Literatura académica sobre el tema "Cinéma de création"
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Artículos de revistas sobre el tema "Cinéma de création"
Bellemare, Denis y Paula Morgado Dias Lopes. "La création d’un partenariat". Recherches amérindiennes au Québec 48, n.º 1-2 (5 de noviembre de 2018): 143–53. http://dx.doi.org/10.7202/1053711ar.
Texto completoBouchard, Vincent. "Cinema van et Interpreter. Deux éléments fondamentaux du système de propagande britannique". Cinémas 20, n.º 1 (17 de febrero de 2010): 23–44. http://dx.doi.org/10.7202/039283ar.
Texto completoLichaa, Flora. "Éthique et création dans la Chine contemporaine : du cinéma indépendant au cinéma d’auteur". Cahiers d'Outre-Mer 71, n.º 277 (1 de enero de 2018): 191–212. http://dx.doi.org/10.4000/com.8988.
Texto completoCohen, Tamar y Jérôme Bourdon. "Journalistes, professionnels du cinéma, universitaires… ou citoyens ? Les critiques de cinéma en Israël". Le Temps des médias 41, n.º 2 (20 de octubre de 2023): 133–50. http://dx.doi.org/10.3917/tdm.041.0133.
Texto completoLebrat, Christian. "[no title]". Art Libraries Journal 17, n.º 1 (1992): 18–19. http://dx.doi.org/10.1017/s0307472200007574.
Texto completoLeduc, Véro. "Est-Ce Vraiment une Bande Dessinée? Langues des Signes, Déconstruction et Intermédialité". Canadian Journal of Disability Studies 8, n.º 1 (21 de febrero de 2019): 58–97. http://dx.doi.org/10.15353/cjds.v8i1.471.
Texto completoLanglois, Philippe. "Musique contemporaine et cinéma : panorama d’un territoire sans frontières". Circuit 26, n.º 3 (23 de diciembre de 2016): 11–25. http://dx.doi.org/10.7202/1038514ar.
Texto completoPerraton, Charles y Nathalie Bouchard. "Montrer, dire et saisir l’espace dans le cinéma des premiers temps : le cas du Great Train Robbery". Cinémas 5, n.º 3 (28 de febrero de 2011): 9–27. http://dx.doi.org/10.7202/1001144ar.
Texto completoQueiroz Lambach, Claudia Maria. "Le spectateur mobile: une entrevue avec Roger Odin". INTERIN 27, n.º 1 (28 de diciembre de 2021): 178–87. http://dx.doi.org/10.35168/1980-5276.utp.interin.2022.vol27.n1.pp178-187.
Texto completoQueiroz, Aída. "Cinéma d’animation brésilien. Entre liberté de création et contraintes du marché". Cinémas d’Amérique latine, n.º 27 (1 de abril de 2019): 82–91. http://dx.doi.org/10.4000/cinelatino.5966.
Texto completoTesis sobre el tema "Cinéma de création"
Philippe, Gaëlle. "Le remake-actualisation : une norme de création universelle ?" Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030046/document.
Texto completoAn updating remake is a movie which takes the plot and the characters from a filmof the same nationality released earlier. The remade film develops an hypertextualrelationship with its model. However, its hypertextuality is paradoxical at every stages ofits existence.Its production highlights different working-rules which do not necessarily match itsdeclaration or interpretation. The remake film aims at building itself as a creation and atthe same time, at maintaining a link more or less emphasized with the original motionpicture. Televised or cinematographic, the remake becomes the confrontation place of thedifferent media views. But does the object answer to a universal creative rule?The relative universality of the remakes both shows a unification of the mostindustrial conception of cinema and television and a new way to apprehend the audiovisualcreation
Bourehla, Hedia. "La tradition orale, source d'inspiration à la création cinématographique arabe". Paris 1, 1997. http://www.theses.fr/1997PA010604.
Texto completoThe oral tradition is a mode of traditional way of communication that has played a key role as a vehicle of the knowledge transmission in the arabo-islamic culture. The advent of the Islam and its expansion has led to a major change from an "oral type culture" to a "visual type culture" based mainly on written documents, and image figuration, thus, dispite the religion opposition to the image reproduction. Among the many representation modes that had appeared at that time, calligraphy, which became a new artistic way of writing, the miniature, the painting, the shadow theater, the western theater and in general arts of the image ether fixed or in movement, were from the most important artistic changes. Those new communication moves had evolved as major ways of communication, the oral tradition which had been the unique vehicle for the collective memory storage has to adapt effectively itself to remain as a source of inspiration for artists and creators. One of the most obvious new adaptation mode of the oral tradition that had appeared, the audiovisual creation was one from the most significant. But the audiovisual creation faced many problems mainly because it was a technique imported from foreigner countries. Many trials of the safeguard of the oral tradition have been carried out by several producers and film makers from the oral world the cinema and the television indeed way and do represent the best way to preserve the basic elements of the oral tradition. However the transition from an oral tradition to an image representation tradition (i. E. Cinematographic account) will necessarly lead to a change in the langage form. The analysis of some films made directors form the arab culture, and inspired from earther oral traditio, illustrates the different attitude of the arab film directors towards the inherited patrimony which varies from one to another depending on this moral and intellectual standards in life. Nevertheless, and despite the difficulties faced by the arab oral tradition in integrating completly transmission mode (i. E, cinema), the oral account can without doubt generate new narrative forms in the arab cinema and can be one of the most significant source of its authenticity
Kim, Yang-Hee. "Habiter à la frontière : une question géopolitique vue par le cinéma". Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0162.
Texto completoI started my project by a questioning of the notion of inhabiting, through artistic and cinematic ways. It is going on here under the form of a more intellectual and analytical research, where philosophical and theoretical issues are tackled. This dissertation arises very directly from my actual and personal field experience, and is a development of a large part of my visual works (films, photographies, installations). However, it does not deal immediately with this experience or with these works: they stand, rather, as its empirical foundation, its concrete core. The ideas that I am proffering here are all based on an analysis of the link between cinema at large and the quite particular physical zones designed as “borders” – as inspired by a sensitive perception exerted over a span of more than four years. I am striving here to engage in a consideration of the question, as analytical and as conceptual as possible, without ever abandoning my original point of view, that of a filmmaker whose subject has been embodied in a poetics and in a phenomenology. It is through such a quest of the identity link that one recognizes with a given place (one’s birthplace, a location where one dwells in a stable way), and particularly, in the case of protagonists or authors living in a “deterritorialized” way, that I have endeavoured to put together this thesis, by analyzing, on a par, fiction films and documentaries
Park, Heui-Tae. "Deux modes fondamentaux de la création cinématographique : au-delà de l'émotion (Takeski Kitano) et au-delà du visible (Hong Sangsoo)". Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30095.
Texto completoAccording to the studies of French philosopher Gilles Deleuze, the arrival of Italian neorealism is the crossing point between a classic form of film (The movement-image) and a modern one (The time-image). Such a distinction is widely endorsed by theorists, critics and historians of films. Far from corresponding to a historical rupture, it refers to two types of films that have their own characteristics. This study intends initially to approach, from Deleuze's typology, the specifics of each of these regimes in terms of creation. The films of Takeshi Kitano, Japanese filmmaker, and Hong Sangsoo, Korean director, are analyzed under this prospect. The former represent a structure based on a classical scheme, while the latter is based on the characteristics of modern film. The analyst also allows following the creative process of these two internationally renowned filmmakers. This study attempts secondly to illustrate that they have a universal perspective in terms of creation
Buyer, Véronique. "Le Mur comme catégorie esthétique centrale dans la création cinématographique de Michelangelo Antonioni (et quelques liens transfilmiques)". Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080070.
Texto completoBeyond the importance of spaces in Michelangelo Antonioni's work, considering the wall allows to highlight the relationships between the characters' sensitive bodies and their environment from this human scale element and to discover that the wall also appears in configurations which do not depend on the notion of volume but on the metacinematographic notion of screen. By studying the various aspects the term "wall" recovers, I attempt to demonstrate that the wall becomes esthetic category by its omnipresence but also by its capacity to extend in all the dimensions of the fable. The thesis is organized according to two ideas-cinemas: the wall-object - which considers the wall according to its most concrete meaning - and the wall-screen - to underline the closeness of the wall, as a surface, with the film screen. In every stage, transverse lines are tightened towards other works and other arts. From this seemingly stable and unchanging element unfold a movement of liberation inherent to the work. Walls are surfaces of movements, forms in movement which lead the characters along the lines of deterritorialisation they propose. As in its concrete reality between two spaces, the wall is always on a limit. Considering the wall is confronting with this limit, this place of shift and instability
Hallé, Esther. "Antonio Pietrangeli, critique et création (1940-1965). : pensées du réalisme cinématographique". Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC042.
Texto completoAntonio Pietrangeli (1919-1968) has been a prominent figure in Italian cinema, as a critic throughout the 1940’s and as a director from 1953. As an actor in the critical debates during the elaboration of neorealism, Pietrangeli places his first film (Empty Eyes, 1953) under the auspices of a neorealist ending season. This style will evolve afterwards towards a realism conceived under the concepts of loss and incompleteness, which is particularly visible in the light of his concern to the condition of women. The present study proposes the first french-language monography about the work of Pietrangeli, with the ambition to establish a dialogue between his critical and filmic work. The hypothesis of a Pietrangelian conception of cinematographic realism, by revealing specific relations between critics and creation, established a dialogue where the realistic question appears as a conceptual tool, which enlightens Pietrangeli's contribution to the elaboration of a cinematic modernism. The first three chapters trace back a "realistic struggle", which is fully part of Italian neorealism’s historiography, and is characterized by its moral specificity. It announces an epistemological transition, meaning that the conception of cinema moves away from an idealistic tradition in favor of existential perspectives, embodied in a filmography where reality, becoming questionable, indicates a skeptical phenomenology, which constitutes the core of the fourth and fifth chapters
Gutman, Pierre-Simon. "La création d'une communauté américaine dans le cinéma de Michael Cimino". Paris 7, 2008. http://www.theses.fr/2008PA070060.
Texto completo. Michael Cimino's current status in the history of american cinema is very particular, even almost non existent This film maker has asked essentials questions about the american identity. In the trilogy, which constitutes the center of his work (The Deer Hunter, Heaven 's Gate, Year ofthe Dragon}, Cimino takes the Vietnam war to make it the point zero of his own american history. He sets his cinema in the classical hollywood tradition thaï from Griffith to Ford, has always helped build the national identity. Cimino adds the shadow of a doubt, typical from the post Vietnam era. The trilogy presents characters apparently differents, but who all belong to a similar community, made of immigrants with russian roots. The director observes the gradual adaptation of this community in the heart of american society. He evokes the possibility of a national identity built on violence, permanent struggle. The struggle can also be read in a war of classes, provoked by-greed of a certain american society. All these elements turn the melting pot into a very complex entity, who can only barely be held by the observation of strict rituals, able to put together all the different faces of this nation. Maybe the fact Cimino asked questions about the instable and unfinished nature of the melting pot can explain the rejection his movies still suffer in the United States today
Buyer, Véronique. "Le Mur comme catégorie esthétique centrale dans la création cinématographique de Michelangelo Antonioni (et quelques liens transfilmiques)". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080070.
Texto completoBeyond the importance of spaces in Michelangelo Antonioni's work, considering the wall allows to highlight the relationships between the characters' sensitive bodies and their environment from this human scale element and to discover that the wall also appears in configurations which do not depend on the notion of volume but on the metacinematographic notion of screen. By studying the various aspects the term "wall" recovers, I attempt to demonstrate that the wall becomes esthetic category by its omnipresence but also by its capacity to extend in all the dimensions of the fable. The thesis is organized according to two ideas-cinemas: the wall-object - which considers the wall according to its most concrete meaning - and the wall-screen - to underline the closeness of the wall, as a surface, with the film screen. In every stage, transverse lines are tightened towards other works and other arts. From this seemingly stable and unchanging element unfold a movement of liberation inherent to the work. Walls are surfaces of movements, forms in movement which lead the characters along the lines of deterritorialisation they propose. As in its concrete reality between two spaces, the wall is always on a limit. Considering the wall is confronting with this limit, this place of shift and instability
Martz-Kuhn, Émilie. "Écritures scéniques de la catastrophe humaine dans le théâtre contemporain - Étude de cas & recherche-création". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30048/30048.pdf.
Texto completoThis doctoral thesis in performing arts looks into scenic writings of human disasters in contemporary theatre. It examines dynamics underlying the representation of barbarism within spectacular forms imprinted with a visual dimension. Split into two parts – a first one, critical and a second one, practical -, the work is firstly structured around a corpus composed of three shows : Kamp of the Hotel Modern group, Rwanda 94 of Groupov and Rouge décanté by Guy Cassiers. Through the observation of the works in the light of the complexity and by analysing it with a systemic approach, the study attempts to reveal the moves – aesthetic, perceptive and thematic – that drive these heterogeneous writings. The second part of the thesis deals with a process of experimentation led in the scenic space. The latter, dedicated to outline an original artistic creation, questions occidental memories on the Tutsi genocide in Rwanda. The practical experience echoes back to several issues raised by the critical investigation and proposes another form of reflection, directly led on the stage. Keywords : Contemporary theatre, Research-creation, Complexity, Genocide, Images, Europe.
Dallaire, Frédéric. "Création sonore et cinéma contemporain : la pensée et la pratique du mixage". Thèse, Paris 10, 2014. http://hdl.handle.net/1866/11587.
Texto completoThis thesis describes and analyzes the esthetic, material and conceptual conditions that make the acoustic structures of contemporary cinema possible. The refinement of tools used for manipulating sound, the growing importance the sound designer and the emergence of a new space for sounds to coexist in (brought on by Dolby and multichannel sound systems) are factors that, over the past 30 years, have transformed the way we work with and listen to sound in film. These transformations reveal a new paradigm: mixing gradually imposed itself as the creative and perceptual act capable of accounting for our contemporary sensibility. This thesis explores the effects of the “thought process of mixing” (which functions by resonance, simultaneity, dosage and modulation) on the way we hear and understand the cinematographic experience. Working from the accounts of sound designers (Murch, Beaugrand, Thom Allard…), theoretical texts on film sound (Cardinal, Chion, Campam), documentaries on improvisational musicians (Lussier, Glennie, Frith), fiction films with a acute acoustic sensibility (Denis, Van Sant), philosophical texts on perception (Leibniz, James, Straus, Szendy…) and analyses of the cinematographic sound apparatus, this thesis renders audible the tensions, the recurrences, the structural connections and the problems, old and new, that forge and direct the theoretician, the artist and the auditor’s way of listening. By questioning the auditory dimension of perception, action, space and thought, this thesis aims to change the way we hear, create and think cinema.
Libros sobre el tema "Cinéma de création"
Bergala, Alain. La création cinéma. Crisnée: Yellow now, 2015.
Buscar texto completoChateau, Dominique y José Moure. Cinéma, création et recréation. Bruxelles: Impressions nouvelles, 2018.
Buscar texto completoPoirson-Dechonne, Marion. Jeux vidéos et cinéma: Une création interactive. Condé-sur-Noireau: Éditions Charles Corlet, 2018.
Buscar texto completoSchifano, Laurence. Le cinéma italien, 1945-1995: Crise et création. Paris: Nathan, 1995.
Buscar texto completoChateau, Dominique. La direction de spectateurs: Création et réception au cinéma. [Bruxelles]: Impressions nouvelles, 2015.
Buscar texto completoRuer, Juliette. Générique: Les métiers derrière la création d'un film. Montréal: INIS, 2006.
Buscar texto completoBarski, Odile. Never mort. Paris: Éd. du Masque, 2011.
Buscar texto completoEmmanuelle, André, ed. Penser la création audiovisuelle: Cinéma, télévision, multimédia : 5e Congrès de l'Association français [sic] des enseignants et chercheurs en cinéma et audiovisuel, Aix-en-Provence, 14-15-16 septembre 2006. Aix-en-Provence: Publications de l'Université de Provence, 2009.
Buscar texto completoVéron, Daniel, Jacinto Lageira y Agnès Tricoire. L'oeuvre face à ses censeurs: Le guide pratique de l'Observatoire de la liberté de création : art contemporain, théâtre, littérature, musique, cinéma ... Paris]: Observatoire de la liberté de création, 2020.
Buscar texto completoSloan, Justin. Creative writing career: Becoming a writer of movies, video games, and books. [Place of publication not identified]: [publisher not identified], 2012.
Buscar texto completoCapítulos de libros sobre el tema "Cinéma de création"
"4. Les vies au cinéma". En Filmer l'acte de création, 186–88. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1172.
Texto completoDELTORN, Jean-Marc. "L’artiste et l’automate". En Algorithmes et Société, 129–38. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.4549.
Texto completoCléder, Jean. "Filmer l’écriture dans le cinéma de fiction". En Filmer l'acte de création, 189–99. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1173.
Texto completoKedraon, Anne. "L’œuvre en procès dans le cinéma de fiction". En Filmer l'acte de création, 201–10. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1175.
Texto completoBrogowski, Leszek. "Avant-propos. L’acte de création sous le microscope du cinéma". En Filmer l'acte de création, 9–11. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1130.
Texto completoGuidicelli, Carole. "Léo et son double : Arnaud Desplechin entre théâtre et cinéma". En Filmer l'acte de création, 99–112. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1152.
Texto completo"Soulèvements féministes dans la création cinématographique à l’ONF". En Femmes et cinéma d'animation, 91–114. Les Presses de l’Université de Montréal, 2022. http://dx.doi.org/10.1515/9782760645783-007.
Texto completoVignaux, Valérie. "Henri Focillon et le cinéma, une archéologie du documentaire sur l’art". En Filmer l'acte de création, 161–68. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1165.
Texto completoAdam, Christophe. "Chapitre 7. Le cinéma-documentaire au secours de l'enseignement". En Processus de création et processus cliniques, 137–51. Presses Universitaires de France, 2015. http://dx.doi.org/10.3917/puf.giust.2015.03.0137.
Texto completoFrangne, Pierre-Henry, Gilles Mouëllic y Christophe Viart. "Introduction. Entre captation et fiction : tensions et inventions du cinéma face à l’acte de création". En Filmer l'acte de création, 13–23. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1132.
Texto completoActas de conferencias sobre el tema "Cinéma de création"
Cohen, Nadja y Anne Reverseau. "Photographie ou cinéma ? Le brouillage des modèles dans la poésie moderniste". En Création, intermédialité, dispositif. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4430.
Texto completoDyephart, Anouchka. "Concevoir aujourd’hui un film sur la villa Savoye". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.652.
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