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Books on the topic 'Voix au cinéma'

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Published: 25 July 2024

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1

Châteauvert, Jean. Des mots à l'image: La voix over au cinéma. Québec: Nuit blanche, 1996.

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2

Bolter, Trudy. Figures de l'écrivain dans le cinéma américain: Itinéraires de la "voix baladeuse". Rennes: Presses universitaires de Rennes, 2001.

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3

Comité d'examen des mandats SRC, ONF, Téléfilm (Canada). Faire entendre nos voix: Le cinéma et la télévision du Canada au 21e siècle. Ottawa, Ont: Patrimoine canadien, 1996.

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4

Zabunyan, Dork. Gilles Deleuze: Voir, parler, penser au risque du cinéma. Paris: Presses Sorbonne nouvelle, 2006.

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5

Goldfarb, Rebecca. Deux réalités, deux façons de voir: Analyse comparative de l'industrie cinématographique au Canada et aux États-Unis. Ottawa, Ont: Ministère des affaires étrangères et du commerce international, 1999.

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6

Breton, Emile. Nous avons tant à voir ensemble: Cinéma et mouvement social. Paris: VO, 2000.

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7

Esquerre, Arnaud. Interdire de voir: Sexe, violence et liberté d'expression au cinéma. Paris]: Fayard, 2019.

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8

Paci, Viva. La machine à voir: À propos de cinéma, attraction, exhibition. Villeneuve-d'Ascq: Presses universitaires du Septentrion, 2012.

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9

Dandrieu, Laurent. Dictionnaire passionné du cinéma: 6000 films à voir ou à fuir. Paris: Éditions de l'Homme nouveau, 2013.

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10

Kabalek, Kobi, Julia Köhne, and Michael Elm. The horrors of trauma in cinema: Violence void visualization. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2014.

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11

Schneider, Steven Jay, and Jean Charles Provost. 1001 films à voir et revoir. 3rd ed. Montréal: Hurtubise HMH, 2010.

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12

Schneider, Steven Jay. 1001 films à voir et revoir. Montréal: Hurtubise HMH, 2004.

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13

Emile, Breton, ed. Nous avons tant à voir ensemble: Cinéma et mouvement social. Paris: VO éditions, 2000.

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14

Charles, Perraton, and Jost François, eds. Un nouvel art de voir la ville et de faire du cinéma: Du cinéma et des restes urbains. Paris: Harmattan, 2003.

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15

Canada. Feature Film Advisory Committee. The road to success : report of the Feature Film Advisory Committee =: La voie du succès : rapport du Comité consultatif sur le long métrage. Ottawa, Ont: Canadian Heritage = Patrimoine canadien, 1999.

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16

André, Gaudreault, ed. Ce que je vois de mon ciné--: La représentation du regard dans le cinéma des premiers temps. [Paris]: Méridiens Klincksieck, 1988.

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17

Collignon, Jean-Pierre L. Par ailleurs le cinéma m'ennuie: Où l'on voit que-- zut alors il va encore pleuvoir : chroniques radiophoniques. [Crisnée, Belgium]: Editions Yellow Now, 1996.

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18

D'Aloia, Adriano. Neurofilmology of the Moving Image. NL Amsterdam: 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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19

Oshana, Maryann. Women of color: A filmography of minority and Third World women. New York: Garland Pub., 1985.

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20

Raimu: L'immortelle voix du cinéma français. Gémenos: Autres temps éditions, 2011.

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21

Chateauvert, Jean. Des mots à l'image la voix over au cinéma. Meridiens Klincksieck, 1997.

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22

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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23

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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24

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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25

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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26

Giesen, Rolf, and Anna Khan. Acting and Character Animation: The Art of Animated Films, Acting and Visualizing. Taylor & Francis Group, 2017.

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27

Doublures du visible: Voir et ne pas voir en cinéma. Villeneuve d'Ascq: Presses universitaires du Septentrion, 2021.

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28

Connor, Steven. Sounding Out Film. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.027.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film sound has been recruited to theà voir, the ‘to-be-seen’in an appropriation of the audible into the visible. This chapter attempts to characterize the principles of excess represented by sound and to account for sound’s seeming unaccountability of in cinema. Vision fixes, but sound expands and dissolves. It is not natural to identify “points of audition” the same way that we naturally identify point of view. Where cinematic seeing is reflexive, cinema sound lacks this quality, because sound always seems added to film, suggesting that even the talking cinema remains deaf to its sounds. Vision is always framed and contained; film sound is not. Cinema sound is always bodily, but the body is always diffuse and intermittent. Cinematic vision is an order of correlation; sound implies the mutative commixture of substances. Sound is the warrant of cinema’s capacity to come to life, bringing to life anhors-corps, the body of a body-beyond-cinema.

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29

Journals, Gilda. Mon Journal du Cinéma: Carnet de Cinéma Pour écrire les Critiques Cinématographiques - Liste des 100 Films à Voir Au Moins une Fois Dans la Vie - Cadeau Pour Cinéphiles. Independently Published, 2020.

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30

D’Aloia, Adriano. Neurofilmology of the Moving Image. Amsterdam University Press B.V., 2021. http://dx.doi.org/10.5040/9789048561827.

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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 embodied 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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31

Xiao, Ying. China in the Mix. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812605.001.0001.

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Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with an original, pioneering study of the connections and intersections of film, media, music, and popular culture in contemporary China under postsocialist reform, capitalist globalization, and hybridization. It explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock ’n’ roll and youth cinema in fin de siècle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. This book examines the articulations and representations of mass culture and everyday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions. The research offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesive acoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world.

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32

Gutjahr, Paul C., ed. The Oxford Handbook of the Bible in America. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.001.0001.

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The Oxford Handbook of the Bible in America is designed to address a noticeable void in resources focused on analyzing the Bible in America in specific historical moments and in relationship to specific institutions and cultural expressions. Paying attention to the Bible from its earliest appearance in seventeenth-century New England up through its presence and usage in twenty-first century America, this handbook takes seriously the fact that the Bible is both a physical object that has exercised considerable totemic power, as well as a text with a powerful intellectual design that has inspired a wide range of cultural rituals, social policies, and artistic expression. This Handbook brings together a number of established scholars, as well as younger scholars on the rise, to provide insightful overviews and rich bibliographic resources to those interested in the Bible’s role in the history of American cultural formation. Topics addressed in the Handbook include—but are not limited to—the Bible’s production, translation, distribution, and interpretation in the United States, the Bible’s usage and relationship to a host of American religious traditions and social movements, as well the Bible’s linkage to such things as American cinema, literature, art, music, amusement parks, environmentalism, theories of gender and race, education, and politics.

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33

Must-Watch Movies That Went ‘By the Book’: Adorning the archives of Hollywood, these movies made a landmark contribution to cinema, without which there would be a huge void. New Jersy: Martin Lukis, 2009.

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34

Farré, Sébastien, Jean-François Fayet, and Bertrand Taithe. L'Humanitaire s'exhibe (1867-2016). Georg Editeur, 2022. http://dx.doi.org/10.32551/georg.12795.

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Depuis l’Exposition de 1867, les humanitaires ont énoncé et donné à voir leurs idées, leurs idéaux et les outils de leur profession à travers divers événements nationaux et internationaux, utilisant des présentations et une variété de mises en scène. Ils ont mis en place des salons de l’innovation, des expositions itinérantes, des tournées de spectacles et même des festivals de cinéma. Durant toute cette longue période, les humanitaires ont tenté de présenter au monde les besoins de leurs « bénéficiaires » ainsi que l’importance et la signification de leur travail. Au cœur de ces expositions, les humanitaires ont longtemps cherché à définir les frontières de leur travail, à inscrire leurs activités dans un nouvel ordre international et à légitimiter leur présence dans des zones de conflit et de désastre. Toute activité d’exhibition comporte une scénographie et des choix de représentation complexes, explicites ou implicites. En raison de cette dimension, les expositions, salons et diverses mises en scène permettent d’explorer l’histoire de la représentation de l’humanitaire à des moments-clés de son histoire. Ce volume rassemble ainsi un ensemble de regards sur l’acte d’exposer, ainsi que sur l’exposition en tant qu’expérience vécue. Laboratoires de la complexité politique, diplomatique et sociale du projet humanitaire, les expositions et autres formes d’exhibition sont ainsi parties prenantes de l’histoire de l’humanitaire et de sa communication, mais aussi d’autres événements historiques qui doivent être replacés dans leur contexte. Les différentes contributions présentées dans ce collectif apportent une contribution inédite et fondamentale sur ces expositions qui ont contribué à construire l’humanitaire moderne.

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