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Libros sobre el tema "Cinema Service"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 18 de febrero de 2022

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1

In the service of the state: The cinema of Alexander Dovzhenko. Madison, Wis: University of Wisconsin Press, 1986.

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2

Kepley, Vance. In the service of the state: The cinema of Alexander Dovzhenko. Madison, Wis: University of Wisconsin Press, 1986.

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3

Soixante-dix ans au service du cinéma et de l'audiovisuel: Organisation catholique internationale du cinéma, OCCIC. [Saint-Laurent, Québec]: Fides, 1998.

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4

Yŏnghwa, sahoe pokchi rŭl mannada: Social welfare in cinema. Kyŏnggi-do P'aju-si: Hanul, 2011.

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5

Cinema in service of the state: Perspectives on East German and Czech film culture, 1945-1960. New York: Berghahn Books, 2015.

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6

McGuinness, Dean A. An assessment of three Dublin cinemas in terms of relative customer-perceived service quality: A comparative of multiplexes with a city-centre cinema. Dublin: University College Dublin, 1994.

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7

Lambotte, Bernard. Le cinéma au service de l'archéologie. Liège: Préhistoire liégeoise asbl, 1990.

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8

Commission, Monopolies and Mergers. The supply of cinema advertising services: A report on the supply in the United Kingdom of cinema advertising services. London [England]: HMSO, 1990.

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9

FESPACO (Festival) (10th 1987 Ouagadougou, Burkina Faso). 10e FESPACO: 18 ans au service du cinéma africain. [Ouagadougou, Burkina Faso: FESPACO, 1987.

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10

McGuinness, Dean. A comparative study of service quality in Irish cinemas. Dublin: University College Dublin (Centre for Quality & Services Management), 1995.

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11

British war films, 1939-1945: The cinema and the services. London: Hambledon and London, 2001.

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12

Bonneville, Léo. Soixante-dix ans au service du cinéma et de l'audiovisuel: Organisation catholique internationale du cinéma, OCCIC. [Saint-Laurent, Québec]: Fides, 1998.

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13

France. Ministère de l'aménagement du territoire, de l'équipement et des transports. Service de l'information et de la communication. 1945-1995, cinéma et audiovisuel. La Défense: Le Service, 1995.

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14

Spencer-Hall, Alicia. Medieval Saints and Modern Screens. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.

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This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.
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15

La révolte des traîneux de pieds: Histoire du Syndicat des employé(e)s de magasins et de bureaux de la SAQ. [Montréal]: Boréal, 1991.

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16

Cantoni, Virginio, Gabriele Falciasecca y Giuseppe Pelosi, eds. Storia delle telecomunicazioni. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6453-245-5.

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Focusing on the history of scientific and technological development over recent centuries, the book is dedicated to the history of telecommunications, where Italy has always been in the vanguard, and is presented by many of the protagonists of the last half century. The book is divided into five sections. The first, dealing with the origins, starts from the scientific bases of the evolution of telecommunications in the nineteenth century (Bucci), addressing the developments of scientific thought that led to the revolution of the theory of fields (Morando), analysing the birth of the three fundamental forms of communication – telegraph (Maggi), telephone (Del Re) and radio (Falciasecca) – and ending with the contribution made by the Italian Navy to the development of telecommunications (Carulli, Pelosi, Selleri, Tiberio). The second section, on technical and scientific developments, presents the numerical processing of signals (Rocca), illustrating the genesis and metamorphosis of transmission (Pupolin, Benedetto, Mengali, Someda, Vannucchi), network packets (Marsan, Guadagni, Lenzini), photonics in telecommunications (Prati) and addresses the issue of research within the institutions (Fedi-Morello), dwelling in particular on the CSELT (Mossotto). The next section deals with the sectors of application, offering an overview of radio, television and the birth of digital cinema (Vannucchi, Visintin), military communications (Maestrini, Costamagna), the development of radar (Galati) and spatial telecommunications (Tartara, Marconicchio). Section four, on the organisation of the services and the role of industry, outlines the rise and fall of the telecommunications industries in Italy (Randi), dealing with the telecommunications infrastructures (Caroppo, Gamerro), the role of the providers in national communications (Gerarduzzi), the networks and the mobile and wireless services (Falciasecca, Ongaro) and finally taking a look towards the future from the perspective of the last fifty years (Vannucchi). The last section, dealing with training and dissemination, offers an array of food for thought: university training in telecommunications, with focus on the evolution of legislation and on the professional profiles (Roveri), social and cultural aspects (Longo and Crespellani) as well as a glance over the most important museums, collections and documentary sources for telecommunications in Italy (Lucci, Savini, Temporelli, Valotti). The book is designed to offer a compendium comprising different analytical approaches, and aims to foster an interest in technology in the new generations, in the hope of stimulating potentially innovative research.
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17

Il Corpo di spedizione italiano in Cina: 1900-1905 : organizzazione, uniformi e distintivi. Roma: Commissione italiana di storia militare, 2012.

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18

Knight, Julia. Cinema of Women. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0017.

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This chapter examines the role of distributors and a range of issues that come into play in getting films from their makers to their potential audiences by focusing on the work of the UK women's distributor Cinema of Women (COW). COW was founded in 1979 by six women—Mandy Rose, Fern Presant, Audrey Summerhill, Caroline Spry, Melanie Chail, and Maggie Sellers—who had been “shocked by the limited availability of good films made by women.” They set out to get feminist films into first-run cinemas and onto television, but they felt also that women filmmakers should be able to exercise some control over where and how their films were exhibited. This chapter considers the challenges faced by COW in trying to make their films accessible to wider audiences in the UK via theatrical release. It shows that building audiences of especially (although not exclusively) women is central to COW's distribution work. Furthermore, COW's performance and the level of service the distributor offered did not always meet filmmakers' expectations.
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19

Leigh, Jacob. Cinema of Ken Loach: Art in the Service of the People. Columbia University Press, 2002.

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20

Bombay talkies: Posters ofthe Indian cinema : a West Midlands Area Museum Service travelling exhibition. (Bromsgrove): (West Midlands Area Museum Service), 1987.

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21

The Cinema of Ken Loach- Art in the Service of the People (Directors' Cuts). Wallflower Press, 2002.

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22

Leigh, Jacob. The Cinema of Ken Loach: Art in the Service of the People (Directors' Cuts). Wallflower Press, 2002.

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23

Coloumbe, Michel y Jean Marcel. Lee Dictionnaire Du Cinema Quebecois. Editions du Boreal, 1991.

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24

Do, things To. Things I Want to Do This Year: Travel/service/Relax/sleep/TV Series/cinema/food/cooking/reading... Independently Published, 2020.

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25

Luo, Liang. The White Snake in Hong Kong Horror Cinema: from Horrific Tales to Crowd Pleasers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0003.

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Considered one of the four legends in the Chinese oral tradition, the legend of the White Snake and its theatrical and popular cultural metamorphoses played an important role in the pre-cinematic origins of Hong Kong horror cinema. This chapter surveys the changing representation of gender and horror in a series of films based on the White Snake legend from the 1920s to the 1970s. Centred on a very horrific concept (a monstrous snake disguised as a beauty and married to a human male), these films nonetheless enrich or even challenge our understanding of the genre of horror cinema in their service to a wide range of other genres: operatic performance, romantic melodrama, fantasy adventure, slapstick comedy, and social and political commentary. In addition to challenging the very concept of horror, this cluster of White Snake films poses further challenges to the idea of “Hong Kong cinema,” as it ranges from a Tokyo production, a Shanghai production, a Hong Kong-Japan coproduction, to a production based in Hong Kong with South Asian distributors, and a Hong Kong-Taiwan coproduction with a Shaw Brothers director.
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26

Lipworth, M. S. y Great Britain. The Supply of Cinema Advertising Services (Cm.:). Stationery Office Books, 1990.

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27

MacKenzie, S. P. British War Films, 1939-1945: The Cinema And the Services. Hambledon & London, 2007.

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28

Williams, Tami. Fiction, Newsreels, and Social Documentary in the Sound Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0005.

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This chapter traces Dulac's transition to nonfiction filmmaking in the early 1930s, in her work as founding director of one of the most important news reel companies of the period (France-Actualités-Gaumont, 1932–35). It examines the aesthetic and social dimensions of her conception of the newsreel and its capacity for objectivity, as well as its ability to reveal reality and inner meanings beyond that which is visible with the human eye. The chapter also considers Dulac's socially and politically engaged nonfiction films and projects of the Popular Front, particularly her unique newsreel-based, pacifist documentary feature, Le Cinéma au service de l'histoire (1935), which investigates cinema's role as an actor within history.
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29

Nicole, Schmitt, Centre national de la cinématographie (France). Service des archives du film y Institut Lumière, eds. Affiches françaises du cinéma muet: Une exposition du Service des archives du film. Lyon-Monplaisir: Institut Lumière, 1985.

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30

In Secrecy's Shadow: The OSS and CIA in Hollywood Cinema 1939-1979. Edinburgh University Press, 2016.

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31

Willmetts, Simon. In Secrecy's Shadow: The OSS and CIA in Hollywood Cinema 1941-1979. Edinburgh University Press, 2017.

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32

Szczepaniak-Gillece, Jocelyn. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689353.003.0001.

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This introduction lays out the direction of the book on the whole by discussing the movie palace, Ben Schlanger, modernism, and new cinema histories. Schlanger’s life and career are briefly introduced, and the importance of using archival materials and the Better Theatres section of Motion Picture Herald for documenting Schlanger’s theory of theater design is explained. From such writings, one can gather that Schlanger’s ideal theaters would be places of both bodily passivity and contemplation, yet also of immersion in the sense that the local environment and fellow viewers would fall away in service of the screen. Furthermore, the term “neutral” is examined via Bertrand Russell and neutral monism; in addition, the introduction explores the neutral and neutralization’s connections to the apparatus. All of these strands are connected via a modern approach to spectatorship explicated by Schlanger in his theaters.
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33

Canada. Programme des cultures et langues ancestrales., ed. Le film, la vidéo et la photographie au Canada. Ottawa, Ont: Patrimoine canadien, 1993.

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34

Ezra, Elizabeth y Catherine Wheatley, eds. Shoe Reels. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451406.001.0001.

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Shoe Reels examines the special relationship between shoes and cinema. The book considers the narrative and aesthetic functions of shoes, asking why they are so memorable, and what their wider cultural resonance might be. Written by experts from a range of disciplines, including film and television studies, philosophy, history, and fashion, this collection covers cinema from its origins to the present day, and spans a global range of films from the United States, Europe, Africa and Asia. Besides protecting the feet, shoes contribute to the performance of gender; they indicate aspects of personality, sexuality, race, ethnicity and social class; and they serve as tools of seduction. As objects designed for the body, shoes also affirm the materiality of individual bodies and the endurance of the human body itself when physical presence has been progressively de-emphasised, first with the advent of technical reproducibility (printing, photography, cinema, radio and the like), and now with the rise of digital technology in the virtual era. The very materiality of shoes—the fact that they are things—is what makes them ripe for analysis. Shoes humanise, setting people apart from non-human animals, but they can also serve to dehumanise. Objects par excellence of hyper-consumption, shoes are situated at the crossroads of sexual fetishism and commodity fetishism. Shoes are clearly more than just good to wear, then: to paraphrase Claude Lévi-Strauss, they are also good to think.
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35

Habib Lantyer de Mello, Victor. 15 Direitos do Consumidor que você precisa saber. Navida Editora, 2021. http://dx.doi.org/10.51968/navida.direitosdoconsumidor.

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As relações de consumo estão presentes em nossa vida todo o tempo, desde quando vamos no cinema; no supermercado; no restaurante; quando assinamos algum serviço: seja de internet fixa e móvel, de revisão do carro, de streaming, de seguro do carro, ou bancário. O entendimento acerca dos nossos direitos é essencial para evitar problemas, e para impedir que sejamos enganados eventualmente. Ter pleno conhecimento deles é estar no controle de nossas ações, possibilitando uma maior autonomia.
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36

Webster, Wendy. The Empire Comes to Britain. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198735762.003.0004.

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This chapter looks at the many people who arrived in Britain from the British Empire—some to serve in the armed forces, others as war workers and wartime propagandists working at the BBC and in British cinema. Mixing between imperial allies produced many close friendships and camaraderie. The British media promoted a vision of an imperial community of allies. But wartime propaganda was potentially undermined by evidence of the practice of colour bars—in the empire and in Britain—and of tensions and antagonisms between imperial allies. Disruption of a publicly disseminated vision of a united empire was kept to a minimum. Colour bars in the empire and at home and antagonism between imperial allies—especially when this involved violence—were under-reported.
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37

Orecchia, Donatella. L’immaginario devoto tra mafie e antimafia 2. Narrazioni e rappresentazioni. Editado por Luca Mazzei. Viella editrice, 2018. http://dx.doi.org/10.52056/9788833132778.

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Nella cultura mafiosa, eventi religiosi come battesimi, funerali, feste patronali, pellegrinaggi ricoprono da sempre un ruolo importante. Lo stesso si può dire per il mondo dell’antimafia, nel quale i rituali devozionali occupano uno spazio simbolico irrinunciabile. Nel tempo queste tipologie di interazione hanno però trovato forme di rappresentazione anche in media diversi rispetto a quelli tradizionalmente vocati alle pratiche religiose e devozionali. A essere investiti di questa funzione sono così stati teatro popolare e di ricerca, letteratura agiografica e romanzo d’inchiesta, stampa quotidiana e fotografia, cinema e fiction tv, reportage documentario e servizi del tg, graphic novel e pagine dei social web. Muovendosi a largo spettro fra i vari luoghi di questa complessa mediasfera, il presente volume propone uno sguardo trasversale proprio su questo fenomeno, integrando fra loro, nell’analisi, saperi e linguaggi tipici del mondo dello spettacolo, delle arti visive e della storia dei media con quelli legati alla storia contemporanea e delle religioni.
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38

Cooper, Sarah. Film and the Imagined Image. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474452786.001.0001.

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Film and the Imagined Image explores the extraordinary ways in which film can stimulate and direct the image-making capacity of the imagination. From documentary to art house cinema, and from an abundance of onscreen images to their complete absence, films that experiment variously with narration, voice-over, and soundscapes do not only engage the thoughts and senses of spectators in a perceptually rich experience. They also make an appeal to visualise more than is visible on screen and they provide instruction on how to do so as spectators think and feel, listen and view. Bringing together philosophy, film theory, literary scholarship, and cognitive psychology with an international range of films from beyond the mainstream, Sarah Cooper charts the key processes that serve the imagining of images in the light of the mind. Through its navigation of a labile and vivid mental terrain, this innovative work makes a profound contribution to the study of spectatorship.
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39

Lo, Dennis. The Authorship of Place. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528516.001.0001.

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The Authorship of Place is the first monograph dedicated to the study of the politics, history, aesthetics, and practices of location shooting for Taiwanese, Mainland Chinese, and coproduced art cinemas shot in rural communities since the late 1970s. Lo argues that rural location shooting, beyond serving aesthetic and technical needs, constitutes practices of cultural survival in a region beset with disruptive social changes, including rapid urbanization, geopolitical shifts, and ecological crises. In response to these social changes, auteurs like Hou Xiaoxian, Jia Zhangke, Chen Kaige, and Li Xing transformed sites of film production into symbolically meaningful places of collective memories and aspirations. These production practices ultimately enabled auteurs to experiment with imagining communities in novel and contentious ways. Guiding readers on a cross-strait tour of prominent shooting locations for the New Chinese Cinemas, this book shows how auteurs sought out their disappearing cultural heritage by reenacting lived experiences of nation building, homecoming, and cultural salvage while shooting on-location. This was an especially daunting task when auteurs encountered the shooting locations as spaces of unresolved historical, social, and geopolitical contestations, tensions which were only intensified by the impact of filmmaking on rural communities. This book demonstrates how complex circumstances surrounding location shooting were pivotal in shaping representations of the rural on-screen, as well as the production communities, institutions, and industries off-screen. Bringing together cutting-edge perspectives in cultural geography and media anthropology, this work revises Chinese film history and theorizes ground-breaking approaches for investigating the cultural politics of film authorship and production.
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40

Platte, Nathan. Making Music in Selznick's Hollywood. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.001.0001.

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Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).
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41

Durkin, Hannah. Josephine Baker and Katherine Dunham. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042621.001.0001.

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This book investigates African American dancers Josephine Baker and Katherine Dunham’s self-inventions on screen and in writing to map the intellectual underpinnings and visual impact of their art. Baker was the first Black woman to enjoy a starring role in mainstream cinema and Dunham was the first Black choreographer to be credited for her screen work. Equally, they were the first well-known African American women to produce multivolume accounts of their lives, and their writings serve as valuable firsthand documents of Black women’s interwar experiences. Why did Baker and Dunham enjoy such groundbreaking literary and cinematic careers? What do such careers tell us about the challenges and opportunities that they encountered as African American women seeking to navigate midcentury geographical and cultural boundaries? Why did they turn to life writing and the screen and on what terms were they able to engage with these mediums as Black women? How did contemporary Black screen audiences receive their work? Where do Baker and Dunham’s films and writings fit into African American literary and cinematic histories and why are they largely absent from these histories? This book investigates these questions. In so doing, it uncovers the cultural significance of Baker and Dunham’s films and writings and interrogates their performances within them to recover their authorship.
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42

Lindenfeld, Laura y Fabio Parasecoli. Feasting Our Eyes. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231172516.001.0001.

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Big Night (1996), Ratatouille (2007), and Julie and Julia (2009) are more than films about food—they serve a political purpose. In the kitchen, around the table, and in the dining room, these films use cooking and eating to explore such themes as ideological pluralism, ethnic and racial acceptance, gender equality, and class flexibility—but not as progressively as you might think. Feasting Our Eyes takes a second look at these and other modern American food films to emphasize their conventional approaches to nation, gender, race, sexuality, and social status. Devoured visually and emotionally, these films are particularly effective defenders of the status quo. Feasting Our Eyes looks at Hollywood films and independent cinema, documentaries and docufictions, from the 1990s to today and frankly assesses their commitment to racial diversity, tolerance, and liberal political ideas. Laura Lindenfeld and Fabio Parasecoli find women and people of color continue to be treated as objects of consumption even in these modern works and, despite their progressive veneer, American food films often mask a conservative politics that makes commercial success more likely. A major force in mainstream entertainment, American food films shape our sense of who belongs, who has a voice, and who has opportunities in American society. They facilitate the virtual consumption of traditional notions of identity and citizenship, reworking and reinforcing ingrained ideas of power.
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43

Jamil, Ghazala. Accumulation by Segregation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199470655.001.0001.

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Through an ethnographic exploration of everyday life infused with Marxist urbanism and critical theory, this work charts out the changes taking place in Muslim neighbourhoods in Delhi in the backdrop of rapid urbanization and capitalist globalization. It argues that there is an implicit materialist logic in prejudice and segregation experienced by Muslims. Further, it finds that different classes within Muslims are treated differentially in the discriminatory process. The resultant spatial ‘diversity’ and differentiation this gives rise to among the Muslim neighbourhoods creates an illusion of ‘choice’ but in reality, the flexibility of the confining boundaries only serve to make these stronger and shatterproof. It is asserted that while there is no attempt at integration of Muslims socially and spatially, from within the structures of urban governance, it would be a fallacy to say that the state is absent from within these segregated enclaves. The disciplinary state, neo-liberal processes of globalization, and the discursive practices such as news media, cinema, social science research, combine together to produce a hegemonic effect in which stereotyped representations are continually employed uncritically and erroneously to prevent genuine attempts at developing specific and nuanced understanding of the situation of urban Muslims in India. The book finds that the exclusion of Muslims spatially and socially is a complex process containing contradictory elements that have reduced Indian Muslims to being ‘normative’ non-citizens and homo sacer whose legal status is not an equal claim to citizenship. The book also includes an account of the way in which residents of these segregated Muslim enclaves are finding ways to build hope in their lives.
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