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Books on the topic 'Technologie au cinéma'

Author: Grafiati

Published: 29 July 2024

Last updated: 30 July 2024

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1

Domitor Conference (7th 2002 Cinémathèque québécoise). Le cinématographe, nouvelle technologie du XXe siècle: The cinema, a new technology for the 20th century. Lausanne: Payot Lausanne, 2004.

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2

1959-, Lord Susan, and Marchessault Janine, eds. Fluid screens, expanded cinema. Toronto: University of Toronto Press, 2007.

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3

Boof-Vermesse, Isabelle. L'âge des postmachines. Montréal: Presses de l'Université de Montréal, 2020.

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4

Frank, Beau, Dubois Philippe 1952-, and Leblanc Gérard, eds. Cinéma et dernières technologies. Paris: INA, 1998.

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5

Julian, Murphet, and Rainford Lydia 1972-, eds. Literature and visual technologies: Writing after cinema. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2003.

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6

Université de Montréal. Ecole d'architecture, ed. In situ, de visu, in motu: Architecture, cinéma et arts technologiques = architecture, cinema and the technological arts. Gollion: Infolio, 2014.

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7

Raine, Michael, and Johan Nordström, eds. The Culture of the Sound Image in Prewar Japan. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089647733.

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This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a ‘culture of the sound image’, it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators resisted the introduction of recorded sound. Taken together, the essays show that the development of sound technology shaped the economic structure of the film industry and its labour practices, the intermedial relation between cinema, radio, and popular music, as well as the architecture of cinemas and the visual style of individual Japanese films and filmmakers.

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8

F, Bordat, and Frison Danièle, eds. Médias et technologies: L'exemple des États-Unis. Paris: Ellipses, 2001.

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9

Alfonsi, Laurence. Le cinéma du futur: Les enjeux des nouvelles technologies de l'image. [Québec]: Presses de l'Université Laval, 2005.

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10

Hausmann, Vincent J. Cinema, Technologies of Visibility, and the Reanimation of Desire. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118508.

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11

Klinger, Barbara. Beyond the multiplex: Cinema, new technologies, and the home. Berkeley: University of California Press, 2006.

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12

Cosulich, Oscar, and Giuletta Fara. Future film festival, 2009: New technologies in animation cinema. [Bologna]: Comma 22, 2009.

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13

Giulietta, Fara, and Cosulich Oscar, eds. Future Film Festival: Le nuove tecnologie del cinema d'animazione = new technologies in animation cinema. Bologna: Pendragon, 2003.

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14

International Fair of African Film and Television. MICA catalogue: Cinéma et nouvelles technologies, 25 Fevrier au 01 mars 2001. [Burkina Faso: Agence de la Francophonie dans le monde, 2001.

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15

FESPACO (Festival) (17th 2001 Ouagadougou, Burkina Faso). 17ème FESPACO, 24 février au 3 mars 2001: Cinéma et nouvelles technologies. Ouagadougou, Burkina Faso: FESPACO, 2001.

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16

FESPACO (Festival) (17th 2001 Ouagadougou, Burkina Faso). 17ème FESPACO, 24 février au 3 mars 2001: Cinéma et nouvelles technologies. Ouagadougou, Burkina Faso: FESPACO, 2001.

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17

Burkina Faso) International Fair of African Film and Television (10th Ouagadougou. MICA catalogue: Cinéma et nouvelles technologies, 25 Fevrier au 01 mars 2001. Burkina Faso]: Agence de la Francophonie dans le monde, 2001.

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18

Girlanda, Elio. Il cinema digitale. Roma: D. Audino, 2006.

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19

Maria, Klonaris, Thomadaki Katerina, A.S.T.A.R.T.I. pour l'art audiovisuelle., and Rencontres internationales art cinéma/art vidéo/art ordinateur (1st : 1990 : Vidéothèque de Paris), eds. Technologies et imaginaires: Art cinéma, art vidéo, art ordinateur. Paris: Dis voir, 1990.

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20

Girlanda, Elio. Il precinema oltre il cinema. Roma: D. Audino, 2010.

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21

Murphy, Jill, and Laura Rascaroli, eds. Theorizing Film Through Contemporary Art. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467.

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As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium - and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, so interrogating the creation, appraisal, and evolution of film theory as channeled through contemporary art. This book takes film theory as a blueprint for the moving image, and juxtaposes it with artworks that render cinema as a material object. In the process, it unfolds a complex relationship between a theory and a practice that have commonly been seen as virtually incompatible, renewing our understanding of each and, more to the point, their interactions.

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22

Iadicicco, Maria Pia. La procreazione medicalmente assistita al cinema. Napoli: Editoriale scientifica, 2017.

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23

Neale, Stephen. Cinema and technology: Image, sound, colour. London: Macmillan, 1985.

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24

Centre for the Study of Developing Societies. The many lives of Indian cinema: 1913-2013 and beyond : disciplines, histories, technologies, futures. New Delhi: Centre for the Study of Developing Societies, 2014.

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25

Jeffrey, Shaw, Weibel Peter, and Zentrum für Kunst und Medientechnologie Karlsruhe., eds. Future cinema: The cinematic imaginary after film. Cambridge, Mass: MIT Press, 2003.

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26

Tirino, Mario. Postspettatorialità: L'esperienza del cinema nell'era digitale. Milano: Meltemi, 2020.

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27

Collomb, Jean. Du cinématographe au cinéma: 1895-1995, 100 ans de technologies cinématographiques françaises. Paris: Dixit, 1995.

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28

Lauretis, Teresa De. Technologies of gender: Essays on theory, film, and fiction. Bloomington: Indiana University Press, 1987.

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29

Lauretis, Teresa De. Technologies of gender: Essays on theory, film, and fiction. Bloomington: Indiana University Press, 1987.

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30

Khoo, Gaik Cheng, Thomas Barker, and Mary Ainslie, eds. Southeast Asia on Screen. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989344.

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After the end of World War II when many Southeast Asian nations gained national independence, and up until the Asian Financial Crisis, film industries here had distinctive and colourful histories shaped by unique national and domestic conditions. Southeast Asia on Screen: From Independence to Financial Crisis (1945-1998) addresses the similar themes, histories, trends, technologies and sociopolitical events that have moulded the art and industry of film in this region, identifying the unique characteristics that continue to shape cinema, spectatorship and Southeast Asian filmmaking in the present and the future. Bringing together scholars across the region, chapters explore the conditions that have given rise to today’s burgeoning Southeast Asian cinemas as well as the gaps that manifest as temporal belatedness and historical disjunctures in the more established regional industries.

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31

Crosta, Marida Di. Entre cinéma et jeux vidéo: L'interface film : métanarration et interactivité. Bruxelles: De Boeck, 2009.

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32

Christian, Uva, ed. L'estetica dell'ibrido: Il cinema contemporaneo tra reale e digitale. Roma: Bulzoni, 2003.

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33

Giraud, Thérèse. Cinéma et technologie. Presses Universitaires de France (PUF), 2001.

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34

Corps, langage, technologie: Textes 1985-2004. Montréal: Les 400 coups, 2006.

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35

Archer, Neil. Social Network: Disruption in the 21st Century. Taylor & Francis Group, 2022.

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36

Archer, Neil. Social Network. Taylor & Francis Group, 2022.

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37

Archer, Neil. Social Network: Disruption in the 21st Century. Taylor & Francis Group, 2022.

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38

Social Network: Disruption in the 21st Century. Taylor & Francis Group, 2022.

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39

Social Network: Youth Film 2.0. Routledge, 2022.

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40

Minh-ha, Trinh T. Digital Film Event. Taylor & Francis Group, 2012.

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41

Minh-ha, Trinh T. Digital Film Event. Taylor & Francis Group, 2012.

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42

Marchessault, Janine, and Susan Lord. Fluid Screens, Expanded Cinema. University of Toronto Press, 2008.

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43

Marchessault, Janine, and Susan Lord. Fluid Screens, Expanded Cinema. University of Toronto Press, 2019.

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44

Cinema et dernieres technologies. Paris; Bruxelles: De Boeck Universite, 1998.

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45

Digital Film Event. Taylor & Francis Group, 2012.

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46

Digital Film Event. Taylor & Francis Group, 2012.

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47

The Digital Film Event. Routledge, 2005.

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48

The Digital Film Event. Routledge, 2005.

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49

Winston, Brian. Technologies of Seeing. Bloomsbury Publishing Plc, 1996. http://dx.doi.org/10.5040/9781838710026.

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This text examines the complex forces pushing and constraining technological developments in cinema. It contests the view that technological advance is simply the result of scientific progress. Rather, the author argues that social forces control the media technology agenda at every stage.

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50

(Editor), Julian Murphet, and Lydia Rainford (Editor), eds. Literature and Visual Technologies: Writing After Cinema. Palgrave Macmillan, 2004.

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