Bibliografías temáticas / Girardet (Firm)

Literatura académica sobre el tema "Girardet (Firm)"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 27 de julio de 2024

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Artículos de revistas sobre el tema "Girardet (Firm)"

1

Oroz, Elena. "An Interview with Matthias Müller and Christoph Girardet". Revista Laika 4, n.º 7 (18 de mayo de 2021): 43–51. http://dx.doi.org/10.11606/issn.2316-4077.v4i7p43-51.

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Found Footage has never been a genre of itself. It is nothing but a method that can be found in various film genres: it has been applied in underground film as well as mainstream cinema. It has gained a subversive potential within experimental cinema. These days, most images have been in use; they have a long history of being functionalized, of being used and abused for a broad range of purposes.
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2

SYABANA, Rosidin Ali y Wening UDASMORO. "Un sujet marginal: les communautés LGBTQ assimilées à de boucs émissaires dans le film 120 battements par minute". FRANCISOLA 4, n.º 2 (29 de abril de 2020): 1–9. http://dx.doi.org/10.17509/francisola.v4i2.24201.

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RÉSUMÉ. Cet article porte un regard sur le grand nombre de films allosexuels produits par les pays occidentaux qui donnent une visibilité aux communautés homosexuelles, bisexuelle, transgenre, transsexuelle ou queer (LGBTQ). Cependant, elles restent marginalisées. Considérées comme des parasites qui renversent des valeurs ancestrales conventionnelles, les communautés LGBTQ servent de boucs émissaires pour endosser la responsabilité de la propagation du VIH/SIDA et de cette crise de l'épidémie. Le film 120 Battements par Minute réalisé par Robin Campillo est un film qui traite du rôle et du bouc émissaire incarné par les groupes LGBTQ. Cet article utilise la théorie du bouc émissaire par Girard (1982) en révélant que dans une société, il existe toujours un groupe sacrifié stigmatisé en temps de crise. Cet article utilise l'analyse du discours multimodal de Gunther Kress et Theo Van Leewuen (2004) pour analyser des extraits du film. La conclusion montre que le système de bouc émissaire utilise des stéréotypes et des préjugés en identifiant un groupe qui est proche de la crise pour ensuite le nommer en tant que victime. Puisque les premiers cas détectés de patients infectés par VIH/SIDA sont issus de communautés LGBTQ, elles sont donc considérées comme responsables de la crise. Mots-clés : analyse du discours multimodal, bouc émissaire, film allosexuel, VIH/SIDA. ABSTRACT. This article explores how LGBTQ people in the West use film as a space for narrating themselves. LGBTQ people remain marginalized, being stigmatized as parasites who disrupt the established socio-cultural order and blamed for HIV/AIDS pandemic. Robin Campillo's film 120 Battements par Minute (120 Beats per Minute) deals specifically with how the LGBTQ community has been scapegoated. Girard argues that, when a crisis occurs, a social group must be sacrificed during a crisis occurs in order to resolve it. For its analysis, this article applies the multimodal discourse approach proposed by Gunther Kress and Theo Van Leewuen to images and still frames from the film, finding that the LGBTQ community has been scapegoated through stereotypes and prejudices. As they have been popularly identified with the HIV/AIDS crisis, members of the LGBTQ community have been blamed—and expected to take responsibility—for it. Keywords: Multimodal Discourse analysis, scapegoat, LGBT film, HIV/AIDS.
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3

Le Gras, Gwenaëlle. "Annie Girardot de la Comédie-Française au film policier des années 50: le brouillage des stéréotypes genrés". Studies in French Cinema 10, n.º 3 (agosto de 2010): 235–49. http://dx.doi.org/10.1386/sfc.10.3.235_1.

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4

BERGSTRÖM, STIG M., MATTHEW M. SALTZMAN y BIRGER SCHMITZ. "First record of the Hirnantian (Upper Ordovician) δ13C excursion in the North American Midcontinent and its regional implications". Geological Magazine 143, n.º 5 (16 de agosto de 2006): 657–78. http://dx.doi.org/10.1017/s0016756806002469.

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The most prominent of the two major global δ13C excursions in the Ordovician, the Hirnantian δ13C excursion (HICE), which is previously recorded from the uppermost Ordovician in a few sections in Nevada, Quebec, Arctic Canada, Baltoscandia, Scotland and China, is documented for the first time from the North American Midcontinent. Samples through the Girardeau Limestone and Leemon Formation in Missouri and Illinois show elevated δ13C values of +4‰ to +5‰. Although not determined precisely, the beginning of the HICE is likely to be in the upper part of the Orchard Creek Shale, and it ends in the upper Leemon Formation. Being extraordinarily useful chronostratigraphically, the presence of the HICE makes it possible to provide a firm dating of the study interval, whose age has long been controversial. Comparison between the study sections and coeval HICE sequences in North America and Europe show striking similarities, especially in sea-level history, indicating that major local lowstands reflect eustatic sea-level changes. A comparison with Hirnantian diamictite successions in North and South Africa and Argentina suggests that these lowstands correspond to two major Gondwanan glacial episodes.
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5

Hartney, Christopher. "Why Muslims Kill Themselves on Film: From Girard’s Victimage Mechanism to a Radical Constructivist Explanation". Journal of Religion and Violence 1, n.º 3 (2013): 276–302. http://dx.doi.org/10.5840/jrv2013133.

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6

Padgate, Usa. "Mirror Image: A Study of the Power Politics of Mimetic Desire and Cinematic Confinement in Chloe (2009)". Advances in Language and Literary Studies 10, n.º 6 (31 de diciembre de 2019): 63. http://dx.doi.org/10.7575/aiac.alls.v.10n.6p.63.

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This study aims to analyze the power politics in the narrative of the film Chloe as addressed by the mirrored desire perceived in the film and to illustrate how this mimesis is communicated through the imagery of confinement that dominates the presence of the female protagonists. René Girard’s mimetic theory of triangular desire and scapegoat mechanism and Sandra Gilbert and Susan Gubar’s conceptual image of a mad woman in the mirror are employed as the frameworks on which the analyses are based. The results reveal four paradigms of triangular desire, the last of which confirms the male hegemony that underlies the film’s narrative and that, subsequently, undermines the message of women’s empowerment suggested by the film’s emphasis on the female characters and their supposed bonding. The feeling of entrapment of the female protagonists is revealed through the ways in which they are framed cinematically and metaphorically. The desire to break free from this inhibition is realized through the image of a mad double who rebels against such male constructs as family, work and sex, and whose presence entails such anarchical chaos that she must be dispensed with so that the patriarchal order can be restored. This affirms the stronghold that patriarchy has over both the female psyche and the general public conscience. The findings also support the adaptability of literary frameworks in a cinematic investigation.
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7

Christol, Florent. "Le gore, modalité virale du cinéma hollywoodien". Cinémas 20, n.º 2-3 (7 de enero de 2011): 97–117. http://dx.doi.org/10.7202/045146ar.

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À partir d’une série de films post-hollywoodiens qui font de l’irruption de l’abject un motif privilégié, cet article se propose de mettre en évidence l’existence d’une modalité « virale » qui, se propageant à partir d’un film souche (The Masque of the Red Death de Roger Corman, sorti en 1964), allait infiltrer et contaminer nombre de films à venir. Afin d’éclairer l’émergence de cette modalité, l’auteur revient dans un premier temps sur la logique socioculturelle de décontamination amenée par le puritanisme et sur les thèses développées par Jean Baudrillard sur l’apparition de virus dans un milieu aseptisé. La modalité virale est ainsi présentée comme le symptôme d’une culture qui, à force d’éliminer les « souillures », génère ses propres pathologies. Dans un deuxième temps, cette modalité virale est saisie dans sa dimension métaphorique, comme reflet des soubresauts sociopolitiques qui ébranlent l’Amérique des sixties. À partir de thèses de René Girard, l’apparition du virus dans le cadre du cinéma américain est appréhendée dans sa dimension démystificatrice. Au terme de ce travail, il s’agit de voir en quoi cette modalité peut être envisagée comme une pathologie typiquement filmique. Le film d’horreur « viral » enregistrerait, en effet, la lutte entre un virus et le corps filmique dans lequel il se développe.
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8

Troth, Brian. "Haunted spaces: trauma, mourning, and melancholia in the HIV epidemic in France". Contemporary French Civilization: Volume 46, Issue 2 46, n.º 2 (1 de junio de 2021): 129–46. http://dx.doi.org/10.3828/cfc.2021.7.

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Several AIDS films produced in France in the last five years approach the subject of AIDS in a memorialized fashion, resulting in the contemporary stakes of the epidemic going unheard, as noted by François Berdougo and Gabriel Girard. In this essay, this phenomenon is read as a cultural trauma and melancholia for gay men. Through Freudian trauma theory and Derridean notions of hauntology, this article argues that gay men are unable to escape the specters of the AIDS epidemic. First, the article explores the way haunting is invoked through public health campaigns, reactions to the epidemic, and cultural productions. Second, it engages with the 2016 film Théo et Hugo dans le même bateau to assert that while contemporary discourse is still marked by spectres of trauma, today’s advances in medicine and understanding of the disease allow for certain sexual behaviors to be practiced without fear of contamination and with the resolution of melancholia. Théo et Hugo accomplishes this through a reversal of the Orphic tragedy, here reread as an invitation to live life after AIDS.
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9

Tirado-Gallegos, Juan Manuel, Paul Baruk Zamudio-Flores, Miguel Espino-Díaz, René Salgado-Delgado, Gilber Vela-Gutiérrez, Francisco Hernández-Centeno, Haydee Yajaira López-De la Peña, María Hernández-González, J. Rodolfo Rendón-Villalobos y Adalberto Ortega-Ortega. "Chitosan Films Obtained from Brachystola magna (Girard) and Its Evaluation on Quality Attributes in Sausages during Storage". Molecules 26, n.º 6 (22 de marzo de 2021): 1782. http://dx.doi.org/10.3390/molecules26061782.

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High molecular weight chitosan (≈322 kDa) was obtained from chitin isolated from Brachystola magna (Girard) to produced biodegradable films. Their physicochemical, mechanical and water vapor permeability (WVP) properties were compared against commercial chitosan films with different molecular weights. Brachystola magna chitosan films (CFBM) exhibited similar physicochemical and mechanical characteristics to those of commercial chitosans. The CFBM films presented lower WVP values (10.01 × 10−11 g/m s Pa) than commercial chitosans films (from 16.06 × 10−11 to 64.30 × 10−11 g/m s Pa). Frankfurt-type sausages were covered with chitosan films and stored in refrigerated conditions (4 °C). Their quality attributes (color, weight loss, pH, moisture, texture and lipid oxidation) were evaluated at 0, 5, 10, 15 and 20 days. Sausages covered with CFMB films presented the lowest weight loss (from 1.24% to 2.38%). A higher increase in hardness (from 22.32 N to 30.63 N) was observed in sausages covered with CFMB films. Compared with other films and the control (uncovered sausages), CFMB films delay pH reduction. Moreover, this film presents the lower lipid oxidation level (0.10 malonaldehyde mg/sample kg). Thus, chitosan of B. magna could be a good alternative as packaging material for meat products with high-fat content.
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10

김성범 y 박연경. "Revulsion Response Evoked by The Film 'The Cook The Thief His Wife and Her Lover' －Comparative Studies on Cognitive Perspective of Aristotle, Freud and Girard－". Film Studies ll, n.º 62 (diciembre de 2014): 5–23. http://dx.doi.org/10.17947/kfa..62.201412.001.

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Tesis sobre el tema "Girardet (Firm)"

1

Miranda, Suzana Reck. "Filmando a musica : uma interpretação do cinema de François Girard". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284771.

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Orientador: Lucia Nagib
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-05T13:11:24Z (GMT). No. of bitstreams: 1 Miranda_SuzanaReck_D.pdf: 2131895 bytes, checksum: 29d857e5d36fd63130e9911fe9539507 (MD5) Previous issue date: 2006
Resumo: Esta tese propõe uma análise da relação música/cinema fundamentada em discussões que demandam uma interface entre a Musicologia e a Teoria do Cinema. O objeto de estudo é o filme Thirty Two Short Films about Glenn Gould (1993), do canadense François Girard. O universo musical do filme sugere uma análise específica, muito além da mera funcionalidade da música em relação à diegese. O objetivo é evidenciar como Girard executa cinematograficamente uma leitura sobre posicionamentos estéticos do pianista Glenn Gould e, com isto, ampliar a reflexão em torno da interface música/cinema. A metodologia adotada dialoga, em parte, com a abordagem de cunho fenomenológico de Michel Chion. Entretanto, pelo fato de ser um filme no qual a presença da música, além de assunto, constitui o principal modo de expressão, optou-se por estabelecer, sempre que necessário, aproximações entre a teoria do cinema e da música
Abstract: This thesis proposes an analysis of the film/music relationship through discussions at the interface between Musicology and Film Theory. The chosen subject is François Girard¿s film Thirty-two short films about Glenn Gould (1993). A specific approach is required in order to study the music in this film because of the musical world interpreted here by Girard. The idea is to show how Girard gives a cinematic reading of Glenn Gould¿s aesthetical position and, through this reflection, to provide a contribution to the field of Film Music. The theoretical support for this thesis comprises a number of influential authors on music and cinema theory, with focus on Michel Chion¿s phenomenological orientation
Doutorado
Doutor em Multimeios
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2

Longval-Laverdière, Gabrièle. "La réécriture filmique du roman d'Alessandro Baricco par François Girard : une réflexion sur l'altérité". Mémoire, 2010. http://www.archipel.uqam.ca/3389/1/M11424.pdf.

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Ce mémoire a pour sujet la démarche artistique de François Girard, plus précisément son plus récent long-métrage, Silk, sorti en 2007. Cette coproduction internationale a été le lieu de multiples et fructueuses rencontres interculturelles et le film traduit une importante réflexion sur l'altérité, l'interculturalité et, ultimement, l'intermédialité. Nous nous intéressons donc à la manière dont le réalisateur intègre dans son art et dans son film l'apport culturel de l'Autre afin de réfléchir sur les rapports entre Orient et Occident. Pour réaliser ce film, il s'est notamment inspiré de la peinture sinojaponaise et de la poétique du haïku: la forme même du film fait écho à l'histoire transculturelle d'Hervé Joncour. En plus d'être caractérisé par la mise en contact de plusieurs cultures, le projet de Girard, en tant qu'adaptation cinématographique, s'appuie sur un autre rapport d'altérité, c'est-à-dire la différence entre deux démarches artistiques et deux médias distincts. En effet, le réalisateur s'est réapproprié le roman d'Alessandro Barrico intitulé Seta, en tâchant de réconcilier sa liberté créatrice et sa volonté d'être « fidèle» au texte écrit. Dans le but de montrer combien il est réducteur de juger de la qualité d'une telle adaptation uniquement en fonction d'un critère de fidélité, nous nous attardons au travail de (ré)écriture de Girard. Il est un artiste qui prône, à travers son oeuvre, non seulement la fusion entre les arts, mais aussi le dialogue entre les cultures. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : François Girard, Silk, altérité, adaptation cinématographique, réécriture, transferts culturels, (néo) japonisme
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Libros sobre el tema "Girardet (Firm)"

1

Chaille, François. Girard-Perregaux. Paris: Flammarion, 2004.

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2

Maurel, Olivier. Essais sur le mimétisme: Sept oeuvres littéraires et un film revisités à la lumière de la théorie de René Girard. Paris: Harmattan, 2002.

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Buompastore, Fabrizio. Liberi Tutti: Il Film Che Avrei Voluto Girare. Independently Published, 2018.

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Capítulos de libros sobre el tema "Girardet (Firm)"

1

Gimeno, Javier Elipe. "Composition musicale et construction du sens cinématographique dans le film Kristall, de Matthias Müller et Christoph Girardet". En Violence et Société. Éditions des maisons des sciences de l’homme associées, 2021. http://dx.doi.org/10.4000/books.emsha.1207.

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