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Books on the topic 'Jungle – Au cinéma'

Author: Grafiati
Published: 23 November 2024

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1

Mounier, Fabienne. La vie trépidante des Bolkodaz. Paris: L'École des loisirs, 2014.

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2

Gréville, Edmond T. Trente-cinq ans dans la jungle du cinéma. [Lyon]: Institut Lumière, 1995.

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3

Convegno internazionale di studi Nuovo cinema tedesco, storia, figure, eredità (2011 : Rome, Italy), ed. Nuovo cinema tedesco: (Junger/neuer deutscher Film) : 17 studi. Roma: Edizioni Fondazione Ente dello spettacolo, 2014.

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4

Violle, Nicolas. Je(ux) d'enfants: Littérature et cinéma italiens du XXe siècle. Clermont-Ferrand: Presses universitaires Blaise Pascal, 2016.

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5

Bordwell, David. Film art: An introduction. 3rd ed. New York: McGraw-Hill, 1990.

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6

Bordwell, David. Film art: An introduction. 2nd ed. New York: Knopf, 1986.

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7

Bordwell, David. Film art: An introduction. New York: McGraw Hill, 2001.

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8

Bordwell, David. Film art: An introduction. 2nd ed. New York: McGraw-Hill, 1985.

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9

Bordwell, David. Film art: An introduction. New York: McGraw-Hill Higher Education, 2009.

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10

Bordwell, David. Film art: An introduction. 7th ed. New York: McGraw-Hill, 2004.

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11

1951-, Alister Ian, ed. Jung & film: Post Jungian takes on the moving image. Hove, East Sussex: Brunner-Routledge, 2001.

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12

1950-, Thompson Kristin, ed. Film art: An introduction/ seventh edition. 7th ed. Boston: McGraw-Hill, 2004.

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13

1950-, Thompson Kristin, ed. Film art: An introduction. 3rd ed. New York: McGraw-Hill, 1990.

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14

1950-, Thompson Kristin, ed. Film art: An introduction. New York: McGraw-Hill, 2012.

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15

1950-, Thompson Kristin, ed. Film art: An introduction. 4th ed. New York: McGraw-Hill, 1993.

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16

1950-, Thompson Kristin, ed. Film art: An introduction. 6th ed. New York: McGraw Hill, 2001.

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17

1950-, Thompson Kristin, ed. Film Art: An Introduction/ Second Edition. 2nd ed. New York: Knopf, 1986.

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18

1950-, Thompson Kristin, ed. Film art: An introduction. 5th ed. New York: The McGraw-Hill Companies, 1996.

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19

1950-, Thompson Kristin, and Peng Jixing, eds. Dian ying yi shu: Xing shi yu feng ge. 5th ed. Beijing: Beijing da xue chu ban she, 2003.

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20

1950-, Thompson Kristin, ed. Film art: An introduction. New York: McGraw-Hill Higher Education, 2009.

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21

1950-, Thompson Kristin, ed. Film art: An introduction. 8th ed. Boston: McGraw Hill, 2008.

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22

author, Thompson Kristin 1950, ed. Film art: An introduction. New York: McGraw-Hill Education, 2015.

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23

Jungle du Cinéma. Creative Media Partners, LLC, 2023.

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24

Jungle du Cinéma. Creative Media Partners, LLC, 2023.

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25

Deuxième Livre de la Jungle: Le Deuxième Volet du Célèbre Livre de Kipling, Tant de Fois Personnifié Au Cinéma. Independently Published, 2021.

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26

Disney, Walt. Le Livre de La Jungle, Cinema Les Chefs-D'Oeuvre. Hachette Book Group USA, 2008.

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27

Where the Boys Are: Cinemas of Masculinity and Youth (Contemporary Approaches to Film and Television). Wayne State University Press, 2005.

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28

Woods, Philip. Newsreel Cameramen. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190657772.003.0007.

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This chapter looks at the work of the only two newsreel cameramen filming the campaign, Alec Tozer and Maurice Ford. It raises the practical problems of filming in tropical and jungle conditions. It brings into question the faking or reconstruction of battle scenes, but also the gap between what the cameramen reported and the stories that reached the cinema audiences. It argues that for reasons intrinsic to the cinema industry, the newsreels gave an altogether more optimistic and therefore more misleading view of the campaign than the newspapers did.
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29

Iaccino, James F. Jungian Reflections within the Cinema. Greenwood Publishing Group, Inc., 1998. http://dx.doi.org/10.5040/9798400675218.

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Exploring the relevance of Jungian theory as it applies to science fiction, horror and fantasy films, this text demonstrates the remarkable correlation existing between Jung's major archetypes and recurring themes in various film genres. An introduction acquaints readers with basic Jungian theory archetypes before proceeding to film analysis. A diverse selection of movie and television summaries illustrate the relationship between a particular Jungian image and the examined films. Among the various Jungian patterns studied are the father archetype, the split between persona and shadow, the search for the grail, the alchemist traveler, and the development of the child archetype. From Star Wars and Planet of the Apes to Back to the Future and Indiana Jones, the interdependence of Jungian theory and film themes and contents unfold. Creative and innovative, this text unearths new Jungian territory that will appeal not only to psychology and film studies scholars and researchers, but also to those studying communication and literature.
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30

Second Jungle Book: The Second Part of Kipling's Famous Book, Personified in the Cinema So Many Times. Independently Published, 2021.

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31

White, John. British Cinema and a Divided Nation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481021.001.0001.

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This book examines representations of the nation found within contemporary British cinema against a backdrop of rising political tensions and deepening social divisions following the ‘Brexit’ referendum of 23 June 2016. It offers an exploration of the ways in which the contest of ideologies always at work within media representation have played out post-2016. The focus is on historical and contemporary drama films. Contemporary British Cinema and a Divided Nation analyses a nation’s contested understandings of its past, present and future, probing the various ways recent mainstream films have approached the concept of nationhood. Consideration is given to whether there might be seen to be a new, or renewed, emphasis on the competing ideological perspectives that confront each other around the issue of nationalism. Is what we see, the negotiation of a new relationship with the world for a new age, or simply a re-iteration of a long-standing British, or English, understanding of national identity? A crucial aspect of this approach is necessarily an assessment of the relative importance of this issue in relation to other socio-economic concerns found in the films under discussion. Each of the central focus films considered completed production after the referendum of 2016. Earlier British films act as points of comparison but, generally, will not be analysed in depth.
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32

Majumdar, Neepa. Gossip, Labor, and Female Stardom in Pre-Independence Indian Cinema. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0014.

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This chapter examines Shanta Apte's tactical use of the hunger strike to protest Prabhat Film Company's withholding pay for the days in June that she had not come to work. Beginning on the evening of July 17, 1939, Apte, a singing star, sat and remained on the bench a bench outside Prabhat studios in Pune—dressed in men's clothing—for two nights and one day and drank only salted water. Eventually her doctor and her brother succeeded in persuading her to return home. Apte's hunger strike is one of those small events out of which the vaster network of women's film history is constituted. This chapter first considers some tentative details pertaining to the major players in Apte's story, as drawn from various sources, before analyzing her hunger strike in the context of gossip, labor, and female stardom in pre-independence Indian cinema. It shows how labor and work become a breach of etiquette with precisely the moral labor of decorum that seemed to be violated when Apte went on hunger strike.
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33

Pomerance, Murray. Edge of the Screen. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9798765128343.

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This book is a series of seventeen mediations that revolve around the notion of the viewer’s placement at the edge of the screen. Every page is an opportunity to think about an aspect of film, or of film viewing, in new ways, and to begin reconsidering deeply ingrained ways of unthinkingly characterizing and accounting for what it is that we watch when we watch a film, what happens to us, and how we make sense of and appreciate it. This volume follows from three others by the author:Virtuoso: Film Performance and the Actor’s Magic(2020);The Film Cheat: Cinematic Artifice and Viewing Pleasure(2021); andUncanny Cinema: Agonies of the Viewing Experience(2022). All of these, includingEdge of the Screen, meander and interrogate cinema as we watch it, both connecting us to and disconnecting us from the moment of pleasure. Each meditation is characterized by a deep penetration of the inquiring, continually hungry authorial mind and a very extensive set of analyses of filmic moments from myriad films, including2001: A Space Odyssey, Memento, Zabriskie Point, An American in Paris, Planet of the Apes(1968),Superman(1978),Possessed, The Jungle Book(1942),The Spy Who Came In from the Cold, The Toll of the Sea, Rope,and numerous others. These meditations are careful and philosophical as much as energetically ruminative, yet are written in an accessible style for all interested readers who both love cinema and wonder about that love. Each chapter can stand alone, even though all work together to challenge perspectives on what we encounter, experience, think, and feel when we watch films. Across its chapters,Edge of the Screentakes on a wide range of topics: the ontology of film; the relation between characters, actors, and the figures who appear onscreen; film’s relationships to the other arts, especially painting but also novels and theatre; the passage of time in film, and its momentary character; film criticism, including deeply held values such as coherence; film’s relationship to mortality; and more.
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34

Hillebrand, Michaela. 'Leben zwischen den Kulturen' - Aspekte der Identitätsfindung junger Erwachsener im interkulturellen Spannungsfeld: Analyse anhand ausgewählter Werke des cinéma beur und des Deutsch-türkischen Films. GRIN Verlag GmbH, 2010.

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35

Robertson, Kate. Trouble Every Day. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859241.001.0001.

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Transgressive both in its narrative and in its filmmaking, Trouble Every Day (2001) envisions the monster inside, unspeakable urges and an overwhelming need for complete incorporation. A plant discovered in the South American jungle produces in its test subjects a terrible, unnatural and uncontrollable hunger. Vicious, all-consuming desire begets excessive violence and a turn to cannibalism, which situates Trouble Every Day into a tradition of challenging cinema, a film maudit that pushes the boundaries of what can be shown on screen. But while it is certainly an unflinching film, it is deserving of reassessment as part of Clare Denis’ filmography as well as a broader cinematic lineage. Focusing on close textual analysis, this book delves into the surfeit of visual, literary, and non-fiction references that shape Trouble Every Day while thwarting attempts to firmly situate it. It considers its place in a lineage of films that push the boundary of taste and representation, aligned as much with Un Chien andalou (1929) as the New French Extremity. It also considers the film’s relationship to such sub-genres as classic monster movies, video nasties, mad science, gothic, vampire, body horror, and Italo-exploitation cannibal films, and directors such as Abel Ferrara, Brian de Palma, Jean Renoir and Jacques Tourneau. Drawing on a range of disciplines, including art, philosophy and phenomenology, this study explores how Trouble Every Day elicits a visceral response to a cinematic experience that beguiles and violates.
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36

Waddell, Calum. Cannibal Holocaust. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325116.001.0001.

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This book is one of the most controversial horror films ever made. Despite not achieving huge success when it was first released, the Italian production found an audience on home video in the 1980s and became a 'must-see' for connoisseurs of extreme cinema. Indeed, Cannibal Holocaust's foremost legacy is in the United Kingdom, where it obtained its reputation as one of the most harrowing and offensive 'video nasties' — a term used to refer to a group of films deemed to be 'obscene' by the Department of Public Prosecutions. However, as the years have progressed, Cannibal Holocaust has been re-evaluated, mainly as the forefather of the 'found footage' film, and recent home video re-releases have added some valuable perspective to the onscreen violence with extensive cast and crew interviews. What is missing from this contemporary activity is contextualization of Cannibal Holocaust's style, affirmation and discussion of its locations and any extensive discourse about its representation of third world inhabitants (i.e. as 'primitives'). In addition, and also amiss from previous dialogue on the production, is that Cannibal Holocaust can be seen as one of the key post-Vietnam films. It is the spectre of war — and an explicit warning about Western involvement in civil conflict — which progresses Deodato's story of jungle adventurers in peril. By approaching the film from a more formalist position, this book provides an insightful discussion of this groundbreaking film.
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37

Thompson, Kristin, and David Bordwell. Film Art: An Introduction. 7th ed. McGraw-Hill Companies, 2003.

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38

Bordwell, David. Film Art (McGraw-Hill International Editions S.). McGraw-Hill, 1989.

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39

Thompson, Kristin, and David Bordwell. Film Art: An Introduction. 4th ed. Mcgraw-Hill College, 1992.

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40

D. & THOMPSON BORDWELL. Film Art: An Introduction. 2nd Edition. Random House USA Inc, 1988.

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41

Thompson, Kristin, and David Bordwell. Film Art w/ Film Viewer's Guide and Tutorial CD-ROM. McGraw-Hill Humanities/Social Sciences/Languages, 2003.

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42

Thompson, Kristin, and David Bordwell. Film Art. 2nd ed. McGraw-Hill Education, 1989.

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43

Bordwell, David. Film Art: An Introduction. 8th ed. Mcgraw-Hill College, 2006.

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44

Thompson, Kristin, and David Bordwell. Film Art w/ Film Viewer's Guide and Tutorial CD-ROM. 7th ed. McGraw-Hill Humanities/Social Sciences/Languages, 2003.

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45

Thompson, Kristin, and David Bordwell. Film Art: An Introduction. McGraw-Hill Companies, 2003.

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46

D. & THOMPSON BORDWELL. Film Art: An Introduction. 2nd Edition. Random House USA Inc, 1988.

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47

Bordwell, David. Film Art: An Introduction. McGraw-Hill Education, 2017.

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48

Bordwell, David, Kristin Thompson, and Jeff Smith. Film Art: An Introduction. McGraw-Hill Education, 2015.

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49

Thompson, Kristin, and David Bordwell. Film Art: An Introduction with Tutorial CD-ROM. McGraw-Hill Humanities/Social Sciences/Languages, 2006.

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50

Thompson, Kristin, and David Bordwell. Film Art: An Introduction. Mcgraw-Hill College, 1992.

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