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Libros sobre el tema "Transe – Au cinéma"

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Publicado: 25 de mayo de 2024

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1

Germany) CineFest (7th 2010 Hamburg. Cinema trans-alpino: Deutsch-italienische Filmbeziehungen. Hamburg: CineGraph, 2010.

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2

Corrado, Andrea. Cinema e autori sulle tracce delle migrazioni. Roma: Ediesse, 2013.

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3

Carla, Ceresa y Pesenti Campagnoni Donata, eds. Tracce: Documenti del cinema muto torinese nelle collezioni del Museo nazionale del cinema. [Torino]: Museo nazionale del cinema, Fondazione Maria Adriana Prolo, 2007.

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4

Lebrun, Dominique. Trans Europe Hollywood: Les Européens du cinéma américain. Paris: Bordas, 1992.

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5

Sulle tracce del vero: Cinema, antropologia, storie di foto. Milano: Bompiani, 2011.

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6

Recovering 1940s horror cinema: Traces of a lost decade. Lanham: Lexington Books, 2015.

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7

Kinēma: Il cinema sulle tracce del cinema : dal film alle arti elettroniche, andata e ritorno. Roma: Exòrma, 2013.

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8

Lesuisse, Anne-Françoise. Du film noir au noir: Traces figurales dans le cinéma classique hollywoodien. Bruxelles: De Boeck Université, 2002.

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9

Lesuisse, Anne-Françoise. Du film noir au noir: Traces figurales dans le cinéma classique hollywoodien. Bruxelles: De Boeck Université, 2002.

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10

Kim, Soyoung. Korean Cinema in Global Contexts. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463729147.

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Offering the most comprehensive analysis of Korean cinema from its early history to the present, and including the films of Park Chan-wook, Bong Joon-ho and Kim Ki-young, Korean Cinema in Global Contexts: Postcolonial Phantom, Blockbuster and Trans-Cinema situates itself in the local, Inter-Asian, and transnational contexts by mobilizing the critical frameworks of feminism, postcolonial critique and comparative film studies. It is attentive to an enmeshment of the cinematic, aesthetics, politics and cultural history.
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11

Sulle tracce di Maya Deren: Il cinema come progetto e avventura. Torino: Lindau, 2003.

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12

FILMER LE PASSE DANS LE CINEMA DOCUMENTAIRE - Les traces et la mémoire. Paris: Editions L'Harmattan, 2003.

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13

Han'guk yŏnghwa ŭi p'unggyŏng, 1945-1959: Traces of Korean cinema from 1945 to 1959. Sŏul T'ŭkpyŏlsi: Munhak Sasangsa, 2003.

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14

Hanʾguk Yŏngsang Charyowŏn (Seoul, Korea), ed. Hanʾguk yŏnghwa ŭi pʻunggyŏng, 1945-1959: Traces of Korean cinema from 1945 to 1959. Sŏul Tʻŭkpyŏlsi: Munhak Sasangsa, 2003.

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15

Özgen, Aslı. The Aesthetics and Politics of Cinematic Pedestrianism. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724753.

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The Aesthetics and Politics of Cinematic Pedestrianism: Walking in Films offers a rich exploration of the cinematic aesthetics that filmmakers devised to reflect the corporeal and affective experience of walking in the city. Drawing from literature in urban studies, film theory, and aesthetic philosophy, it is the first monograph to approach the history of cinema from the perspective of walking. A series of case studies providing nuanced analyses of widely referenced figures, such as the flaneur/flâneuse, vagabond, and nomad, reveal how filmmakers articulated their objection to repressive structures through depictions of walking: a common, everyday act yet transgressive, bold, and indomitable. Through the lens of Henri Lefebvre’s theory of space, Michel de Certeau’s concept of pedestrian acts, and Jacques Rancière’s treatment of the politics of aesthetics, Walking in Films traces how cinema evolved in conversation with the mobile body and the new images, styles, and techniques that emerged with it.
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16

Cowan, Michael. Film Societies in Germany and Austria 1910–1933. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463725477.

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This study traces the evolution of early film societies in Germany and Austria, from the emergence of mass movie theaters in the 1910s to the turbulent years of the late Weimar Republic. Examining a diverse array of groups, it approaches film societies as formations designed to assimilate and influence a new medium: a project emerging from the world of amateur science before taking new directions into industry, art and politics. Through an interdisciplinary approach—in dialogue with social history, print history and media archaeology—it also transforms our theoretical understanding of what a film society was and how it operated. Far from representing a mere collection of pre-formed cinephiles, film societies were, according to the book’s central argument, productive social formations, which taught people how to nurture their passion for the movies, how to engage with cinema, and how to interact with each other. Ultimately, the study argues that examining film societies can help to reveal the diffuse agency by which generative ideas of cinema take shape.
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17

Dellmann, Sarah. Images of Dutchness. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983007.

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Why do early films present the Netherlands as a country full of canals and windmills, where people wear traditional costumes and wooden shoes, while industries and modern urban life are all but absent? Images of Dutchness investigates the roots of this visual repertoire from diverse sources, ranging from magazines to tourist brochures, from anthropological treatises to advertising trade cards, stereoscopic photographs, picture postcards, magic lantern slide sets and films of early cinema. This richly illustrated book provides an in-depth study of the fascinating corpus of popular visual media and their written comments that are studied for the first time. Through the combined analysis of words and images, the author identifies not only what has been considered Ÿtypically DutchŒ in the long nineteenth century, but also provides new insights into the logic and emergence of national clichés in the Western world.
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18

Trans New Wave Cinema. Taylor & Francis Group, 2021.

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19

Ford, Akkadia. Trans New Wave Cinema. Taylor & Francis Group, 2021.

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20

Ford, Akkadia. Trans New Wave Cinema. Taylor & Francis Group, 2021.

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21

Ford, Akkadia. Trans New Wave Cinema. Taylor & Francis Group, 2021.

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22

Terra em transe: Ética e estética no cinema português. München: AVM Edition, 2012.

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23

Kim, Soyoung. Korean Cinema in Global Contexts: Post-Colonial Phantom, Blockbuster and Trans-Cinema. Amsterdam University Press, 2022.

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24

Korean Cinema in Global Contexts: Post-Colonial Phantom, Blockbuster and Trans-Cinema. Amsterdam University Press, 2022.

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25

Oliveira, Rodrigo Cássio. Razão em transe: o barroco e o cinema de Glauber Rocha. Editora Fi, 2021. http://dx.doi.org/10.22350/9786559171620.

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26

Tracce di Novecento : storia, letteratura e cinema. Napoli, Italy: Edizioni Scientifiche Italiane, 2017.

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27

Steinbock, Eliza. Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change. Duke University Press, 2019.

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28

Steinbock, Eliza. Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change. Duke University Press, 2019.

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29

Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change. Duke University Press, 2019.

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30

Smith, Frances y Niall Richardson. Trans Representation in Contemporary Popular Cinema: The Transgender Tipping Point. Routledge, 2022.

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31

Smith, Frances y Niall Richardson. Trans Representations in Contemporary Popular Cinema: The Transgender Tipping Point. Routledge, 2022.

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32

Smith, Frances y Niall Richardson. Trans Representation in Contemporary Popular Cinema: The Transgender Tipping Point. Taylor & Francis Group, 2022.

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33

Smith, Frances y Niall Richardson. Trans Representation in Contemporary Popular Cinema: The Transgender Tipping Point. Taylor & Francis Group, 2022.

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34

Smith, Frances y Niall Richardson. Trans Representation in Contemporary Popular Cinema: The Transgender Tipping Point. Taylor & Francis Group, 2022.

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35

Gianni, Canova, ed. Nirvana: Sulle tracce del cinema di Gabriele Salvatores. Milano: Zelig, 1996.

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36

The Popular French Cinema: From the Classical to the Trans-national. I. B. Tauris, 2008.

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37

The Popular French Cinema: From the Classical to the Trans-national. I. B. Tauris, 2008.

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38

Nirvana: Sulle tracce del cinema di Gabriele Salvatores (Futura). Zelig, 1996.

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39

Papadimitriou, Lydia y Ana Grgić, eds. Contemporary Balkan Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458436.001.0001.

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The first inclusive collection to examine post-2008 developments in Balkan cinema, this book brings together a number of international scholars working within and beyond the region to explore its industrial contexts and textual dimensions. Exploring both mainstream and arthouse cinemas, the authors identify patterns, trends and common characteristics in the subject matter and aesthetics of films produced and distributed since the global economic crisis. With a focus on transnational links, global networks and cross-cultural exchanges, the book addresses the role of national and supranational institutions as well as film festival networks in supporting film production, distribution and reception. Through critical and comprehensive profiles of the cinematic output in each Balkan country, and with an equal focus on smaller and underrepresented cinemas from Montenegro, Kosovo, North Macedonia and Albania, the collection argues for the continuing relevance of the concept of ‘Balkan cinema’. This study conceptualizes Contemporary Balkan Cinema as a hybrid, trans-national encounter that offers multifarious responses to political and social challenges in the region: gravitation and/or disillusionment toward the European Union; migration; political and social instability; and economic recession.
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40

Hill, John. Cinema and Northern Ireland. Bloomsbury Publishing (UK), 2006. http://dx.doi.org/10.5040/9781838711238.

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Traces the history of film production in Northern Ireland from the beginnings of a local film industry in the 1920s and 1930s, when the first Northern Irish 'quota quickies' were made, through the propaganda films of the 1940s and 1950s and on to the cinema of the 'Troubles'.
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41

Kim, Soyoung. Korean Cinema in Global Contexts. Amsterdam University Press B.V., 2022. http://dx.doi.org/10.5040/9789048561933.

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Offering the most comprehensive analysis of Korean cinema from its early history to the present, and including the films of Park Chan-wook, Bong Joon-ho and Kim Ki-young, Korean Cinema in Global Contexts: Postcolonial Phantom, Blockbuster and Trans-Cinema situates itself in the local, Inter-Asian, and transnational contexts by mobilizing the critical frameworks of feminism, postcolonial critique and comparative film studies. It is attentive to an enmeshment of the cinematic, aesthetics, politics and cultural history.
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42

Ahmed, Omar. Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.001.0001.

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This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, audience and mise en scène. The case studies run chronologically from Awaara (The Vagabond, 1951) to The Elements Trilogy: Water (2005) and include films by such key figures as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall) and Mira Nair (Salaam Bombay!).
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43

Austin, Thomas y Angelos Koutsourakis, eds. Cinema of Crisis. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448505.001.0001.

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Cinema of Crisis: Film and Contemporary Europe explores the politics and aesthetics of filmmaking across a continent in flux. This urgent and necessary collection brings together scholars from Spain to Estonia, Hungary to Britain, in order to trace European filmmakers’ diverse responses to the interlinked upheavals and emergencies of the past three decades. Covering topics such as the collapse of the eastern bloc; deindustrialisation; the 2008 crash and the eurozone debt crisis; austerity and neoliberalism, as well as 'Fortress Europe' and the 'refugee crisis', this book investigates a range of audiovisual forms, including documentaries, the work of arthouse auteurs, and videos posted on Youtube. It engages in highly topical debates in political and aesthetic spheres, and explores key interfaces between the two.
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44

Chion, Michel. Sensory Aspects of Contemporary Cinema. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.024.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film in the digital era is increasingly developing as a sensory experience. Sounds and images together yield sensations that can approximate senses other than sight and hearing. Cinema can thusrender(as distinct fromreproduce) the coolness of the wet spray experienced by a fountain, for example, or speed, force, materiality, hollowness, heaviness, and so forth. At the same time, the nature of recording and filming takes sounds and images out of their real multisensory context and creates sensory isolates. Those who study film, games, and other audiovisual media should not to ignore their trans-sensory aspects.
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45

Phillips, Kendall R. Controversial Cinema. Greenwood Publishing Group, Inc., 2008. http://dx.doi.org/10.5040/9798400631719.

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At the heart of any history of controversial films is a strange paradox: while films, especially popular and mainstream films, are often portrayed as meaningless products of popular culture, those popular films involved in public controversies become the focal point of enormous cultural energy, political attention, and profoundly conflicting sets of principles. The ongoing culture wars continue to shape the American political landscape, and controversial films continue to be a major point of conflict. Controversial Cinema: The Films that Outraged America traces the history of controversial films and offers insights into why it is that certain films spark controversies, and how Americans typically react to controversial moviemaking. Since the widespread banning of DW Griffith's The Birth of a Nation, the American film industry has found itself embroiled in one political controversy after another. These controversies have centered on everything from the portrayal of the past, as in Griffith's film, to depictions of sex and sexuality, to the use of graphic violence, and issues of race, religion, and politics. In turn, segments of the American public have been driven to boycott, picket, and even censor those films they felt challenged their sense of decency. At the heart of this history of controversial films is a strange paradox: while films, especially popular and mainstream films, are often portrayed as meaningless products of popular culture, popular films involved in public controversies become the focal point of enormous cultural energy and political attention. The ongoing culture wars thus continue to shape the American political landscape, and controversial films continue to be a major point of conflict. In the course of this wide-ranging work, Kendall Phillips offers insights into the kinds of films that spark controversies, and the ways that Americans typically react to them. Organized around broad controversial themes and with particular attention to mainstream films since the dissolution of the Motion Picture Production Code in the mid-1960s, Controversial Cinema explores why films spark broad cultural controversies, how these controversies play out, and the long-term results. The four broad areas of controversy examined in the work are: Sex and Sexuality, Violence, Race, and Religion. Each chapter offers a broad overview of the history of these topics in controversial American films as well as more in-depth examinations of recent examples, including The Silence of the Lambs, Natural Born Killers, Do the Right Thing, and The Passion of the Christ. A final section of the book considers the broader issues of cultural politics in light of the long history of controversial cinema.
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46

Barefoot, Guy. The Drive-In. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781501365898.

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The Drive-In meaningfully contributes to the complex picture of outdoor cinema that has been central to American culture and to a history of US cinema based on diverse viewing experiences rather than a select number of films. Drive-in cinemas flourished in 1950s America, in some summer weeks to the extent that there were more cinemagoers outdoors than indoors. Often associated with teenagers interested in the drive-in as a ‘passion pit’ or a venue for exploitation films, accounts of the 1950s American drive-in tend to emphasise their popularity with families with young children, downplaying the importance of a film programme apparently limited to old, low-budget or independent films and characterising drive-in operators as industry outsiders. They retain a hold on the popular imagination. The Drive-In identifies the mix of generations in the drive-in audience as well as accounts that articulate individual experiences, from the drive-in as a dating venue to a segregated space. Through detailed analysis of the film industry trade press, local newspapers and a range of other primary sources including archival records on cinemas and cinema circuits in Arkansas, California, New York State and Texas, this book examines how drive-ins were integrated into local communities and the film industry and reveals the importance and range of drive-in programmes that were often close to that of their indoor neighbours.
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47

Barker, Thomas. Indonesian Cinema after the New Order. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.001.0001.

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In the two decades since the fall of the New Order regime in 1998, Indonesia cinema has become one of the most productive and exciting film industries in Asia. From a position in the 1990s when local films were on the cultural periphery, they are now part of the mainstream with two new films in the cinemas every week. This book traces how the film industry reformed and returned to popularity and conceptualises it as a process of going mainstream. It overturns long held paradigms of national cinema and statism to see the film industry as pop culture in which market mechanisms are determinant. In going mainstream, new independent-minded filmmakers representing new creativity had to accommodate with capital and producers from old production companies. Appeal to audiences has resulting in the reimagining of the horror film and its traumas and the representation of new kinds of piety in a new subgenre Islamic themed films. Yet legacy structures and players remain, as the film industry has struggled to overcome regulation and censorship and the oligopoly of senior producers. In catering to a growing audience, the exhibition sector has become the focus of new investment as it becomes a site for competing local operators and global capital. The book argues for a reconceptualization of Indonesian cinema as pop culture with consequences to how Asian cinema is studied.
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48

Barr, Charles. British Cinema: A Very Short Introduction. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/actrade/9780199688333.001.0001.

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Abstract British Cinema: A Very Short Introduction discusses cinema in Britain, considering its films and film-makers as well as its studios and sponsorships. It does this against the backdrop of changing artistic, socio-political, and industrial climates up to the present day. Cinema is indeed a powerful cultural medium, both reflecting and influencing society. The role of British cinema has been particularly controversial; it is sometimes derided, but also vigorously celebrated, especially for specific films and film-makers. This VSI traces how British cinema has developed its own unique path, and has been admired for its innovative approaches and distinctive artistic language.
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49

Marrone, Gaetana. The Cinema of Francesco Rosi. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190885632.001.0001.

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Francesco Rosi’s work, which includes an impressive number of individually celebrated films, occupies a unique place in postwar Italian, indeed postwar world, cinema. Over the years, Rosi has offered films that trace an intricate path between the real and the fictive, the factual and the imagined. His films show an extraordinarily consistent formal balance while representing historical events as social emblems that examine, shape, and reflect the national self. They rely on a labyrinthine narrative structure, in which the sense of an enigma replaces the unidirectional path leading ineluctably to a designated end and solution. The truth itself, so fragmented and confused, may never be discovered. Rosi’s logical investigations are conducted by an omniscient eye and translated into a cinematic approach that embraces the details of material reality with the panoramic perspective of a dispassionate observer. This study addresses Rosi’s films as mosaics fashioned out of “clips” collected from the various stages of production, most specifically from the director’s own archival materials. It examines Rosi’s creative use of film as document (and as spectacle). This is, inevitably then, a study of the specific cinematic techniques that characterize Rosi’s work and that visually, compositionally, express his vision of history and the elusive “truth” of past and present social and political realities.
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50

Keegan, Cáel M. Lana and Lilly Wachowski. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042126.001.0001.

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This book analyzes the filmmaking careers of Lana and Lilly Wachowski as the world’s most influential transgender media producers. Situated at the intersection of trans* studies and black feminist film studies, it argues that the Wachowskis’ cinema has been co-constitutive with the historical appearance of transgender, tracing how their work invents a trans* aesthetics of sensation that has disrupted conventional schemas of race, gender, space, and time. Offering new readings of the Wachowskis’ films and television, it illustrates the previously unsensed presence of transgender in the subtext of queer cinema, in the design of digital video, and in the emergence of a twenty-first-century global cinematic imaginary. It is in the Wachowskis’ art, the author argues, that transgender cultural production most centrally confronts cinema’s construction of reality, and in which white, Western transgender subjectivity most directly impacts global visual culture. Thus, the Wachowskis’ cinema is an inescapable archive for sensing the politics of race and gender in the present moment.
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