Littérature scientifique sur le sujet « Cooperative cinema »
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Articles de revues sur le sujet "Cooperative cinema"
Mendez, Jose Carlos. « Toward a Political Cinema : The Cooperative of Marginal Cinema ». Wide Angle 21, no 3 (1999) : 42–65. http://dx.doi.org/10.1353/wan.2003.0009.
Texte intégralLaine, Kimmo. « Did television kill cinema ? Contemporary writings on film and early television in Finland ». Journal of Scandinavian Cinema 13, no 1 (1 mars 2023) : 83–89. http://dx.doi.org/10.1386/jsca_00083_1.
Texte intégralBerzosa, Alberto, et Jaime Vindel. « Militant cinema as an energetic alternative in the 1970s in Spain ». Moving Image Review & ; Art Journal (MIRAJ), The 11, no 2 (1 septembre 2022) : 166–88. http://dx.doi.org/10.1386/miraj_00093_1.
Texte intégralDianova, E. V. « Film work of the Samara Provincial Community of Consumer Cooperatives in 1926–1928 ». Vestnik of Samara University. History, pedagogics, philology 29, no 3 (24 octobre 2023) : 32–39. http://dx.doi.org/10.18287/2542-0445-2023-29-3-32-39.
Texte intégralRoque, Rosemarie O. « Artsibo at Sineng Bayan : Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil ». Plaridel 15, no 2 (décembre 2018) : 71–112. http://dx.doi.org/10.52518/2018.15.2-03roque.
Texte intégralBuder, Bernd. « ‘Georgian Film Is a Completely Unique Phenomenon.’ A Film Scene with History, or Georgian Cinema in the Emancipation Loop ». Südosteuropa 66, no 3 (25 septembre 2018) : 426–40. http://dx.doi.org/10.1515/soeu-2018-0032.
Texte intégralGyőri, Zsolt. « Crisis, Sociology and Agency in 1970s Hungarian Documentary Cinema ». Acta Universitatis Sapientiae, Film and Media Studies 21, no 1 (1 juillet 2022) : 146–70. http://dx.doi.org/10.2478/ausfm-2022-0006.
Texte intégralXu, Yongrui, et Peng Liang. « A Cooperative Coevolution Approach to Automate Pattern-based Software Architectural Synthesis ». International Journal of Software Engineering and Knowledge Engineering 24, no 10 (décembre 2014) : 1387–411. http://dx.doi.org/10.1142/s0218194014400130.
Texte intégralBotella-Martinez, Maria, et Rebeca Cristina López-González. « Intercultural Cinema to Foster Education for Sustainable Development and Global Citizenship : a Didactic Case Study ». Journal of Literary Education, no 7 (30 décembre 2023) : 204. http://dx.doi.org/10.7203/jle.7.27486.
Texte intégralStjernholm, Emil. « Visions of Post-independence India in Arne Sucksdorff’s Documentaries ». BioScope : South Asian Screen Studies 8, no 1 (juin 2017) : 81–102. http://dx.doi.org/10.1177/0974927617699648.
Texte intégralThèses sur le sujet "Cooperative cinema"
Lancialonga, Federico. « Contre produire : films, formes et modes de production dans le cinéma collectif italien des années 1950-1970 ». Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H305.
Texte intégralFrom the post-war period onwards, Italy witnessed the emergence of new “collective” approaches to film production: in the 1940s and 1950s, it took the form of cooperatives; and in the subsequent decade, it evolved into film collectives or independent film production units. These collaborative endeavors yielded a wide array of films, encompassing a rich diversity of themes and styles : from partisan films to “counter-newsreels,” from fictions to documentaries, culminating in the 1970s militant videotapes. All these films embraced a common political commitment: adopting a collaborative and independent approach for filmmaking as an alternative to the labor-divided and market-oriented film industry. In fact, these films neither embody a desire of withdraw nor a circumstantial response to an inability to break into the well-established commercial networks; on the contrary, they serve as the tangible expression of a deliberate and resolute choice, one made in direct defiance of the prevailing film production system. The neologism “counter-production” aims to underscore the interplay between two fundamental dimensions of the Italian collective cinema: on one hand, the critique of the production modes of “dominant” cinema and, on the other, the embrace of a collaborative approach for filmmaking. In other words, “to counter-produce” extends beyond the mere act of challenging the industry norms, it is also characterized by a critical perspective on certain militant cinematic forms that reduce films to useful tools for political messaging. This dissertation follows a twofold program: it seeks to underscore both the commonalities among these collective practices and the inherent uniqueness found within each cinematic form they explore. By examining a carefully selected body of materials – projects, theories, and collective utopias that surfaced on the “fringes” of Italian cinema during one of the most fertile periods of its history – the overreaching objective is to reevaluate the marginal status of this corpus: rather than occupying a secondary role, it appears to have served as a central and significant experimental ground for pioneering cinematic innovations in Italy from the 1950s to the 1970s
Cohen, Lisiane Fagundes. « Casa de Cinema de Porto Alegre : realização cooperativa, padrão de criação e desenvolvimento no cinema gaúcho ». Universidade do Vale do Rio do Sinos, 2010. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2669.
Texte intégralNenhuma
O presente estudo “Casa de Cinema de Porto Alegre: realização cooperativa, padrão de criação e desenvolvimento no cinema gaúcho” busca compreender como a Casa de Cinema de Porto Alegre se mantém após mais de vinte anos de atividade em um mercado de características muito específicas, que dificultam e, em alguns casos, inviabilizam sua execução permanente e constante. Com a utilização dos métodos de pesquisa e revisão bibliográfica combinados com entrevista em profundidade, o estudo resgata e analisa a trajetória da empresa produtora, contextualizando suas ações desde o seu surgimento até a atualidade. Ao mesmo tempo, destaca sua importância como grupo com relevância cultural, social, econômica e política. Sua atuação, tanto pelos indivíduos que, em suas realizações, propuseram mudanças significativas para o cinema nacional, principalmente para o gaúcho, quanto pelo conjunto de profissionais que, pela união de suas aptidões, trouxeram novos elementos para esse mercado, criou um padrão, legitimado pelas maiores
“Casa de Cinema de Porto Alegre (The House of Films of Porto Alegre): cooperative realization, standard of creation and development of the cinema in the south of Brazil” seeks to understand how Casa de Cinema de Porto Alegre remains, after more than twenty years of activity, in a market of such specific characteristics that make it difficult and, in some cases, hinder its ongoing and constant accomplishments. Through methods of research, review of literature and an in-depth interview, this study recovers and analyzes the trajectory of this independent production company, contextualizing its actions from its birth to the present. At the same time, it highlights the company’s importance as a group of cultural, social, economic and political relevance. Its performance, both through the individuals whose accomplishments proposed significant changes to the national cinema, mainly to the southern one, and through the gathering of such talented professionals, who have brought new elements to this market. Casa de Ci
Vincent, Bérénice. « Cinema, cultural diversity and the globalization process ». Thesis, University of the Western Cape, 2005. http://hdl.handle.net/11394/1325.
Texte intégralRolim, Cristhine Lucena. « Estratégias alternativas de produção no cinema brasileiro contemporâneo : o caso da cooperativa Filmes a granel ». Universidade Federal da Paraíba, 2017. http://tede.biblioteca.ufpb.br:8080/handle/tede/9940.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In the midst of both technological evolution and democratization of the means for audiovisual production within the 21st century, we are experiencing a moment of effervescence in Cinema with new possibilities for independent film-making through the creative employment of digital technologies. Both the attempt at finding alternative strategies in Brazilian cinema and the arising of novel models for audiovisual production provide an advantageous field for academic studies on social and economic contexts and ways of organization within film-making. I intend to reflect about the recent production process in the Brazilian cinema by observing experiences that seek for solutions that are different from the hegemonic industrial model and that appear as a cornerstone for cinema in the digital era. The study here presented considers the following elements as a tripod for audiovisual production: equipaments, funding, and the team. I suggest that the technical, the economic, and the affective fields are crucial for understanding the above mentioned elements within independent cinema. Within this scenario, the thesis examines modes of production in contemporary cinema by taking the model undertaken by Cooperativa Filmes a Granel from Paraíba state - which is part of what we call the Digital Phase of cinema in Paraíba - as a case study.
Frente ao processo de evolução tecnológica e à democratização dos meios de produção audiovisual no século XXI, vivenciamos um momento de efervescência com as possibilidades de realização independente, através da utilização criativa das tecnologias digitais. A busca por estratégias alternativas no cinema brasileiro e o surgimento de novos modelos de produção audiovisual oferecem um terreno profícuo para estudos acadêmicos sobre o contexto socioeconômico e as formas de organização no fazer fílmico. Pretendemos refletir sobre a produção recente, a partir da observação de experiências que buscam soluções diferentes do modelo hegemônico industrial e que constituem em uma mola propulsora para o cinema na era digital. A pesquisa aqui proposta considera como tripé de sustentação para uma produção audiovisual os seguintes elementos: os equipamentos, os recursos financeiros e a equipe. Sugerimos os campos técnico, econômico e afetivo para compreender tais pontos no cinema independente. Diante deste cenário, essa dissertação versa sobre modos de produção no cinema contemporâneo, tendo como estudo de caso o modelo paraibano da Cooperativa Filmes a Granel, que se insere no que chamamos de Fase Digital do cinema na Paraíba.
Zacche', Maria Vittoria <1994>. « The Cooperation between Italy and China in the cruise shipbuilding industry : strategies and trends ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/14065.
Texte intégralDandolo, Paola <1994>. « The success of Cooperativa Ceramica d'Imola in China : analysis of competitive advantages deriving from Country of Origin effect and Internationalization process ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12344.
Texte intégralFedel, Sara <1993>. « Chinese and African Cooperation : The case of Tanzania ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16315.
Texte intégralFazzini, Ilaria <1994>. « The China Pakistan Economic Corridor : a cooperation through Karakorum Highway ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13870.
Texte intégralBisogno, Giulia <1992>. « China in Africa : Win-Win cooperation or a new colonialism ? The Western criticism against China's role in sub-Saharan Africa ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14799.
Texte intégralBerne, Erlend. « Safe, selfish state-independent mobbing behaviour in the cooperatively breeding apostlebird (Struthidea cinerea) ». Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for biologi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-13150.
Texte intégralLivres sur le sujet "Cooperative cinema"
The Euro-American cinema. Austin : University of Texas Press, 1993.
Trouver le texte intégralTrade, Canada Dept of Foreign Affairs and International. Culture : audiovisual co-production agreement between the Government of Canada and the Government of the Singapore (with annex), Singapore, November 13 1998, in force November 13, 1998 = : Culture : accord de coproduction audiovisuelle entre le gouvernement du Canada et le gouvernement de la République de Singapour (avec annexe), Singapour, le 13 novembre 1998, en vigueur le 13 novembre 1998. Ottawa, Ont : Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 1998.
Trouver le texte intégralTrade, Canada Dept of Foreign Affairs and International. Culture : audio-visual co-production agreement between the Government of Canada and the Government of the Republic of Cuba (with annex), Havana, April 27, 1998, in force September 1, 1999 = : Culture : accord de coproduction audiovisuelle entre le gouvernement du Canada et le gouvernement de la République de Cuba (avec annexe), La Havane, le 27 avril 1998, en vigueur, le 1e septembre 1999. Ottawa, Ont : Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 1998.
Trouver le texte intégralCanada. Dept. of Foreign Affairs and International Trade. Culture : audiovisual co-production agreement between the Government of Canada and the Government of the Republic of Iceland (with annex), Washington, October 15, 1997, in force February 2, 1998 = : Culture : accord de coproduction audiovisuelle entre le guvernement du Canada et le gouvernement de la République d'Islande (avec annexe), Washington, le 15 octobre 1997, en vigueur le 2 février 1998. Ottawa, Ont : Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 1998.
Trouver le texte intégralRethinking global sisterhood : Western feminism and Iran. Minneapolis : University of Minnesota Press, 2007.
Trouver le texte intégralRethinking global sisterhood : Western feminism and Iran. Minneapolis : University of Minnesota Press, 2007.
Trouver le texte intégralWilliams, Tami. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0008.
Texte intégralLu, Hong, Qiao Li et Yanqiu Guan. Development of the Global Film Industry : Industrial Competition and Cooperation in the Context of Globalization. Taylor & Francis Group, 2020.
Trouver le texte intégralLu, Hong, Qiao Li et Yanqiu Guan. Development of the Global Film Industry : Industrial Competition and Cooperation in the Context of Globalization. Taylor & Francis Group, 2020.
Trouver le texte intégralLu, Hong, Qiao Li et Yanqiu Guan. Development of the Global Film Industry : Industrial Competition and Cooperation in the Context of Globalization. Taylor & Francis Group, 2020.
Trouver le texte intégralChapitres de livres sur le sujet "Cooperative cinema"
« Underground Myths and Cinema Cooperative Realities (Some Concrete Policy Suggestions) [1972] ». Dans Canyon Cinema, 145–48. University of California Press, 2019. http://dx.doi.org/10.1525/9780520940611-046.
Texte intégralHansen, Miriam. « Cooperative Auteur Cinema and Oppositional Public Sphere : ». Dans Alexander Kluge, 50–71. Amsterdam University Press, 2012. http://dx.doi.org/10.2307/j.ctt46n2tx.6.
Texte intégralBrás, Patricia Sequeira. « Post-Fordism in Active Life, Industrial Revolution and The Nothing Factory ». Dans Cinema of Crisis, 76–92. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448505.003.0005.
Texte intégralNeve, Brian. « Our Daily Bread : ‘Cooperation’, ‘Independence’ and Politics in Mid-1930s Cinema ». Dans Hollywood and the Great Depression. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699926.003.0010.
Texte intégral« Cooperative Auteur Cinema and Oppositional Public Sphere : Alexander Kluge’s Contribution to Germany in Autumn ». Dans Alexander Kluge, 50–71. Amsterdam University Press, 2012. http://dx.doi.org/10.1515/9789048513390-004.
Texte intégralHart, Adam Charles. « The Camera Virus ». Dans Raising the Dead, 119–43. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197686478.003.0007.
Texte intégralSteffens, Theresa, et Thomas Döbler. « User-Generated Cinema ». Dans Advances in Media, Entertainment, and the Arts, 245–63. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6190-5.ch014.
Texte intégralSteffens, Theresa, et Thomas Döbler. « User-Generated Cinema ». Dans Open Source Technology, 1841–59. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-7230-7.ch093.
Texte intégralChinh, Kiều. « The Cinema Industry ». Dans The Republic of Vietnam, 1955-1975, 165–72. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501745126.003.0015.
Texte intégralMissero, Dalila. « A Materialist Trajectory in Feminist Filmmaking : Rethinking Labour and Consciousness-raising ». Dans Women, Feminism and Italian Cinema, 139–54. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.003.0012.
Texte intégralActes de conférences sur le sujet "Cooperative cinema"
Sunil, P. « Performance Analysis of Moving Multi-antenna Relay Cooperation with Hybrid Relaying Scheme in Cooperative Wireless Networks ». Dans 2016 2nd International Conference on Computational Intelligence and Networks (CINE). IEEE, 2016. http://dx.doi.org/10.1109/cine.2016.36.
Texte intégralMohanty, Lincoln, Saikath Bhattacharya et S. S. Singh. « Efficient Energy Management in Mobile MIMO Cooperative Sensor Networks (M-MCSN) ». Dans 2016 2nd International Conference on Computational Intelligence and Networks (CINE). IEEE, 2016. http://dx.doi.org/10.1109/cine.2016.13.
Texte intégralKerdsuknirund, S., et S. Kupittayanant. « Effects of Vernonia cinerea L. on uterine contraction in gestational diabetic rats ». Dans 67th International Congress and Annual Meeting of the Society for Medicinal Plant and Natural Product Research (GA) in cooperation with the French Society of Pharmacognosy AFERP. © Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-3400031.
Texte intégralHuber, R., L. Marcourt, S. Schnee, E. Michellod, J.-L. Wolfender, K. Gindro et EF Queiroz. « Biotransformations with the enzymatic secretome of Botrytis cinerea combined with organic solvents for the generation of novel complex stilbene derivatives ». Dans 67th International Congress and Annual Meeting of the Society for Medicinal Plant and Natural Product Research (GA) in cooperation with the French Society of Pharmacognosy AFERP. © Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-3399789.
Texte intégralRighi, D., R. Hubert, A. Koval, S. Schnee, L. Marcourt, E. Michellod, R. Perozzo et al. « Use of Botrytis cinerea enzymatic secretome to generate original phenylpropanoids derivatives having Wnt inhibition on triple negative breast cancer cells ». Dans 67th International Congress and Annual Meeting of the Society for Medicinal Plant and Natural Product Research (GA) in cooperation with the French Society of Pharmacognosy AFERP. © Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-3399804.
Texte intégralRapports d'organisations sur le sujet "Cooperative cinema"
Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES : FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, mars 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.
Texte intégralSopein-Mann, Oluwafunmike, Zita Ekeocha, Stephen Robert Byrn et Kari L. Clase. Medicines Regulation in West Africa : Current State and Opportu-nities. Purdue University, décembre 2021. http://dx.doi.org/10.5703/1288284317443.
Texte intégralReisch, Bruce, Avichai Perl, Julie Kikkert, Ruth Ben-Arie et Rachel Gollop. Use of Anti-Fungal Gene Synergisms for Improved Foliar and Fruit Disease Tolerance in Transgenic Grapes. United States Department of Agriculture, août 2002. http://dx.doi.org/10.32747/2002.7575292.bard.
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