times contradictory, aspects of Mexicanidad—the cultural identity of the Mexican people—and, as such, employs different musics to concretize those constructions. Throughout this turbulent period, these tropes and archetypes mirrored changing perceptions of Mexicanidad manufactured by the state and popular and transnational culture. Several social and political agencies were heavily invested in creating a unified national identity to merge the previously fragmented populace owing to the Mexican Revolution (1910–ca.1920). The commercial medium of film became an important tool in acquainting a diverse urban audience with the nuances of national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity.

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40

Wetmore, Kevin J. The Conjuring. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859265.001.0001.

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James Wan’s 2013 film The Conjuring appears on many critics’ best horror films of the decade lists and was rated R by the MPAA solely “for terror.” Allegedly based on the true story of the Perron family’s experiences in a haunted farmhouse in rural Rhode Island, the film comes from the files of pioneer paranormal investigators Ed and Lorraine Warren, and tells the story of how the Perron family came under supernatural assault from Bathsheba Sherman, a demonic eighteenth century witch, and how the Warrens investigated and eventually exorcised her. The book examines how Wan created the paragon of virtuosic, effective, terrifying haunted house movies, and then goes on to consider how the film plays with the idea of “a true story,” the role of religion in the film, how children’s games and toys are made the source of adult terror, how The Conjuring is a female-centered but not feminist film, and how the film spawned the “Conjuring Universe,” a growing series of half a dozen sequels, prequels, and related films. The Conjuring is an effective, good, old-fashioned horror film. It is genuinely scary and anxiety-inducing, greater than the sum of its parts and it is greater than its marketing campaign of “based on a true story” would seem to suggest. The book analyses the film on multiple levels and contextualizes it as a twenty-first century horror classic.

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41

The Soup Cleanse: A Revolutionary Detox of Nourishing Soups and Healing Broths. Grand Central Life & Style, 2017.

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42

Boozer, Jack. The Intratextuality of Film Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.11.

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By observing the authorial intentions on the part of the novelist and the adapted film’s producer, screenwriter, director, and cast, Chapter 11 examines the intratextual process at work in the transformation of Philip Roth’s novella The Dying Animal to the big screen as Elegy. The notion of serial authorship can capture the creative interaction of intentions characteristic of the multi-source nature of film adaptation, whose products serve two texts: the source literary work and the screenplay derived from it. The essay considers the hints of Roth’s personal views and autobiography implied through his narrator, David Kepesh, and this character’s relationships with women, as well as through the implied author’s own position as a writer—a self-conscious status the film does not engage.

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43

Hermansson, Casie. Filming the Children's Book. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474413565.001.0001.

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Children’s metafictions have their roots in literacy pedagogy and entertainment, and remain enormously popular both with authors, readers, and teachers. But they pose a number of unique challenges to screen adaptation. While – arguably – audiences of children’s adaptations prefer that the adaptation adhere to the source as closely as possible, in the case of metafiction its defining ‘meta’ element does not directly transmediate. Yet a more direct filmic equivalence for metafiction – metafilm – reflects filmicity rather than bookishness. This book studies first what children’s metafiction purports to be and to do for the youth reader (infants to young adults). The second chapter examines the distinctive challenges in adapting children’s metafiction to film. The third chapter presents a number of children’s films, adaptations and not, featuring ‘bookish’ themes, characters, settings, and symbols, and develops a ‘film grammar’ for how these are traditionally depicted. The fourth chapter discusses children’s metafilm and draws from a selection of these films. The final, fifth, chapter presents a sub-type of children’s metafilm adaptations which ‘break the fifth wall’ by reflexively focusing not on a single medium (literature or film) but rather on the adaptation processes themselves. These adaptations are meta-adaptations. The book contains over fifty film stills and a glossary of terms. It discusses works like Inkheart, The Invention of Hugo Cabret, The Spiderwick Chronicles, and the Harry Potter series and the Series of Unfortunate Events. It is grounded in and contributes to contemporary adaptation criticism and theory.

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44

author, Vella Vivienne, Holtzman Rachel author, and Milosavljević, Nada, writer of foreword, eds. The soup cleanse: A revolutionary detox of nourishing soups and healing broths from the founders of Soupure. 2015.

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45

Blatteis, Angela, Vivienne Vella, and Nada Milosavljevic. Soup Cleanse: A Revolutionary Detox of Nourishing Soups and Healing Broths from the Founders of Soupure. Grand Central Publishing, 2015.

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46

Hudson, Dale. “Making” Americans from Foreigners. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0003.

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Although conventional studies look to the earliest surviving vampire film, Prana-Films’ Nosferatu (1922) as source for visual codes and narrative conventions in Hollywood vampire media, this chapter locates them in segregation comedies, immigration romances, and miscegenation melodramas. These films establish conventions that facilitate or inhibit foreigners being americanized. Since citizenship for women was derivative from fathers or husbands, foreign women were considered less threatening. Consequently, male immigrants in Edison Company shorts (1895–1896), industrial and state recruitment films, and commercial entertainments, such as Alice Guy-Blaché’s Making an American Citizen (1912), Cecil B. DeMille’s The Cheat (1915), D.W. Griffith’s Broken Blossoms (1919), and George Melford’s The Sheik (1921), serve as cinematic prototypes for classical Hollywood’s vampires. Within these narratives of americanizing foreigners, the afterlives of race emerge in relation to sex and nativity around issues of universal citizenship and sovereign territory.

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47

Currie, Gregory. Methods in the Philosophy of Literature and Film. Edited by Herman Cappelen, Tamar Szabó Gendler, and John Hawthorne. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199668779.013.33.

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This article discusses methods in the philosophy of literature and film (PLF). It begins by providing some background on PLF and how it differs from those philosophically influenced projects for understanding and interpreting literature and film most often undertaken by film and literary scholars. It then reviews the history of the study of literature and film before considering how particular filmic or literary works might function as evidence for, or as things to be explained by, general claims offered within PLF. It examines the claim that literary and filmic works may themselves be sources of philosophical ideas and, sometimes, contributions to philosophy itself. It then describes Darwinian approaches to PLF. Finally, it considers the role of empirical evidence in assessing claims about the value of literature as a source of knowledge.

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48

Model, Katie. Gender Hyperbole and the Uncanny in the Horror Film. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0011.

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This chapter examines Stanley Kubrick's film, The Shining (1980), based on Stephen King's eponymous novel (1977). Applying the Freudian concept of the “uncanny” to Jack Nicholson's performance the film, it suggests how genre and star performance generate horror in the aporias of cultural gender. Rather than the ambivalence of the fantastic premised on difference, the chapter emphasizes the uncanniness of hyperbole grounded in repetition. Thus, The Shining draws out from Nicholson's self-parodying performance a hyperbolic rendition of masculinity: a doubling that makes the gender norm itself a source of a horror, doubled again through haptic star-audience contact.

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49

Meeusen, Meghann. Children's Books on the Big Screen. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828644.001.0001.

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Adaptation studies scholars suggest that no matter how interesting it may be to pick apart a film’s consistency with and departure from its source, these approaches can be limiting because books and movies operate as two very different mediums. Children’s Books on the Big Screen moves away from this approach by tracing a pattern across films for young viewers to highlight a consistent trend: when films are adapted from children’s and YA books, concepts like self/other, male/female, and adult/child become more strongly contrasted and more diametrically opposed in the film version. Children’s Books on the Big Screen describes this as binary polarization, suggesting that more stark opposition between concepts leads to shifts in the messages that texts send, particularly when it comes to representations of gender, race, and childhood. After introducing why critics need a new way of thinking about children’s adapted texts, Children’s Books on the Big Screen uses middle-grade fantasy adaptations to consider the reason for binary polarization and looks at the ideological results of polarized binaries in adolescent films and movies adapted from picturebooks. The text also explores movies adapted from The Wonderful Wizard of Oz to dig into instances when multiple films are adapted from a single source and ends with pragmatic classroom application, suggesting teachers might utilize this theory to help students think critically about movies created by the Walt Disney corporation. Drawing from numerous popular contemporary examples, Children’s Books on the Big Screen posits a theory that can begin to explain what happens—and what is at stake—when children’s and young adult books are made into movies.

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50

Deming, Richard. Touch of Evil. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781911239048.

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Orson Welles' classic 1958 noir movie Touch of Evil, the story of a corrupt police chief in a small town on the Mexican-American border, starring Charlton Heston, Janet Leigh and Marlene Dietrich, is widely recognised as one of the greatest noir films of Classical Hollywood cinema. Richard Deming's study of the film considers it as an outstanding example of the noir genre and explores its complex relationship to its source novel, Badge of Evil by Whit Masterson. He traces the film's production history, and provides an insightful close analysis of its key scenes, including its famous opening sequence, a single take in which the camera follows a booby-trapped car on its journey through city streets and across the border.

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