Relevant bibliographies by topics / Motion pictures France

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Motion pictures France'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Motion pictures France"

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Heinemann, Julia. "Motion Pictures of the Royal Family." French Historical Studies 44, no. 2 (April 1, 2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.
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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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Herowati, Herowati, Agung Pambudi, and Nurbayti Nurbayti. "Metode Pembelajaran Sistem Pakar Diagnosa Penyakit Ikan Hias Air Tawar Pada SMK Negeri 2 Tangerang." CICES 3, no. 1 (February 28, 2017): 48–60. http://dx.doi.org/10.33050/cices.v3i1.422.

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The year 1830, munculah called zoetrope, cylindrical object with empty spaces with pictures drawn by hand on the surface of it. While playing, the same motion effect. The year 1870, an inventor from France, Emile Reynaud added a mirror in the middle of the cylinder space. A few years later, he discovered the version of Windows will arise. By adding light reflector and lenses to magnify images on the screen. The year 1892, he did a demonstration in Paris's Theatre Optique, with hundreds of images using the hands to cause the effect of motion pictures for 15 minutes. Rouben Mamoulian, an American film director born in 1929 demonstrated various types of sound in a movie. This is then pushed the filmmaker makes the soft-spoken. The first film camera that uses a color separation. Technicolor Camera that was discovered in 1932 using the principle of "Three-strip" that divides the image into the three primary colors red, yellow, blue (cyan, magenta, yellow). This camera into movie production tool fullcolor using the principle of the "three-strip"
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Bakker, Gerben. "Stars and Stories: How Films Became Branded Products." Enterprise & Society 2, no. 3 (September 2001): 461–502. http://dx.doi.org/10.1093/es/2.3.461.

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Between 1890 and 1940, motion pictures changed from technological novelties into heavily branded consumer products. The high sunk costs and short “shelf-life” of movies led film producers to borrow branding techniques from other consumer goods industries. They tried to build audience loyalty around a number of characteristics, but eventually learned that stars and stories were the most effective “promotion machines,” able swiftly to generate massive brand-awareness and to persuade consumers to see a new film. Data from the United States, Britain, and France showing the disproportionate distribution of income and fame among stars confirm their role as persuaders. Ultimately, film producers extended the life of their products by licensing their instant, tradable brands to other consumer goods industries.
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Guerin, Antoine, Antonio Abellán, Battista Matasci, Michel Jaboyedoff, Marc-Henri Derron, and Ludovic Ravanel. "Brief communication: 3-D reconstruction of a collapsed rock pillar from Web-retrieved images and terrestrial lidar data – the 2005 event of the west face of the Drus (Mont Blanc massif)." Natural Hazards and Earth System Sciences 17, no. 7 (July 18, 2017): 1207–20. http://dx.doi.org/10.5194/nhess-17-1207-2017.

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Abstract. In June 2005, a series of major rockfall events completely wiped out the Bonatti Pillar located in the legendary Drus west face (Mont Blanc massif, France). Terrestrial lidar scans of the west face were acquired after this event, but no pre-event point cloud is available. Thus, in order to reconstruct the volume and the shape of the collapsed blocks, a 3-D model has been built using photogrammetry (structure-from-motion (SfM) algorithms) based on 30 pictures collected on the Web. All these pictures were taken between September 2003 and May 2005. We then reconstructed the shape and volume of the fallen compartment by comparing the SfM model with terrestrial lidar data acquired in October 2005 and November 2011. The volume is calculated to 292 680 m3 (±5.6 %). This result is close to the value previously assessed by Ravanel and Deline (2008) for this same rock avalanche (265 000 ± 10 000 m3). The difference between these two estimations can be explained by the rounded shape of the volume determined by photogrammetry, which may lead to a volume overestimation. However it is not excluded that the volume calculated by Ravanel and Deline (2008) is slightly underestimated, the thickness of the blocks having been assessed manually from historical photographs.
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Froideval, L., C. Conessa, X. Pellerin Le Bas, L. Benoit, and D. Mouazé. "EFFICIENT DIKE MONITORING USING TERRESTRIAL SFM PHOTOGRAMMETRY." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences V-2-2022 (May 17, 2022): 359–66. http://dx.doi.org/10.5194/isprs-annals-v-2-2022-359-2022.

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Abstract. Nature based solutions are growing rapidly in order to mitigate in the near future the effects of climate change and rise of sea level on most anthropogenic coasts. In that frame, the CHERbourg bLOC (CHERLOC) project aims to study new coastal engineering solutions (overtopping, sediment transport) thanks to two new artificial units in two test sites (Normandy, France) considering biodiversity preservation but also societal acceptability. This study details an efficient method to monitor such coastal infrastructure using terrestrial Structure from Motion (SfM). In 2021, surveys were conducted to acquire pictures in April, May, June and November. A time series of 3D photogrammetric models was generated using open source SfM software. The first model was georeferenced using Ground Control Points (GCP) measured by Differential Global Navigation Satellite System (DGNSS) so that it could be used as a reference for the following point clouds using surrounding ripraps assumed to be non-mobile through the period of the study. The georeferencing Root Mean Square Error (RMSE) was found to be 1.8 cm for the April model whereas RMSEs of relative registrations of the following dates were found to be sub-centimetric. These results can be used to observe and measure blocks displacements as well as sand volumes evolution throughout the time series. The biggest displacement was found to be 23 cm between April and June. Sand topographic variation shows a continuous accumulation on selected cross-sections between April and November with an overall height accumulation of about 30 cm. Sand volumes measurements show consistent results with an added volume of 3.67 m3 on the previous areas.
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Paksiutov, G. "“Soft Power” and “Cultural Capital” of Nations: the Case of Film Industry." World Economy and International Relations 64, no. 11 (2020): 106–13. http://dx.doi.org/10.20542/0131-2227-2020-64-11-106-113.

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The article showcases the similarities between Joseph Nye’s concept of soft power and Pierre Bourdieu’s theory of capital, and attempts to draw upon the latter to deepen the understanding of the role of culture as a source of soft power. This approach is applied to study the role of a national film industry as a soft power tool. First, based on the existing academic literature, some key concepts relevant to the film industry are conceptualized in terms of Bourdieu’s theory of capital. After that, Bourdieu’s research frameworks – particularly, the concept of cultural capital – are used to describe how national film industry contributes to a nation’s cultural influence on the global stage. The author specifically highlights the importance of consideration of “institutionalized cultural capital” (or institutional recognition) and presents some evidence on film awards, namely, the awards from three large European film festivals (Berlin, Venice and Cannes) and Academy Award for Best Foreign Language film. It is emphasized that European countries (such as Italy and France) and the U.S. are in advantageous position in regard to this component of cultural influence: motion pictures produced by these countries receive awards very frequently, while, for instance, African and South American films are awarded scarcely. Such tendencies demonstrate unequal possibilities of countries for the use of national cinema as a tool of cultural influence. The author asserts that a national “soft power strategy” can be seen, in terms of Bourdieu’s theory of capital, as a capital conversion strategy, and discusses the implications of such approach. Furthermore, the applicability of Bourdieu’s theory of capital for the analysis of Russian cinema as a soft power tool is discussed. In conclusion, the author summarizes theoretical and practical implications of the proposed approach, draws attention to some of possible directions for further research.
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Fauser, Annegret. "Sounding the Tricolore: France and the United States during World War ii." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (April 25, 2017): 9–21. http://dx.doi.org/10.7202/1039609ar.

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During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.
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Craig, Stephanie M., Fabian S. Menges, Chinh H. Duong, Joanna K. Denton, Lindsey R. Madison, Anne B. McCoy, and Mark A. Johnson. "Hidden role of intermolecular proton transfer in the anomalously diffuse vibrational spectrum of a trapped hydronium ion." Proceedings of the National Academy of Sciences 114, no. 24 (May 31, 2017): E4706—E4713. http://dx.doi.org/10.1073/pnas.1705089114.

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We report the vibrational spectra of the hydronium and methyl-ammonium ions captured in the C3v binding pocket of the 18-crown-6 ether ionophore. Although the NH stretching bands of the CH3NH3+ ion are consistent with harmonic expectations, the OH stretching bands of H3O+ are surprisingly broad, appearing as a diffuse background absorption with little intensity modulation over 800 cm−1 with an onset ∼400 cm−1 below the harmonic prediction. This structure persists even when only a single OH group is present in the HD2O+ isotopologue, while the OD stretching region displays a regular progression involving a soft mode at about 85 cm−1. These results are rationalized in a vibrationally adiabatic (VA) model in which the motion of the H3O+ ion in the crown pocket is strongly coupled with its OH stretches. In this picture, H3O+ resides in the center of the crown in the vibrational zero-point level, while the minima in the VA potentials associated with the excited OH vibrational states are shifted away from the symmetrical configuration displayed by the ground state. Infrared excitation between these strongly H/D isotope-dependent VA potentials then accounts for most of the broadening in the OH stretching manifold. Specifically, low-frequency motions involving concerted motions of the crown scaffold and the H3O+ ion are driven by a Franck–Condon-like mechanism. In essence, vibrational spectroscopy of these systems can be viewed from the perspective of photochemical interconversion between transient, isomeric forms of the complexes corresponding to the initial stage of intermolecular proton transfer.
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Ulff-Møller, Jens. "Film trade diplomacy between France and the United States: American and European policies toward the motion picture industry 1945–1971." Innovation: The European Journal of Social Science Research 33, no. 4 (October 1, 2020): 406–22. http://dx.doi.org/10.1080/13511610.2020.1838263.

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Dissertations / Theses on the topic "Motion pictures France"

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Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.

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Lehin, Barbara. "Cinema and society : Thatcher's Britain and Mitterand's France." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/1249/.

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This thesis examines the representation of society in British and French cinemas of the 1980s. In this comparative study, the choice of this particular decade was motivated by the coming to power of the Conservative Party in Britain and the Socialist Party in France. Since the two governments adopted 'extreme' policies increasing the strengths and weaknesses traditionally found in their film industries, British cinema struggled even harder while French cinema enjoyed a strong financial support from the state. A significant feature of these two national cinemas in relation to films about society was the predominance of the realist vein in Britain and the comedy genre in France. This generic discrepancy was highly influential in the way the two national cinemas referred to social issues in the 1980s and most scholars have argued that British cinema widely discussed the state of its society whereas, on the whole, French cinema avoided to do so. What this research hopefully demonstrates is that, despite different generic approaches, British and French cinemas equally contributed to depict their contemporary societies. To analyse how these two societies were represented on screen, three main areas are studied thematically: first people in power (public institutions and individuals), second the world of work, and third the family. After a brief summary of social issues in Britain and France in relation with the aforementioned themes, discussions of their filmic representations are based on the films themselves, the textual analysis of films taken as case studies and their critical reception. I will argue that in the 1980s, British cinema offered the overall image of a class-bound society where individuals - living side by side - were unable to escape their social fate. The paradox of this cinema made by a majority of left-wing filmmakers was that ultimately it favoured a rather traditional view of society. By contrast, my research shows that the idea of friendship and solidarity prevailed over economic and social hardship in French cinema. Although this depiction of society was largely consensual, it nevertheless opened the debate for social alternatives.
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Oscherwitz, Dayna Lynne. "Representing the nation cinema, literature and the struggle for national identity in contemporary France /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.

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Phillips, Alastair. "City of darkness, city of light : the representation of Paris in the 1930s French films of the German émigrés." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/110873/.

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Paris is one of the key sites of meaning regarding France's cinematic output. This thesis surveys the contribution German émigré filmmakers made to the French cinema of the 1930s through a series of case studies of their depiction of the nation's capital city. It argues that this contribution was both typical and singular. The émigrés engaged directly with traditions of Parisian representation, but they also played a distinctive role in the important debate over the direction early French sound filmmaking should take. The body of the thesis contains detailed textual analysis of many émigré productions which have hitherto been ignored within film history. It contextualises this analysis with comparative discussion of films made by indigenous professionals and an examination of past and present intertextual aspects of Parisian culture. The thesis moves beyond aesthetic concerns to also consider the political, industrial and social significance of the work of the émigré Filmmakers. The reception of their films is located within a history of the Franco-German relationship as a whole. By drawing widely upon supporting documentation in critical and trade journals of the time, the thesis provides a new history of a crucial transitional point in the development of European film culture.
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Trippe, William Micah. "Where are the urban mechanics? : the case of the French city film 1926-1930." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610501.

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Langlois, Suzanne 1954. "La résistance dans le cinéma français de fiction (1944-1994) /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.

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The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared with the written history of the Resistance. The sources for this work include both visual and written materials: films, preliminary documents, censorship files, and film criticism. Nine interviews provide an additional aspect to this corpus. The parallel drawn between the historiography of the Resistance and the films allowed for a better understanding of the fluctuating relationship between film and historical studies. Also, the examination of this filmography from the perspective of women resisters permitted filmic analysis to move beyond the traditional and politically oriented evaluations of films based on Gaullist or communist memory.
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Walkley, Sarah Elizabeth. "To what extent can France continue to defend the cultural exception in the digital age? : an analysis of cultural diversity in the French film industry." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80230/.

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Since the first General Agreement on Tariffs and Trade in 1947, France has insisted that cultural products are different from other traded goods and should be exempted from ongoing liberalisation of international trade – a principle known as the ‘cultural exception’. This exclusion allows France to implement policies in favour of its cultural industries, particularly a highly complex system of quotas and subsidies for the film industry which it maintains is essential to counter US market dominance and maintain cultural diversity. Over the past decade, the launch of video-on-demand services has revolutionised how films are delivered and consumed. Policy-makers have attempted to keep pace with these developments, expanding the scope of French support schemes accordingly. Adopting a mixed methods approach, this thesis analyses cultural diversity in the French film industry in detail, incorporating for the first time both the cinema and video-on-demand sectors and combining qualitative and quantitative data to understand the impact of French policies on diversity. Quantitative analysis reveals strong evidence of diversity in both sectors but that, while digital channels offer greater variety of choice, cinema is more balanced between films of different geographic origins. Employing a consistent approach to policy development in both channels, policy-makers have failed to take into account these and other differences, or to target measures at the emerging threats to diversity in the digital environment – potentially undermining the French defence of the cultural exception on diversity grounds. There is a surprisingly superficial use of the term cultural diversity in trade circles, leading to the conclusion that a more sophisticated approach is needed. Refining French policy in line with empirical data and actively using that evidence to demonstrate policy success will be a necessary part of this more sophisticated approach if France is to successfully defend the cultural exception in future trade negotiations.
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Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.

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This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.
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Vaughan, Michael Hunter. "From camera to code : Godard, Resnais and the problem of representation in film theory." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:d8752498-1a8c-48ec-b774-b3e9f1e410ea.

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This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a type of representation. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources as Merleau- Ponty and Deleuze, I hope here to use a phenomenological base to build a theory of film semiotics that focuses on the immanent field of film representation, which I will postulate as a structuring of the inter-dependent relationship between the content of representation and the signified source of representation. This relationship is infused through a film text according to various modes of differentiation: between the viewer and viewed, speaker and spoken or what, using principles of phenomenology, I call the problem of subject-object relations. In this study I use this framework of subject-object relations in order to re-conceptualize the problem of film representation and to systematize the fundamental debates in film theory. I will argue that even oppositional theories of film representation can be reconciled through their attempt to understand this immanent field as being organized so as to structure a relationship between the representation and an origin of meaning, or subject-function. This relationship is what I call a system of reference. The filmic subject-function is traditionally located within the camera itself or hi the diegetic subjectivity of a character; I will call these two systems of reference, respectively, objective and subjective representation. And, through a reconstruction of Deleuze's Cinéma project, I will argue that the immanent field of film representation is a constant fluctuation between these two poles, a dialogic circulation of interacting agencies and discourses. This thesis illustrates this fluctuation through a comparative analysis of two French filmmakers, Alain Resnais and Jean-Luc Godard. I will argue that, illustrating similar goals as one finds in the works of Merleau-Ponty and Deleuze, these two filmmakers radically deconstruct film codes in order to destroy the conventional division between interior and exterior that is imposed by classical notions of subjectivity.
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Peters, Claire Isla MacLeod. "Le Paris de la mémoire : traces of the Holocaust and the Algerian War in the 'city of light'." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4714/.

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This thesis examines contemporary literary and cinematic representations of Paris in relation to the dynamics of collective memory, arguing that the city emerges as a privileged site in which to explore critical questions of identity, memory and citizenship in France. In this comparative approach to representations of memories of the Holocaust and the Algerian War in France, I identify a shared lexicon of urban space simultaneously hiding and revealing traces of the past in the contemporary city. This study of memories and their urban and palimpsestic representations challenges the tendency to separate the disciplines of postcolonial and post-Holocaust studies, and in so doing contests the conceptual separation of metropolitan, European and colonial histories. As such, it contributes to a growing interdisciplinary field of French and Francophone studies that extends the object of study beyond the purely metropolitan. I draw on and engage with theoretical work in the fields of memory studies, postcolonial studies and post-Holocaust studies to consider how urban space opens up a legitimate new way of engaging with the overlaps and intersections between different memories without undermining the crucial element of difference. Underpinned by poststructuralist concerns, memory emerges here as an inherently constructed concept.
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Books on the topic "Motion pictures France"

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1951-, Larouche Michel, and Baby François, eds. L' aventure du cinéma québécois en France. Montréal: XYZ, 1996.

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Michel, Larouche, and Baby François, eds. L' aventure au cinéma québécois en France. Montréal: XYZ éditeur, 1996.

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Rittaud-Hutinet, Jacques. Dictionnaire des cinématographes en France, 1896-1897. Paris: Champion, 1999.

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Montebello, Fabrice. Le cinéma en France depuis les années 1930. Paris: A. Colin, 2005.

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d'Orsay, Musée, ed. Enfin le cinéma!: Arts, images et spectacles en France (1833-1907). Paris: Musée d'Orsay, 2021.

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Carrière, Louise. Les relations cinématographiques France-Québec. Montréal, Qué: Centre de recherche cinéma/réception de l'Université de Montréal, 1994.

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Fouassier, Christophe. Le droit de la création cinématographique en France. Paris: Harmattan, 2004.

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Bazin, André. French cinema from the Liberation to the New Wave, 1945-1958. New York: P. Lang, 2000.

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Fox, Alistair, Hilary Radner, Michel Marie, and Raphaëlle Moine. A companion to contemporary French cinema. Chichester, West Sussex, UK: Wiley Blackwell, 2015.

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Horeck, Tanya, and Tina Kendall. The new extremism in cinema: From France to Europe. Edinburgh: Edinburgh University Press, 2011.

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Book chapters on the topic "Motion pictures France"

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Mayer, David. "Quo vadis on the Stage." In The Novel of Neronian Rome and its Multimedial Transformations, 107–22. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0007.

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In contrast to the applause and attendance figures generated by the several film adaptations which followed from 1913, theatrical renderings of Quo vadis were ridiculed, and stage runs were conspicuously brief. Theatre was not able to realise the strongly physical episodes the novelist had imagined and that motion pictures could supply. Although posters advertising the play depicted Lygia’s ordeal in the arena and her rescue by the strong-man Ursus grappling with a maddened aurochs, this crucial ‘sensation scene’ was never brought before theatre audiences. At best, stage versions of Quo vadis were disappointing, at worst they were dismal failures. On the English-speaking stage, three separate iterations of Quo vadis, not adapted until 1900, followed Wilson Barrett’s 1895 play The Sign of the Cross by five years and followed William Young’s theatrical version of Ben-Hur by a year. It wasn’t merely that these earlier plays had consumed the oxygen that might have given life to Quo vadis, it was also that stage versions of Quo vadis relied on similar configurations of characters found in The Sign of the Cross, of Christian-Pagan conflict, and of plots of martyrdom at the whims of despotic Roman emperors and their lubricious wives. Even Wilson Barrett’s adaptation failed to generate much enthusiasm and was readily replaced by his money-spinning biblical dramas and toga-plays. This study will consider adaptations by Jeanette L. Gilder, by Stanislav Stange, and Wilson Barrett. It will account for more successful stage versions of the novel performed in the Roman Catholic countries Italy and France.
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Hay, Peter. "Real To Reel." In Movie Anecdotes, 16–28. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195045949.003.0002.

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Abstract Motion pictures, because of the enormous technical complexity involved, is the ultimate art form of our technological era. As Francis Ford Coppola once observed, very few inside the profession are familiar with more than one or two aspects of film-making. And, despite the avalanche of magazines, behind-the-scenes and interview programs, the whole process of how films are made remains a complete mystery to the average moviegoer.
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Rode, Alan K. "A Loving Collaboration." In Michael Curtiz. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813173917.003.0011.

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Curtiz wooed Bess Meredyth, who became both his lover and his collaborator. A biographical profile of Meredyth is provided. A charter member of the Motion Picture Academy, who began with D. W. Griffith and who had a résumé that included The Red Lily (1924) and Ben Hur (1925), she insinuated Curtiz into her circle of high-powered intimates that included Louella Parsons, Frances Marion, and Gene Fowler.She also helped Curtiz master reading and speaking English, with mixed success. His lifelong struggle with English was eventually turned to his advantage by a clever PR campaign of “Curtiz spoken here.” The couple marriedon December 7, 1929.Curtiz inherited a stepson, John Meredyth Lucas, whose memoir is an invaluable resource about his formative years with the director-as-stepfather.As Curtiz settled into a comfortable social and professional life in Hollywood, Warner Bros. revolutionized the film industry with sound when The Jazz Singer premiered.Curtiz was in the vanguard of the transition with Tenderloin (1928), which included several talking Vitaphone sequences.He finally was given the green light by the Warners to make his epic Noah’s Ark.
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Conference papers on the topic "Motion pictures France"

1

MAEDA, Toshiyuki, Masumi YAJIMA, and Akiyoshi WAKATANI. "Frequency-based Skill Analysis for Motion Pictures." In 2018 12th France-Japan and 10th Europe-Asia Congress on Mechatronics. IEEE, 2018. http://dx.doi.org/10.1109/mecatronics.2018.8495892.

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