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Books on the topic 'MAPI film'

Author: Grafiati

Published: 6 September 2023

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1

Leonardis, Giancarlo De. Le mani nei capelli: Il mestiere del parrucchiere nel cinema. Roma: Peliti, 2004.

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2

Group, Diagram, ed. African history on file. New York: Facts On File, 2003.

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3

Amundsen, Michael. Mapi, Sapi, and Tapi: Developer's guide. Indianpolis, Ind: Sams Pub., 1996.

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4

Group, Diagram, ed. Religions on file. New York: Facts on File, 1990.

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5

Group, Diagram, ed. Religions on file. New York, NY: Facts on File, 1990.

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6

Keys, legends, and symbols in maps. New York: PowerKids Press, 2012.

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7

Kerrod, Robin. Facts on File wildlife atlas. 2nd ed. New York: Facts on File, 1997.

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8

Soundiata Keïta: Le fils prodige du Mandé : Mali. Paris: Harmattan, 2011.

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9

Lyon & Turnbull (Firm). Printed books, maps and documents, Saturday 17th February 2001. Edinburgh: Lyon and Turnbull, 2001.

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10

Dead File. New York: Grand Central Publishing, 2009.

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11

Lange, Kelly. Dead file. New York: Mysterious Press, 2003.

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12

Le mani sulla città: Dietro le quinte di un film senza tempo. Napoli: Homo scrivens, 2016.

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13

Lyon & Turnbull (Firm). Printed books, maps, atlases and manuscripts, Saturday 23rd September 2000. Edinburgh: Lyon and Turnbull, 2000.

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14

Carter, Smith C., and Facts on File Inc, eds. African-American experience on file. New York: Facts On File, 1998.

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15

1962-, Smith Carter, and Lindroth David, eds. Asian-American experience on file. New York: Facts On File, 1999.

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16

Pollmann, Inga. Cinematic Vitalism. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983656.

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This book argues that there are constitutive links between early twentieth-century German and French film theory and practice, on the one hand, and vitalist conceptions of life in biology and philosophy, on the other. By considering classical film-theoretical texts and their filmic objects in the light of vitalist ideas percolating in scientific and philosophical texts of the time, Cinematic Vitalism reveals the formation of a modernist, experimental and cinematic strand of vitalism in and around the movie theater. The book focuses on the key concepts including rhythm, environment, mood, and development to show how the cinematic vitalism articulated by film theorists and filmmakers maps out connections among human beings, milieus, and technologies that continue to structure our understanding of film.

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17

Piazza, Mario. Poltrona Frau: L'intelligenza delle mani. Milano: Rizzoli, 2012.

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18

Doolan, Paul. Collective Memory and the Dutch East Indies. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728744.

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Collective Memory and the Dutch East Indies: Unremembering Loss examines the afterlife of decolonization in the collective memory of the Netherlands. It offers a new perspective on the cultural history of representing the decolonization of the Dutch East Indies, and maps out how a contested collective memory was shaped. Taking a transdisciplinary approach and applying several theoretical frames from literary studies, sociology, cultural anthropology and film theory, the author reveals how mediated memories contributed to a process of what he calls "unremembering." He analyses in detail a broad variety of sources, including novels, films, documentaries, radio interviews, memoirs and historical studies, to reveal how five decades of representing and remembering decolonization fed into an unremembering by which some key notions were silenced or ignored. The author concludes that historians, or the historical guild, bear much responsibility for the unremembering of decolonization in Dutch collective memory.

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19

File, Facts on. Maps On File (Maps on File). Facts on File, 2004.

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20

File, Inc Facts on. Maps on File, 2008 (Maps on File). Facts on File, 2007.

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21

Inc, Facts on File. Maps on File 1996 (Maps on File). Facts on File, 1996.

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22

File, Facts on. Maps on File, 2004 (Maps on File). Facts on File, 2003.

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23

File, Facts on. Maps on File, 2007 (Maps on File). Facts on File, 2006.

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24

File, Facts on. Maps on File, 2006 (Maps on File). Facts on File, 2006.

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25

Maps on File 1999 (Maps on File). Facts on File, 1999.

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26

Kozikoglu, Tülin. Bir Cizgi Film Daha! Mali. Iletisim Yayinevi, 2010.

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27

File, Facts on. Maps on File 2003 (Maps on File, 2003). Facts on File, 2002.

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28

Maps on File, 2008 Update (Maps on File Update). Facts on File, 2007.

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29

Inc, Facts on File. Maps on File 1997 Update (Maps on File Update). Facts on File, 1997.

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30

Maps on File 1999 Update (Maps on File Update). Facts on File, 1999.

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31

Inc, Facts on File. Maps on File 1998 Update (Maps on File Update). Facts on File, 1998.

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32

File, Facts on. Maps on File 2007 Update (Maps on File Update). Facts on File, 2006.

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33

File, Facts on. Maps on File 2001 Update (Maps on File Update). Facts on File, 2001.

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34

File, Facts on. Maps on File 2006 Update (Maps on File Update). Facts on File, 2006.

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35

File, Facts on. Maps on File: Update (Maps on File Update, 2000). Facts on File, 2000.

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36

File, Facts on. Maps on File, 2004 Update (Maps on File Update). Facts on File, 2003.

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37

File, Facts on. Maps on File, 2005 Update (Maps on File Update). Facts on File, 2004.

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38

Inc, Facts on File. Maps on File: 1994 Updates (Maps on File Update). Facts on File, 1994.

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39

Inc, Facts on File. Maps on File. Facts on File, 1997.

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40

Fof. Maps on File. Facts on File Inc, 1993.

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41

Maps On File. Facts on File, 2011.

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42

Maps on file. Facts on File, 1987.

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43

Maps on File. Facts on File Inc, 1989.

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44

Fof. Maps on File. Facts on File, 2001.

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45

Fof. Maps on File. Facts on File, 2000.

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46

Jin, Dal Yong. Cultural Globalization in Korean Cinema. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0004.

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This chapter examines the swift change experienced by the Korean film industry in conjunction with the Korean Wave. It investigates the primary causes of the roller coaster-like shifts within Korean cinema, including government cultural policies due to the significant role of the government in the midst of neoliberal globalization. It then maps out the nature of cultural hybridity in domestic films by comparing hybridized films between the Hallyu 1.0 era and the Hallyu 2.0 era. By textually analyzing film genres and themes of 240 films produced domestically between 1989 and 2012, the chapter explores not only the ways in which Korean cinema develops hybridity in domestic films, but also whether hybridity has generated new possible cultures that are free from Western influence. This eventually leads us to determine the major characteristics of hybrid Korean cinema in the Hallyu 2.0 era and its future direction in the global film market.

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47

File, Facts on. Maps on File Update: 2003 (Maps on File. Update, 2003). Facts on File, 2002.

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48

The Maps on File Collection, 1992 (Maps on File Update). Facts on File, 1992.

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49

Christie, Ian, and Andrew Moor, eds. The Cinema of Michael Powell. Bloomsbury Publishing (UK), 2005. http://dx.doi.org/10.5040/9781838711382.

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The films of Michael Powell (1905-90) and Emeric Pressburger (1902-88), among them I Know Where I'm Going! (1945), A Matter of Life and Death (1947) and The Red Shoes (1948), are landmarks in British cinema, standing apart from the realist and comic mainstream with their highly stylised aesthetic and their themes of romantic longing and spiritual crisis. Powell and Pressburger are revered by film lovers and film-makers (Martin Scorsese has called them 'the most successful experimental film-makers in the world'). In this first-ever collection of essays on Powell, an international group of critics and scholars map out his film-making skills, providing new readings of individual films, analysing recurrent techniques and themes, and relating them to contemporary debates about gender, sexuality, nationality and cinematic spectacle. Powell, with and without Pressburger, emerges as a film-maker of lasting originality and significance.

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50

Fof. The Maps on File Collection 1995 Update (Maps on File (Updates)). Facts on File, 1995.

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