Literatura académica sobre el tema "Salles de cinéma parisiennes"
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Artículos de revistas sobre el tema "Salles de cinéma parisiennes":
Valmary, Hélène. "Du public populaire à l’art de la programmation : les salles de cinéma vues par les Cahiers du cinéma dans les années 1980". Cinémas 27, n.º 2-3 (11 de mayo de 2018): 135–54. http://dx.doi.org/10.7202/1045371ar.
Abadie, Shahram. "L’exotisme dans les cinémas parisiens entre les deux guerres". Apuntes. Revista de estudios sobre patrimonio cultural 31, n.º 1 (18 de junio de 2018): 102–15. http://dx.doi.org/10.11144/javeriana.apc31-1.edcp.
Bento Ribeiro, Ana. "Repenser les salles parisiennes à l’heure actuelle : regards croisés d’ici et d’ailleurs. Jean Michel Frodon et Dina Iordanova (dir.), Cinemas of Paris". 1895, n.º 79 (1 de junio de 2016): 201–5. http://dx.doi.org/10.4000/1895.5201.
Canning, Gregory. "Disease Transmission and Theatres: Creating Respectable Spaces". Canadian Journal of Film Studies 30, n.º 1 (abril de 2021): 99–125. http://dx.doi.org/10.3138/cjfs-2020-0062.
Caquard, Sébastien, Daniel Naud y Victor Périchon. "Les salles obscures canadiennes : un éclairage géographique". Cahiers de géographie du Québec 53, n.º 149 (16 de diciembre de 2009): 221–40. http://dx.doi.org/10.7202/038783ar.
Tessougue, Moussa dit Martin. "Loisirs Urbains: Essor et Déclin des Salles de Cinéma à Bamako au Mali de 1960 à 2022, Fréquentation en Baisse et Fermenture des Salles". European Scientific Journal, ESJ 19, n.º 2 (31 de enero de 2023): 115. http://dx.doi.org/10.19044/esj.2023.v19n2p115.
Kessler, Frank y Sabine Lenk. "L’émergence des multisalles en RFA : le cas de Düsseldorf". Cinémas 27, n.º 2-3 (11 de mayo de 2018): 113–33. http://dx.doi.org/10.7202/1045370ar.
Desbarats, Carole. "Menaces sur les petites salles de cinéma". Esprit Sptmbr, n.º 9 (2020): 67. http://dx.doi.org/10.3917/espri.2009.0067.
Chaplain, Renaud. "Les exploitants des salles de cinéma lyonnaises". Vingtième Siècle. Revue d'histoire 79, n.º 3 (2003): 19. http://dx.doi.org/10.3917/ving.079.0019.
Srour, Némésis. "Les salles de cinéma en Inde, un territoire à conquérir : perspectives historiques". Cinémas 27, n.º 2-3 (11 de mayo de 2018): 31–50. http://dx.doi.org/10.7202/1045366ar.
Tesis sobre el tema "Salles de cinéma parisiennes":
Pluquet, Céline. "Le cinéma muet, un art musico-visuel : pratiques, théories et esthétiques de la musique de cinéma à Paris entre 1907 et 1929". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080053.
This thesis intends to articulate the historical, theoretical, cultural and aesthetic aspects of film music during the silent era through the case of Parisian theaters. It questions the role of music and how it defined cinema at that specific time. This study shows the establishment of practices, theories, filmic and musical forms conditioned by film music. A first definition of film music between 1906 and 1907 describes the cinematic show as being a cinematic pantomime from the moment it appears as an artistic representation, as both a musical and visual experience. Shortly after the Great War, film music is gradually marked by the recognition of the orchestra as a model of musical accompaniment practice in Parisian theaters. Finally, film music becomes fully embedded when theorists establish the idea of the musical accompaniment of a cinematic art throughout the 1920s.This investigation thus leads us to rethink the role of the cinematic show in the definition of cinema. In short, film music represents the cornerstone which brings together a perception of cinema as being both an art and a performance
Touarigt, Boualem. "Les salles de cinéma en Algérie : histoire d'un équipement urbain". Paris 10, 2011. http://www.theses.fr/2011PA100116.
The audiences of Algerian movie houses consisted of poor European and Algerian immigrants of the country sides and the cities. The Algerian cinema didn't stand out but coalesced with animated areas of the public space. In the regional economic metropolises it was affected by the social stratification and signified a different relation with the city. As popular leisure looking for the largest audiences, the cinema didn't reflect colonial system segregations between areas and populations. Now, the movie house is included in public attractive areas outside the traditional physical limits of the city, and remains collective leisure place despite individual consumption of audio visual products
Yakovenko, Indira. "Mondialisation et nouveaux marchés cinématographiques : le cas des films russes et des salles de cinéma ukrainiennes". Nice, 2011. http://www.theses.fr/2010NICE2024.
Dans notre recherche, nous nous intéressons à la production cinématographique russe présente sur les marchés internationaux audiovisuels comme MIPTV et MIPCOM à Cannes. Nous analysons l’influence de la mondialisation, les transformations dans l’esthétique et la promotion de nouveaux films russes à travers notre observation participante et une enquête auprès des producteurs et distributeurs russes, ukrainiens et internationaux. Notre travail se situe au croisement de plusieurs disciplines : sciences de la communication, industrie du film, marketing, anthropologie culturelle. Les données sont issues de l’analyse de 15 films russes, produits entre 2000 et 2005, de 15 entretiens de professionnels du film et de 159 questionnaires recueillis auprès des participants, venus de 33 pays, au marché international du film de Cannes en 2006. Dans les nouveaux films russes, nous observons le processus de la réévaluation des événements historiques et la révélation des tabous. Ils ont les points communs avec le cinéma américain ou européen comme l’ordre étant plus important que la morale ou la présence de héros de l’âge du narcissisme. Le nouveau héros russe est plus tragique et complexe que le personnage hollywoodien. Pour la plupart des participants du marché international, le cinéma russe est un cinéma européen. La mondialisation est considérée comme américanisation. Cependant, elle fait émerger d’autres identités cinématographiques. Les séries russes triomphent à la télévision ukrainienne et leurs personnages plus proches et compréhensibles remplacent les héros américains. Les films contemporains russes se placent comme un cocktail des modèles : soviétique, hollywoodien et indien
Bergeron, Mario. "Société québécoise, salles de cinéma au Québec et à Trois-Rivières : quatre aspects". Thèse, Université du Québec à Trois-Rivières, 1999. http://depot-e.uqtr.ca/3127/1/000664912.pdf.
Pinto, Aurélie. "Les salles de cinéma d'art et d'essai : sociologie d'un label culturel entre marché politique et politique publique". Amiens, 2012. http://www.theses.fr/2012AMIE0026.
This dissertation adopts an interdisciplinary approach which combines economic sociology, sociology of culture and political science in order to study the "Art et essai" label. It aims at explaining the specificity of a market in which a quality label functions as amesurement and as a still open issue. The first part "Socio-history and topography of the 'Art et essai' label reveals the competing priciples at stake in the process of qualification on the market of cinematographic exploitation, in which are intertwined cultural, educational, industrial and political considerations. Two statistic surveys, one based on data relative to the labelled movie theatres, the other based on the itinerary of movie classified as "Art et essai" in French movie theatres show clearly the heterogeneity of the "Art et essai" movie theatres and highlight local configurations of competition between movie theatres which produce extremely variegated local exploitation markets. A second part, "Local markets of 'Art et essai' movie theatre demonstrates hox the 'Art et essai' label is defined structurally on its actual existing markets. Contesting an essentialist definition of the label, our approach here aims at explaining its different meanings according the social structuration of the audiance, the history of the exploitation in each territory, and the social trajectory of the movie theatres managers. The "Art et essai" movie theatre, considered it turns as "shapr", "independant", "small", "prestige", "repertoire" or "neighbourhood" movie theatre, is less defined through the programming of an aesthetic canon than through an alternative and always locally situated offer of cultural goods
Ndiltah, Patrick. "Les écrans noirs de N’Djaména : les ciné-clubs comme réponse à la fermeture des salles traditionnelles en Afrique : le cas du Tchad". Thesis, Avignon, 2013. http://www.theses.fr/2013AVIG1122/document.
This study explores the conditions surrounding the closure of traditional movie theatres inWest Africa, particularly in Chad. It will look at the multi-facetted causes, such as thetechnological, economic, political and financial reasons which have led to the transformationof these cinemas into shops or places of worship.It examines the process of setting up film-viewing alternatives that seem typical of Africa:cultural centers run by church congregations, embassies or the Chadian government andespecially “video-clubs” or “cine-clubs”, informal establishments of cinema distributionfound throughout the African urban landscape.The detailed analysis of these devices as family businesses, social venues and vectors of abastardized form of cinema culture is at the heart of this research. It allows us to identify theeconomic impact of these players as links in the process that takes a movie from itsreproduction in pirated form by Nigerian or Cameroon companies through to screening beforea Chadian audience.Through interviews conducted within a sample of spectators, we have studied their cinemahabits, behaviour and attachment to the films proposed.The latter is the second main axis of this study, particularly concerning the relationship thatthese audiences maintain with Chadian cinema, and, in a broader context, with cinema fictionitself. This thesis lays the foundations for a reflection on the role that the State could play inimproving the conditions of distribution and reception of African cinema throughout Chad
Baik, Seung Kyung. "Faire valoir le cinéma de qualité ˸ les labels d’art et essai en France et les salles réservées aux art films en Corée du Sud". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030008.
This present research explores the valuing process of art cinema through two markets, created mainly by the movie theater label “Art et Essai” in France and “Movie Theater for Art films” in South Korea. It traces the economic, political and practical inventions, which enabled quality cinema, or auteur cinema, to be formed and to gradually define the very notion of quality. Inspired by pragmatic ideas, this study addresses the collective experience of the audience that leads to the distinction between “going to the cinema” and “seeing a movie”. This comparative historical research of two different countries which have strong traditions of “quality” cinema reveals the importance of the relationship between the socio- economic construction of quality and the various dimensions invented by movie industry participants, who are interested not only in screening films, but also and notably in attracting spectators and creating their audiences.Despite the similarity of some general figures of their industry such as national films’ market share and cinema admissions per capita, they differ in three ways: the beginning and the development process of the quality film market; government subsidies for art houses by means of quality labels and their impact on the identity formation of quality films in the market; and finally the landscape of art houses today. Analyses of each country presented in turn, because of their great difference, are however following the same path: starting from the presentation of enlightening early stage of the film industry and of the first government intervention against the American invasion; entering into details about art film market creation, subsidy policy changes and implementation of different modes of distribution in movie theater market; and concluding with the present situation
Bourgatte, Michael. "Ce que fait la pratique au spectateur. Enquêtes dans des salles de cinéma Art et Essai de la région Provence-Alpes-Côte d'Azur". Phd thesis, Université d'Avignon, 2008. http://tel.archives-ouvertes.fr/tel-00369730.
La première partie propose de définir l'objet de la recherche : la pratique du cinéma dans les salles Art et Essai. Elle construit des outils permettant de saisir empiriquement cette pratique et démontre qu'elle engage un rapport spécifique au social. La deuxième partie montre que les recherches sur la pratique du cinéma en salle réduisent, le plus souvent, l'activité spectatorielle à un geste d'appropriation des films alors que cette activité renvoie tout autant à un geste de constitution sociale de la valeur sociale des films. Enfin, la troisième partie étudie la manière dont les individus se positionnent et réagissent vis-à-vis de cette valeur. Elle montre qu'il y a une identité de l'Art et Essai autour de laquelle se constituent des agglomérats d'individus assimilables à des regroupements communautaires. Elle permet ainsi de repenser ces espaces de pratique à partir de la notion de communauté.
En s'appuyant sur l'étude de la pratique cinématographique, cette recherche propose, plus largement, de discuter la pertinence de la question de l'(il)légitimé des objets culturels.
Bourgatte, Michaël. "Ce que fait la pratique au spectateur : enquêtes dans des salles de cinéma Art et essai de la région Provence-Alpes-Côte d'Azur". Avignon, 2008. http://tel.archives-ouvertes.fr/docs/00/36/97/30/PDF/These_Bourgatte.pdf.
Throughout a communicational and a sociological approach, this research work offers to consider the practice of Art cinema as a dynamic process that brings different individuals into contact with one another as well as with the movies. It is based on two research surveys aimed at the audiences of Art houses in the French Region of Provence-Alpes-Côte d’Azur. The results of these surveys were completed by the outcome of two semiotic and discursive analyses - one covering the movies’ critics of French magazine Télérama, the other one the French Art house’s programme Utopia, in the city of Avignon. Eventually, some movies have been analysed taking into account an aesthetic sociology of cinema. Therefore, the target is to study the semiotic and discursive formation of value towards cinema and to consider to what extent this value partakes of creating spectators’ communities around Art Cinema, given that this very value circulates and generates social representations. The first part puts forward a definition of the issue studied: the practice of cinema in Art houses. It builds up some theoretical tools leading to an empirical understanding of this practice, showing that it entails a specific relationship towards the social sphere. The second part shows that most researches on movie theatres’ practices reduce the audience’s behaviour to an appropriative one while it should also be considered as a constitutive one, since it socially constructs the social value of movies. To end up with, the third part focuses on the way individuals relate to this value and how they react to it. It shows that Art Cinema has an identity around which individuals come together to create a community. Thus, it allows to reconsider the practice-related issue through the notion of community. Based on a study of the practice of cinema, this research more generally aims at rating to what extent the issue of cultural objects’ (il)legitimacy might be relevant
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
Libros sobre el tema "Salles de cinéma parisiennes":
Pageau, Pierre. Les salles de cinéma au Québec, 1896-2008. Québec: Éditions GID, 2009.
Fouhba, Honoré. Les salles de cinéma au Nord-Cameroun: Des implantations aux transformations. Yaoundé, République du Cameorun: Éditions Ifrikiya, 2016.
Bourgatte, Michaël. Ce que fait la pratique au spectateur: Enquêtes dans des salles de cinéma Art et Essai de la région Provence-Alpes-Côte d'Azur. Lille: ANRT. Atelier national de reproduction des thèses, 2010.
Creton, Laurent y Kira Kitsopanidou. Les salles de cinéma. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.
Capítulos de libros sobre el tema "Salles de cinéma parisiennes":
Creton, Laurent y Kira Kitsopanidou. "Introduction". En Les salles de cinéma, 11. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0011.
Cerisuelo, Marc. "1 - Le Mac-Mahon : histoire et légende". En Les salles de cinéma, 19. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0019.
A. gili, Jean. "2 - Les salles de cinéma à Nice : de la splendeur des années 1930 à l’évolution des années 1970". En Les salles de cinéma, 29. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0029.
Thissen, Judith. "3 - Les dynamiques historiques de l’exploitation des films en salle aux Pays-Bas". En Les salles de cinéma, 37. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0037.
Kessler, Frank. "4 - La salle en ville comme dispositif". En Les salles de cinéma, 52. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0052.
Bougerol, Dominique. "1 - L’organisateur de spectacles cinématographiques : une notion juridique à construire". En Les salles de cinéma, 61. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0061.
Augros, Joël. "2 - Quand une collectivité territoriale s’interroge sur les salles de cinéma du xxie siècle". En Les salles de cinéma, 72. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0072.
Feigelson, Kristian. "3 - Le Pestel à Die : un cinéma semi-rural au croisement Est/Ouest". En Les salles de cinéma, 84. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0084.
Hanson, Stuart. "4 - De « Green field » à « Brown field » : le mouvement des multiplexes vers les centres-villes". En Les salles de cinéma, 98. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0098.
Forest, Claude. "1 - De la pellicule aux pixels : l’anomie des exploitants de salles de cinéma". En Les salles de cinéma, 113. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.cret.2013.01.0113.