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Academic literature on the topic 'Films suspendus'

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Books on the topic "Films suspendus"

1

Krzystek, Waldemar, Jerzy Radziwiłowicz, and Krystyna Janda. W zawieszeniu: Suspended. Zespoły Filmowe Zodiak, 1989.

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2

Daya, Zahir A. Electroconvection in suspended fluid films. National Library of Canada, 1996.

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3

Freely suspended liquid crystalline films. J. Wiley, 1998.

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4

Koršič, Igor. Suspended time: An analysis of Bazin's notion of objectivity of the film image. University of Stockholm], 1988.

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5

D'Aloia, Adriano. Neurofilmology of the Moving Image. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725255.

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A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The ‘tensive motifs’ of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams, and offer imaginary forms of transcendence of the limits of our human condition, along with an awareness of their insurmountable nature. Adopting the approach of ‘Neurofilmology’—an interdisciplinary method that puts filmology, perceptual psychology, philosophy of mind, and cognitive neuroscience into dialogue—, this book implements the paradigm of embodied cognition in a new ecological epistemology of the moving-image experience.
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6

Menotti, Gabriel. Movie Circuits. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789089648907.

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Movie Circuits: Curatorial Approaches to Cinema Technology attempts to grasp media in the making. It delves into the underbelly of cinema in order to explore how images circulate and apparatus crystallize across different material formations. The indisciplinary experience of curators and projectionists provides a means to suspend traditional film studies and engage with the medium as it happens, as a continuing, self-differing mess. From contemporary art exhibitions to pirate screenings, research and practice come together in a vibrant form of media scholarship, built from the angle of cinema’s functionaries — a call to reinvent the medium from within.
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7

Sonin, A. A. Freely Suspended Liquid Crystalline Films. Wiley & Sons, Incorporated, John, 2000.

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8

Morris, Stephen William *. Electroconvection in a freely suspended smectic film. 1991.

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9

Tweedie, James. The Suspended Spectacle of History. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0005.

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This chapter examines both the history of the tableau vivant as an art form and its remarkable revival in the cinema of the late twentieth century. At once a quotation of an existing work of art and an always imperfect copy, the tableau vivant recognizes the persistent power of the original but transforms or parodies its source, creating something new even when it returns to old and familiar models. The chapter charts the development of a cinema of painters in the late twentieth century and identifies the tableau as one of its key strategies precisely because it exists at the threshold between citation and innovation. Focusing on the work of Jean-Luc Godard and especially Derek Jarman’s 1986 film Caravaggio, it emphasizes the archaeological and social possibilities of this return to painting, as filmmakers confront both the aging of cinema and the necessity of radical historical models in a moment of political retrenchment.
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10

Prawer, S. S. The Blue Angel (Der Blaue Engel). British Film Institute, 2002. http://dx.doi.org/10.5040/9781838712907.

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This comprehensive study reconstructs the production history of The Blue Angel (1930), showing how director Josef von Sternberg's virtuoso visual style was amply supported by an immensely talented team of actors and technicians. It also analyzes the film's aesthetics, and shows how the grave political situation in Germany reverberated in its seemingly airtight world. One of the most famous images in cinema is to be found in the film The Blue Angel (1930). Lola Lola (Marlene Dietrich), in revealing black suspenders, sits on a beer-barrel clasping an upraised knee with both hands while she leans slightly back. Though not Germany's first sound film, it was at the time the most prestigious and expensive by far. Sternberg had been lured back from Hollywood and, together with acting star Emil Jannings and producer Erich Pommer, he set about making an adaptation of Heinrich Mann's novel Professor Unrat. The result is a subtly claustrophobic study of a man's downfall which is a milestone in European cinema.
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