Literatura académica sobre el tema "Cinéma – États-Unis – 1900-1945"
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Tesis sobre el tema "Cinéma – États-Unis – 1900-1945":
Dhommée, Isabelle. "Les cinq "empoisonneuses" : G. Garbo, J. Crawford, M. Dietrich, M. West, K. Hepburn et les Etats-Unis des années trente : analyse du phénoméne social de la star". Paris 3, 2000. http://www.theses.fr/2000PA030090.
Delaporte, Chloé. "Genres et socialisation a Hollywood : sociologie des films américains des réalisateurs de cinéma d’origine européenne expatries aux États-Unis entre 1900 et 1945". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030042.
This thesis consists of a sociology of American films by European émigré directors expatriated to the United States between 1900 and 1945. The corpus, exhaustive, has been elaborated from a group delimited to 77 directors, and includes 2657 films. This work informs a particular aspect of the transatlantic cultural transfer : professional socialization in Hollywood through the categorization system of movie industry into « genres ». Genre is viewed as a product of social construction, in a pragmatic way. Thus, our research falls within sociology of arts and borrows its subject from the film history. Two approaches are mixed. The first is microsociological, meaning films of the corpus are analyzed using a qualitative method, seeking to investigate their production context and reception process. The second is macrosociological, for films are next analyzed using a quantitative method, particularly by having recourse to statistic tools. Our a! mbition is not to offer a comparison of socialization through genre between the European émigré and « the others », but definitely to conduct an inner one, by measuring similarities and differences between the group’s numerous directors, these having varied careers and trajectories. This thesis brings into light the effective impact of a certain number of things on socialization dynamic in Hollywood. We demonstrate therefore that professional status at the time of American expatriation is a prevalent factor
Boissonneau, Mélanie. "Pin-up ! Figures et usages de la pin-up cinématographique au temps du « pré-Code » (1930- 1934)". Electronic Thesis or Diss., Paris 3, 2013. http://www.theses.fr/2013PA030042.
The goal of the present dissertation is to confront a specific object, the “pin-up”, to aspecific time and location: the so called « Pre code » Hollywood era. First of all, we wish todefine the pin-up as both a feminine and cinematographic figure, and to go beyond themere “woman as object “ that she is frequently reduced to. A careful study (relying, amongother, on sequence analysis) of pin-up archetypes created between 1930 and 1934 in acultural perspective, influenced by gender studies, makes it possible, first, to deconstructthe notion that Pre-code era has been a period of cinematographic freedom. Moreover,looking back at the history and evolution of the pin-up, and understanding how they can beused in a feminist agenda, helps turning this hypersexualised feminine figure into a deviceto analyze gender relationships, able to reveal the mechanisms, sometimes cleverlyconcealed, of masculine domination. In this respect, the strategies that pin-up charactersresort to in order to fight patriarchal order are revealing. Pin-up evolving in the horrorgenre, or the character of Jane Parker impersonated by Maureen O’Sullivan in MGM’s sixfirst Tarzan should complete this survey. The variety of archetypes that have been selectedhere seem, eventually, to lay bare a common difficulty, shared by all cinematographic pinup,regardless of their ontological status - their mere existence
Lyczba, Fabrice. "La question du réalisme dans le cinéma hollywoodien, 1917-1927". Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100223/document.
In the 1920s, as Hollywood cinema is undergoing industrial institutionalization, critical and advertising discourses maintain active a spectatorial pleasure derived from the sensational presence of reality in fiction films. The notion of « realism » used in those discourses is a « cluster concept » aiming on the one hand to derive cinema’s legitimacy from the serious purpose of realistic arts, and on the other to emphasize the relationship between film and the reality of on location or studio shooting, of the manufacturing of films, and of the tricks behind the realistic illusion. Those discourses therefore reveal all that is real in how fiction works in films and support a realistic project to construct an active and non-illusionistic spectatorial gaze that is invited to analyze film as an artifical illusion. These discourses are extended to spectators’ daily life through advertising practices that aim to create a playful space of reception where reality and romance merge in circus-inspired ballyhoo, in lobby decorations, and in on-stage prologues before, or during, the film. This realistic gaze developped by such discourses and practices allows us to analyze the reception of Hollywood silent films as a playful and participative moment. Aiming to awaken spectators’ senses and sharpen their attention, such discourses and practices allow us to raise the question of a Hollywood realism that would aim to create an active, conscious and critical game with the filmic illusion
Beynet, Michel. "L'image de l'Amérique dans la culture italienne de l'entre-deux-guerres". Grenoble 3, 1989. http://www.theses.fr/1989GRE39025.
This piece of research aims at defining what America (USA) meant for Italian culture between world war one and world war two, namely, what the way America was interpreted by the Italian indirectly revealed about their culture. It makes an analysis by themes of what the Italian have written about America, its films and its literature, and of the interpretations of America which can be found in Italian literature. Fascism has had only little effect on this image, whereas the presence in America of many ill-integrated Italian immigrants has probably increased misunderstanding of America in Italy; the Italian saw America through its cities - particularly New York and its center Manhattan - but they hardly perceived at all its industrial, democratic and protestant aspects. A symbol of the importance of catholicism and of family in Italian culture, and of the fascination exerted by Hollywood in Italy, the free American woman occupies a place in the Italian image of America. The popularity of American film and of Jack London in Italy means that the Italian were fascinated by an adventurous America, whereas Italian literature is confirmation of the role played by American woman and Italian emigration in the Italian image of America
Boissonneau, Mélanie. "Pin-up ! Figures et usages de la pin-up cinématographique au temps du « pré-Code » (1930- 1934)". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030042.
The goal of the present dissertation is to confront a specific object, the “pin-up”, to aspecific time and location: the so called « Pre code » Hollywood era. First of all, we wish todefine the pin-up as both a feminine and cinematographic figure, and to go beyond themere “woman as object “ that she is frequently reduced to. A careful study (relying, amongother, on sequence analysis) of pin-up archetypes created between 1930 and 1934 in acultural perspective, influenced by gender studies, makes it possible, first, to deconstructthe notion that Pre-code era has been a period of cinematographic freedom. Moreover,looking back at the history and evolution of the pin-up, and understanding how they can beused in a feminist agenda, helps turning this hypersexualised feminine figure into a deviceto analyze gender relationships, able to reveal the mechanisms, sometimes cleverlyconcealed, of masculine domination. In this respect, the strategies that pin-up charactersresort to in order to fight patriarchal order are revealing. Pin-up evolving in the horrorgenre, or the character of Jane Parker impersonated by Maureen O’Sullivan in MGM’s sixfirst Tarzan should complete this survey. The variety of archetypes that have been selectedhere seem, eventually, to lay bare a common difficulty, shared by all cinematographic pinup,regardless of their ontological status - their mere existence