Literatura académica sobre el tema "Cinéma et propagande – Espagne"
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Artículos de revistas sobre el tema "Cinéma et propagande – Espagne":
Nazario, Luiz. "Os imaginários da Guerra Civil Espanhola". Aletria: Revista de Estudos de Literatura 19, n.º 2 (30 de junio de 2009): 67–87. http://dx.doi.org/10.17851/2317-2096.19.2.67-87.
Laborderie, Pascal. "Âmes d’enfants, un « film-parabole » représentatif de la propagande solidariste en France dans l’entre-deux-guerres". Hors dossier 22, n.º 1 (15 de septiembre de 2011): 151–73. http://dx.doi.org/10.7202/1005808ar.
Liogier, Hélène. "Censure et propagande cinématographique en Espagne (1939-1945)". Revue d’histoire moderne et contemporaine 44, n.º 3 (1997): 436–56. http://dx.doi.org/10.3406/rhmc.1997.1876.
Liogier, Hélène. "Cendure et propagande cinématograpgique en Espagne, 1939-1945". Revue d’histoire moderne & contemporaine 44-3, n.º 3 (1 de junio de 1997): 436–56. http://dx.doi.org/10.3917/rhmc.g1997.44n3.0436.
Lacasse, Germain. "William Maxwell Aitken, père tout-puissant du cinéma canadien". Cinémas 10, n.º 1 (26 de octubre de 2007): 13–35. http://dx.doi.org/10.7202/024801ar.
Acosta López, Alejandro. "Quichottes ou pauvres diables ? Le cas des Espagnols dans la légion étrangère pendant la Grande guerre". Guerres mondiales et conflits contemporains N° 291, n.º 3 (30 de junio de 2023): 23–41. http://dx.doi.org/10.3917/gmcc.291.0023.
Murray Levine, Alison J. "Cinéma, propagande agricole et populations rurales en France (1919-1939)". Vingtième Siècle. Revue d'histoire 83, n.º 1 (2004): 21–38. http://dx.doi.org/10.3406/xxs.2004.4709.
Levine, Alison. "Cinéma, propagande agricole et populations rurales en France (1919-1939)". Vingtième Siècle. Revue d'histoire 83, n.º 3 (2004): 21. http://dx.doi.org/10.3917/ving.083.0021.
Demoulin, Claire. "« Cinéma, masses et propagande : autour de Kracauer et Benjamin », Germanica, no 66". 1895, n.º 93 (1 de mayo de 2021): 270–73. http://dx.doi.org/10.4000/1895.8530.
Figuerola, Carme. "Témoignage, propagande et espace littéraire. L'exemple d'Espagne, Espagne ! de Jean-Richard Bloch". Le Temps des médias 14, n.º 1 (2010): 73. http://dx.doi.org/10.3917/tdm.014.0073.
Tesis sobre el tema "Cinéma et propagande – Espagne":
Berthier, Nancy. "Cinéma et propagande en Espagne sous Franco : étude de trois cas : "Raza", "Franco ese hombre" et "El último caido", de José Luis Sáenz de Heredia". Paris 4, 1994. http://www.theses.fr/1994PA040280.
This doctor's degree wants to consider the question of propaganda cinema in Spain under Franco with the studies of three peculiar examples: Raza (1941), Franco ese hombre (1964) and El último caido (1975 -unfinished-), films realized by José Luis Sáenz de Heredia, generally considered as the "movie director of the government". Those three films are to be viewed with their own stories that make them unique but at the same time, we will look at them in a wider perspective that exceeds the particular history in order to find the history of the cinema under Franco and further the history of franquism itself
Bernaldo, Lopez Cristina. "Regards documentaires sur la folie dans le cinéma espagnol, du franquisme à la Transition démocratique". Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080111.
The aim of this work is to present an intersectional study between psychiatry and documentary film during the Francoist dictatorship and the democratic transition. The end of the Spanish Civil War marks the abandonment of the psychiatric policies applied during the previous historical period and the beginning of new principles based on controlling university chairs and publications and dissolving the treatment policies previously carried out by psychiatric hospitals. Social awareness of mental health issues only arose in Spain at the beginning of the 1970s when a new generation of psychiatrists engaged in a series of public protests in the hope of changing the institution of psychiatry includingits theoretical foundations as well as its practical applications. Meanwhile, during the dictatorship, documentary films were almost exclusively controlled by the NO-DO, the Noticiarios y Documentales, an entity responsible for producing audiovisual propaganda for the regime. Upon Franco’s death, documentary films became the springboard for uncovering certain veiled aspects of Spanishsociety, such as insanity, that, until then, had been forbidden or hidden from the public. Through the study of these two concepts, our work hopes to identify the specific message of Francoist psychiatry and understand how it was portrayed via nonfictional communication channels more concretely in documentary films produced by NO-DO during the dictatorship , before we examine the interest given to psychiatric matters by documentary cinema during the Spanish democratic transition and to what extent it challenged the scientific and therapeutic order established during the previous period. Widely-established as an important instrument in the shaping of history , we consider studying documentary film a fundamental tool in shining a light on different unknown aspects of history, and in this case, those related to mental illness
Fourrel, de Frettes Cécile. "L'évolution du rapport à l'image de Vicente Blasco Ibáñez (1908-1928)". Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20081.
In 1916, the Valencia-born Spanish writer V. Blasco Ibáñez (1867-1928) started a career in cinema and shot Sangre y arena (Blood and Sand), a film adapted from his 1908 novel. Shortly after, the author left for Latin America where he stopped writing novels until 1913. This hiatus, considered by literary critics to be the result of a lack of inspiration, brought about an opening to new artistic ventures in which the image held center stage. Then, during World War I, the writer designed a quantity of film projects; in terms of writing, these coincided with the elaboration of the "cinematographic novel". Finally, the last years of his life were devoted to writing for Hollywood (scenarios, novels, stories). Film studies have recently looked into the Blasquian contribution to the history of Spanish cinematography, but literary critics have scarcely taken an interest in the aesthetic evolution entailed by the novelist's orientation towards the big screen. Moreover, if the Hollywood adaptations of his stories are well-known, the relation of the writer to the cinematography of the WWI era is overlooked despite the fact that it is crucial to the understanding of the evolution of Blasco Ibáñez's writing. In the same way, his relation to the production line in Hollywood should be clarified in the light of unpublished documents. This thesis, based on the analysis of textual and iconographic elements found in French, Spanish and American collections, proposes to throw light on the way in which the advent of the new cinematographic medium may have motivated V. Blasco Ibáñez to rethink his novel writing practice and the distribution of his narratives
En 1916, el escritor español de origen valenciano, V. Blasco Ibáñez (1867-1928), se lanzó al cine y adaptó Sangre y arena, novela publicada en 1908, poco antes de su salida a América Latina donde interrumpió su actividad novelística hasta 1913. Este período interpretado por la crítica literaria como una carencia de inspiración resultó ser una apertura a nuevas vías artísticas en que la imagen ocupaba un lugar central. Luego, durante la Gran Guerra, el escritor concibió numerosos proyectos fílmicos que coincidieron, al nivel de la escritura, con la elaboración de la “novela cinematográfica”. Por fin, se dedicó, en los últimos años de su existencia, a la redacción de historias para el cine hollywoodiense (guiones, novelas, relatos).Los estudios fílmicos se interesaron recientemente por la aportación blasquiana a la historia del cine español; en cambio, la crítica literaria no se preocupó demasiado de la evolución estética que suponía tal orientación del novelista hacia la pantalla. Además, se sabe mucho de las adaptaciones hollywoodienses de sus relatos, pero muy poco de la relación del escritor con el cine de la Gran Guerra ; ahora bien, el conocimiento de este período es crucial para entender la evolución de la escritura blasquiana; lo mismo, hace falta profundizar su vinculación con la cadena de producción hollywoodiense, a la luz de documentos inéditos.Esta tesis – fundada en el análisis de elementos textuales e iconográficos sacados de fondos francés, español y americano – pretende dilucidar en qué medida la llegada del nuevo medio cinematográfico pudo llevar a V. Blasco Ibáñez a reconsiderar su forma de escribir novelas y de difundir historias
Jaime, Antoine. "Littérature et cinéma en Espagne (1975-1995)". Toulouse 2, 1998. http://www.theses.fr/1998TOU20061.
The aesthetic relations beetween literature and cinema are set into their economical, industrial and commercial dimensions; they are analysed from the creator's point of view: how the literary expression is conveyed on the screen, from rhetorical figures up to emotional feelings and ideas. Examples taken from the Spanish production. A method to analyse works, applicable to both arts, and a typology of recreations (films from pre-existing texts) are proposed. The review of the recreations in Spain between 1975 and 1995, combined with the analysis of signficant works shows the influence of literature on the cinema in the evolution of the latter towards subtle writing technics. Filmography of the Spanish recreations (cinema and television) for each of the twenty years. Bibliography. Index of works, authors and film-directors
Pu, Hong. "l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70". Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30007.
The thesis work develops the long history of Chinese animated cinema over the period from 1920 to 1977, from the beginning of the 20th century until the end of the great proletarian cultural revolution. The subject of the thesis is: ideology, propaganda and animated Chinese cinema between the years 20-70. The problem is oriented towards the Chinese animated cinema which is integrated in the propaganda, the ideology as well as the politics of the power in different times, according to an aesthetic and artistic evolution. Since the first generations of filmmakers who permeate the highest political direction in their cinematographic creations. So I worked on the different masterpieces of each genre of Chinese animation and the work of their creators.The research was written in three parts according to a demarcation of the history of China, which corresponds to the important historical moments and societal stakes in China. : the embryonic creation of Chinese animated cinema between the 20s and the 40s with the aim of describing the process leading to the birth of animated Chinese cinema and the first functions that have been made, as a propaganda weapon as well as serve the ideology of the Communist Party involved in Chinese animation during World War and Civil War. During this period, there were several black-and-white feature films made and produced, including the first feature film, Black and White, The Iron Princess in 1941.After the second world war, the Chinese animated cinema was subjected to the only ideology omnipresence in China - Maoism - during the 50s and 70s. It reached its apogee in accompaniment of a strong aesthetic and artisanal creation of a generation of filmmakers still irreplaceable today. There were new genres of animated Chinese cinema that appeared: as the first color animation, the paper cut, the animated wash, the first full-length feature in color - the monkey king. All animations are produced by the SHANGHAI art studio. Although the Shanghai Art Studio then became the production factory of the Red Guards and the Chinese animation cinema was forced to stop because of the social storm of the Cultural Revolution.The thesis work concludes with the end of the great cultural revolution, and the death of President Mao, with topics such as: the rehabilitation of intellectuals, the gang of four, propaganda, idolatry and paradoxical images with dozens of revolutionary animations reflecting the social situation of China.I completed the last part of the thesis with the difficulties of work, marriage, maternity leave and work
Colin, Christelle. "Identité et mémoire dans le cinéma actuel sur la Galice (1989-2006)". Toulouse 2, 2007. http://www.theses.fr/2007TOU20086.
This thesis treats the identity question in the cinema (of fiction) made in Galicia since 1989. To release the forms and the expressions of the identity in the imaginary filmic one, we were centered on a recurring axis in this cinema still very young: memory and images of the past. By supporting us on the concept of narrative identity proposed by Paul Ricoeur we highlighted the various identity strategies installation in the filmic texts. In a first part, the evocation of a folk memory consisted elements such as the territory, the traditions and the language proposes a reading inspired of a macrotext identity exit of the tradition galleguist. In a second part, a problematic relation with the past based on the disorders of the memory the lapse of memory and amnesia characterize a Galician character in crisis which rejects the first identity model suggested by films of the previous period. A third part finally highlights the formulation of an ideal identity founded on the recovery of the memory of the former heroes of the republic and the galleguism or more contemporary heroes. The memory in these filmic representations reveals more one problematic identity that the claim of a strong Galician identity
Domínguez, Arribas Javier. "L'ennemi judéo-maçonnique dans la propagande franquiste (1936-1945)". Paris, EHESS, 2006. http://www.theses.fr/2006EHES0103.
This thesis is devoted to anti-Semitic and anti-Masonic propaganda under the first period of the Franco regime (1936-1945). The first part studies two preliminary subjects that are essential in order to correctly understand the topic : on the one hand, the anti-Semitic and anti-Masonic tradition that later inspired Franco's propaganda and, on the other hand, Franco's attitude towards Jews and masons. The second and the third parts pay attention respectively to the period of the Spanish Civil War and to that of the Second World War. In each of these two parts, one chapter focuses on the role of the press in the transmission of anti-Semitic and anti-Masonic ideas : another chapter focuses on the most important publishing house of each period (as far as the dissemination of these ideas is concerned). The fourth and last part is the result of the application of an interpretative scheme based on the following question : what was the purpose of Franco's propaganda about Jews and masons ?che
Chueca, Cuartero Miguel. ""propagande et légitimation du coup d'état du 18 juillet 1936" (le mythe du complot communiste)". Paris 10, 1997. http://www.theses.fr/1997PA100076.
Oms, Marcel. "La guerre d'Espagne vue par le cinéma : mythes et réalités". Montpellier 3, 1986. http://www.theses.fr/1986MON30006.
Kronfol, Ramla. "Représentations et quête identitaires dans le cinéma palestinien de 1967 à nos jours". Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100001.
The aim of this dissertation is to reveal and analyze the forms of national and individual representation of identity that emerge from Palestinian films made after the Arab political and military defeat of 1967. The corpus of this research consists of works from different cinematic movements, specifically, films by Bourhane Alaouié, Annemarie Jacir, Michel Khleifi, Mai Masri and Elia Suleiman. The shared desire of testimony links documentary and fictional forms as well as propaganda and militant works from the beginnings of Palestinian cinema (Moustapha Abou Ali, Bourhane Alaouié) and films that assert a subjective point of view (Michel Khleifi, Liana Badr, Elia Suleiman) and reflect, voluntarily or involuntarily, redefinitions of identity stemming from a situation of war or one related to war. What place does cinema occupy in the definition and modeling of identities in the case of Palestine? From this analysis, a certain typology of themes of identity emerges, allowing us to examine modes of representation, of fixation, and of deconstruction and reconstruction. The goal of this dissertation is to explore cinematic devices that put into play time, in terms of memory and identity, and places of identification as they are projected in a real or fictional space. Throughout this work, we seek to point out processes of reparation regarding traumatic fixations in a cinema of war that is constantly questioning itself
Libros sobre el tema "Cinéma et propagande – Espagne":
Denis, Sébastien. Le cinéma et la guerre d'Algérie: La propagande à l'écran, 1945-1962. Paris: Nouveau Monde, 2009.
Denis, Sébastien. Le cinéma et la guerre d'Algérie: La propagande à l'écran, 1945-1962. Paris: Nouveau Monde, 2009.
Guido, Convents·. L' Afrique? Quel cinéma?: Un siècle de propagande coloniale et de films africains. Bruxelles: EPO·, 2003.
Convents, Guido. L' Afrique? Quel cinéma!: Un si`ecle de propagande coloniale et de films africains. Antwerp: Editions EPO, 2003.
Bertin-Maghit, Jean Pierre. Les documenteurs des années noires: Les documentaires de propagande, France 1940-1944. Paris: Nouveau monde, 2004.
1954-, Taylor Philip M., ed. Britain and the cinema in the Second World War. Basingstoke: Macmillan, 1988.
Lewinsky, Charles. Retour indésirable: Roman. Paris: B. Grasset, 2013.
Davis, Darrell William. Picturing Japaneseness: Monumental style, national identity, Japanese film. New York: Columbia University Press, 1996.
Ramonet, Ignacio. Propagandas silenciosas: Masas, televisión, cine. La Habana: Instituto Cubano del Libro, 2001.
Koppes, Clayton R. Hollywood goes to war: How politics, profits, and propaganda shaped World War II movies. Berkeley: University of California Press, 1990.
Capítulos de libros sobre el tema "Cinéma et propagande – Espagne":
Gallinari, Pauline. "Chapitre 4. La propagande par le film : passer du champ communiste au champ cinématographique". En Les communistes et le cinéma, 81–96. Presses universitaires de Rennes, 2015. http://dx.doi.org/10.4000/books.pur.93306.
Schmauch, Joseph. "Le bureau d’études d’Alsace-Lorraine, la propagande et le cinéma (1917-1919)". En Naissance des cinémas militaires (1914-1939), 49–68. Presses universitaires du Septentrion, 2023. http://dx.doi.org/10.4000/books.septentrion.145167.
Sánchez-Biosca, Vicente. "Cinéma et culte aux morts : fonction du rituel dans la construction du charisme politique (Espagne, 1936-1939)". En Sous les images, la politique…, 31–41. CNRS Éditions, 2014. http://dx.doi.org/10.4000/books.editionscnrs.15854.
Quintana, Ángel. "Un tonnerre lointain : la constitution du cinéma militaire en Espagne durant la guerre du Maroc et la guerre civile (1909-1939)". En Naissance des cinémas militaires (1914-1939), 169–82. Presses universitaires du Septentrion, 2023. http://dx.doi.org/10.4000/books.septentrion.145257.