Littérature scientifique sur le sujet « Frontières au cinéma »
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Articles de revues sur le sujet "Frontières au cinéma"
Zan, Vitor. « Faire et défaire les frontières indigènes : Terres et Corumbiara / Doing and undoing indigenous borders : Terres and Corumbiara ». Revista Polis e Psique 5, no 1 (20 février 2015) : 154. http://dx.doi.org/10.22456/2238-152x.53666.
Texte intégralLanglois, Philippe. « Musique contemporaine et cinéma : panorama d’un territoire sans frontières ». Circuit 26, no 3 (23 décembre 2016) : 11–25. http://dx.doi.org/10.7202/1038514ar.
Texte intégralGauthier, Jennifer. « Transcending Borders and Crossing the Sea : Indigenous Cinema in the Pacific Islands ». Recherches anglaises et nord-américaines 52, no 1 (2019) : 91–102. http://dx.doi.org/10.3406/ranam.2019.1581.
Texte intégralBarrère, Florent. « Le cinéma 3D : entre immersion et théâtralité ». Figures de l'Art. Revue d'études esthétiques 26, no 1 (2014) : 307–19. http://dx.doi.org/10.3406/fdart.2014.1645.
Texte intégralBozonnet, Guillaume. « Cinéma et politique en Russie : un perpétuel recommencement ». Questions internationales 101, no 6 (15 janvier 2020) : 117–24. http://dx.doi.org/10.3917/quin.101.0117.
Texte intégralThériault, Mélissa. « Documentaire et jeux de fiction. Le cas du cinéma québécois1 ». Globe 17, no 1 (12 février 2015) : 131–52. http://dx.doi.org/10.7202/1028636ar.
Texte intégralIsoz, Natacha. « Les expositions de cinéma en Suisse entre 1943 et 1973. Légitimer une cinématographie nationale ». Muséologie et cinéma : perspectives contemporaines 43 (2024) : 49–71. http://dx.doi.org/10.4000/11raf.
Texte intégralMandia, Valérie. « Le septième art hors des frontières nationales : le pouvoir de la langue et de l’imaginaire culturel dans les films du cinéaste québécois Xavier Dolan ». Francophonies d'Amérique, no 37 (12 novembre 2015) : 105–32. http://dx.doi.org/10.7202/1033977ar.
Texte intégralWillis, Louis-Paul. « « The Frenzy of the (In)Visible » : la médiation du désir dans La vie d’Adèle et Shame ». Cinémas 26, no 1 (6 juillet 2016) : 13–30. http://dx.doi.org/10.7202/1036999ar.
Texte intégralBooker, John T. « Frontières de la non-fiction : littérature, cinéma, arts éd. par Alison James, Christophe Reig ». French Review 89, no 4 (2016) : 224–25. http://dx.doi.org/10.1353/tfr.2016.0148.
Texte intégralThèses sur le sujet "Frontières au cinéma"
Le, Corff Isabelle. « Les frontières dans l'oeuvre cinématographique de Neil Jordan ». Rennes 2, 2001. http://www.theses.fr/2001REN20028.
Texte intégralWhere does Neil Jordan's film art stand? Is it Irish or is it not? Neil Jordan seeks to reach the essence of his nation by means of an art form which is not traditional in Ireland. His films constitute a fresh approach to the country, breaking away from previously projected images of the island, and they are gradually leaving their mark in people's minds. His stories are full of the cracks that express a divided Ireland. The artist grapples the ghosts of Ireland's past and questions the inheritance of this torn country, since the past, even if it remains for ever out of reach, haunts the present. But while he rejects Catholic beliefs, even deeper-buried beliefs are vital to him. The quest goes on without conclusion. The crossing of frontiers becomes a fast-moving spiral. When he deals with the frightening energies of sexuality that shape human character, he takes us beyond known limits, making it necessary to go back to the original myths so as to question them and to dare to go beyond the level of love. The artist, like his characters, may often be poised on the fine line between order and chaos, in the no-man's land between art and madness. This is why the teritory he occupies is unique, other-worldly. Neil Jordan is the forerunner of a real Irish cinema. The question of wether his work does or does not belong to Irish cinema is therefore not valid. It has come to define this cinema. But the films undoubtedly exist outside the national boundaries. Neil Jordan is first and foremost an artist, and in second place he is Irish. He is an artist of Ireland and it is in this way that he expresses his belonging
Kim, Yang-Hee. « Habiter à la frontière : une question géopolitique vue par le cinéma ». Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0162.
Texte intégralI started my project by a questioning of the notion of inhabiting, through artistic and cinematic ways. It is going on here under the form of a more intellectual and analytical research, where philosophical and theoretical issues are tackled. This dissertation arises very directly from my actual and personal field experience, and is a development of a large part of my visual works (films, photographies, installations). However, it does not deal immediately with this experience or with these works: they stand, rather, as its empirical foundation, its concrete core. The ideas that I am proffering here are all based on an analysis of the link between cinema at large and the quite particular physical zones designed as “borders” – as inspired by a sensitive perception exerted over a span of more than four years. I am striving here to engage in a consideration of the question, as analytical and as conceptual as possible, without ever abandoning my original point of view, that of a filmmaker whose subject has been embodied in a poetics and in a phenomenology. It is through such a quest of the identity link that one recognizes with a given place (one’s birthplace, a location where one dwells in a stable way), and particularly, in the case of protagonists or authors living in a “deterritorialized” way, that I have endeavoured to put together this thesis, by analyzing, on a par, fiction films and documentaries
Pita, Alva Cecilia. « Représentation filmique de la frontière et du voyage migratoire : Trois exemples du cinéma contemporain ». Thesis, Perpignan, 2016. http://www.theses.fr/2016PERP0017/document.
Texte intégralThe border between Mexico and the United States is known for being one of the largest, busiest and most dangerous in the world. This "barrier-wall" is not only one of the most extensive, dangerous and crossed in the world, but it is also one of the most "porous" and the most filmed. This doctoral thesis focuses on the representation of that real and imaginary border in cinema. The purpose is to study what elements are used, which ones are reoccurring and how they are related in a corpus of three films whose constants are: the trip, the wait and the failure or success of crossing the border. The corpus is framed in Those Who Remind (Los que se quedan, Juan Rulfo y Carlos C. Hargerman, 2008), Norteado (Rigoberto Pérezcano, 2009), and A Better Life (Christian Weitz, 2011). Together these movies make a kind of a circle where the border, the journey and the crossing are rewritten. Our research is founded on the hypothesis that the trilogy represents the frontier in three stages or facets. From a physical or geographical point of view, in Los que se quedan, the border is perceived as a faraway place, it is seen from the “South”. In Norteado, the border gets closer until the immigrant crosses it. Meanwhile, in A better Lifethe borderline is situated far from the geographical line: In the “North”. The trilogy shows the movement of the border through the immigrant figure, in a trip which is performed in three moments. The spectator “constructs” the border through a migratory journey in three degrees, three faces and in three films. The concentration of Los que se quedan is on the characters rather than on the frontier as a space. Norteado focuses on two aspects: the border as a geographical place and what the character feels in transit. A better Life emphasizes on how the characters feel in front of the border
Mariette, Audrey. « Le « cinéma social » aux frontières de l'engagement : sociologie d'une catégorie entre art et politique ». Paris, EHESS, 2008. http://www.theses.fr/2008EHES0076.
Texte intégralThis thesis deals with the social cinema label as it was defined in the second half of the 1990s and in the 2000s by cinema reviewers, researchers in social sciences and militants fighting against the effects of economic liberalism and globalisation. These actors of the mediation and the reception have gathered under this label French films dealing with the working class. Their debates, focussing on the figures of the marginal and of the worker, question the social cinema category, operating as a resource and a restraint into the art worlds. Because defining, criticizing and taking part in social cinema is not obvious, because this undertaking raises the question of the boundaries between art and politics, our analysis integrates the speeches and the practices involved in the making of social films. Indeed, the survey takes into consideration the trajectory of the labelled films, from their production to their reception. Our investigation combines observation and interviews with different people involved in the process of making and defining works of art: producers, directors, actors, technicians, cinema's managers, cinema reviewers, researchers in social sciences, militants and members of the audience. We highlight how the forms of commitment to social films are embodied in some material devices (press articles, books, cinematographic events) which ensure their diffusion, circulation and efficiency into different social fields. This reveals a renewal in the commitment of artists and intellectuals belonging to the Left in a context where the legitimacy of politics and party militantism is being called into question
Girgis, André. « Culture Hip-Hop et négociation identitaire à Taiwan : Entre les frontières de la mondialisation ». Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28782/28782.pdf.
Texte intégralMayer, Hervé. « Guerre sauvage et empire de la liberté : prolongements du mythe de la Frontière dans le cinéma américain post-western ». Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100084/document.
Texte intégralThe frequent use of frontier mythology in the political rhetoric of the “war on terror” calls for a reassessment of the common notion that it was marginalized in American culture after what Richard Slotkin identified as a crisis of public myth in the wake of the 1960s. This dissertation in American and Film Studies argues that the myth of the frontier did not wane in the American imagination, but rather diversified its forms and consolidated its influence in American culture. Considering cinema as the primary medium of a globalized American culture, this study is a socio-historical analysis of the representations of the frontier myth in American cinema after the 1960s. Its purpose is to underline the continuity, on a narrative and ideological level, existing between 19th-century American mythology of the frontier and 21st-century American cinema. The critical juncture is the turn of the 1960s, when criticisms of the frontier myth fostered a generic and aesthetic diversification of its representations in films. Based on a primary corpus of six films released between 1968 and 1986, taken from different genres and embodying different perspectives on the myth, this research adopts a transgeneric perspective to unpack the cultural responses to criticisms of the myth in the 1960s and the way those responses ideologically frame contemporary American cinema. We understand the frontier myth as the American expression of an ideology shared by all imperial nations of the late 19th century and, as such, adopt a transnational perspective on its emergence as well as its popularization. This study identifies two major paths connecting the frontier myth to contemporary American cinema: from Theodore Roosevelt’s Winning of the West to the representations of savage war; and from Frederick Turner’s frontier thesis to filmic celebrations of an empire of liberty
Gohari, Nahid. « De la littérature au cinéma, transformation d'une écriture : le nouveau roman français et iranien et le cas de Bahman Farmânâra ». Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0225/document.
Texte intégralSince its birth, novel writing has gone through many changes, not only in its shape but also in its content. In the twentieth century, novel writing and especially cinema evolved impressively due to the technological and scientific progress. The influence of cinematographic techniques on the writing and the collaboration with the New Novelists - such as Alain Robbe-Grillet and Marguerite Duras, Houshang Golshiri, and French and Iranian filmmakers such as Alain Resnais and Bahman Farmânâra - led to the creation of a trans modal writing and to the appearance of hybrid texts that both include characteristics of literary and cinematographic narratives. We must accept the theory that cinema is the writing of tomorrow and that the modern man is facing the Era of suspicion. Nevertheless, this kind of writing illustrates a structural similarity particularly between the work of Farmânâra and the New Roman scenarios, especially from the point of view of the character. As a result, we have a scrambled structure in the space and in the time dimension. This context allows us to create a new image of a man who is lost in the modern problematic society
رمان از آغاز پیدایش همواره شاهد تغییراتی در فرم و محتوا بوده است .با این حال به کمک گسترش علوم متفاوت و تکنیک های سینمایی، این این تغییرات در قرن بیستم ابعاد تازه ای به خود گرفته است تاثیر تکنیک ھای سینمایی بر روی نوشتارو مشارکت رمان نو نویسندگانی چون آلن رب گریه و مارگاریت دوراس در فرانسه و ھوشنگ گلشیری در ایران با سینماگرانی چون آلن رنه فرانسوی و بھمن فرمان آرای ایرانی، منجربه تولد نوعی نوشتار چند وجھی و متون مختلط گردید که معرف خصوصیات ھردو ژانرسینمایی و ادبی می باشد. . بدین ترتیب این تئوری که سینما نوشتار فرداست مطرح میگردد. نوشتاری که خود را با نیازھای انسان مدرن که در عصر شک وارد شده است، تطبیق داده است. بررسی این نوشتار از نقطه نظر پرسوناژ، ساختار زمان و مکان و ... د ر آثار بهمن فرمان آرا و مقایسه ی آن با برترین رمان های نو، رب گریه ، بوتور، دوراس و ھمچنین برخی از کتاب ھای گلشیری که بعضا توسط شخص فرمان آرا اقتباس گردیده اند، علاوه بر نشان دادن نزدیکی سناریوھای وی با رمان نو ، مبین تصویر دیگری است ازاین انسان سرگشته درجامعه پر از دشواری عصر حاضر
Rondepierre, Eric. « Marguerite Duras : une esthétique de l'indifférence : le passage de l'écrit à l'image dans un texte frontière de Marguerite Duras : les Yeux verts, n° 312-313 des Cahiers du cinéma ». Paris 1, 1988. http://www.theses.fr/1988PA010659.
Texte intégralCheyroux, Emilie. « Le festival comme événement reconfigurateur de stéréotypes. Cine Las Americas et les Latinos (Austin, Texas, 1998-2017) ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA079.
Texte intégralFrom the beginning, Hollywood has used disparaging stereotypes about Latinos to create a series of threatening characters that give shape to the fears of the American society. This research focuses on the Latino film festival Cine Las Americas (Austin, Texas) and questions the explicit and underlying strategies used to deconstruct such stereotypes. First, the study analyzes the different phases that have allowed Cine Las Americas to become an institution between 1998 and 2017. The research also highlights the synergy with the city of Austin, « weird » Creative City, to show how it represents a fertile ground for the festival. It also situates Cine Las Americas in the historical context of Latino film festivals in order to understand their emergence at the turn of the millenium and their specificities.Second, after going over the Hollywood stereotypes about Latinos, the content of the movies from the first fifteen festivals (1998-2012) is analyzed to shed light on the corresponding counter-stereotypes, especially through the image of the migrant, the central figure of the movies about the border. The analysis sheds light on the unifying themes and the counter-narratives and questions Cine Las Americas’s Chicano heritage. Last, the research seeks to consider Cine Las Americas’s position in international and local networks from the beginning to 2017. It seeks to determine how the movies from « the Americas » are used to implement the anti-stereotype mission and to bring forth the collective figure of the Indigenous people, thus demonstrating how Cine Las Americas has become a Field-Configuring Event (FCE). This strategy confirms Austin’s driving force and portrays the organizors as cultural diplomats
Petrovic, Boris. « Le mythe national dans l'oeuvre de John Ford et Veljko Bulajic ». Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040175.
Texte intégralThe principal goal of this thesis is to analyze the works of the corpus as mythical narratives that carry the notion of the national myth and that participate in the creation of the national myth of the society and the nation in question. The work is divided into four sections. The first section inspects the national ideology and the notion of the national myth. The second is dedicated to analyzing the works of our corpus as the mythical narratives. The principal idea is to analyze the works at hand as if they were created around the nationalist ideology (that serves as a mythomoteur, according to the definition proposed by Anthony D. Smith). The third section inspects the diachronical axis of the mythical narrative and the placement of the works on a temporal line (on that diachronical axis), while the fourth section inspects the relation between the ideology carried by the works of the corpus and the success of the creation of the American and Yugoslav national myth
Livres sur le sujet "Frontières au cinéma"
1941-, Abel Richard, Albéra François 1948- et Cosandey Roland, dir. Cinéma sans frontières, 1896-1918 : Aspects de l'internationalité dans le cinéma mondial : représentations, marchés, influences et réception. [Québec] : Nuit blanche, 1995.
Trouver le texte intégral1959-, Bharat Meenakshi, et Nirmal Kumar, dir. Filming the line of control : The Indo-Pak relationship through the cinematic lens. New Delhi : Routledge, 2008.
Trouver le texte intégralAux frontières du cinéma. Paris : Cahiers du Cinema, 2000.
Trouver le texte intégralFrontières en images : Une mémoire cinématographique : [synthèse des travaux d'un colloque tenu à Belfort les 1er et 2 décembre 2005 dans le cadre du festival entre vues. Belfort : UTBM, Université de technologie de Belfort-Montbéliard, 2006.
Trouver le texte intégralKumar, Nirmal, et Meenakshi Bharat. Filming the Line of Control : The Indo-Pak Relationship Through the Cinematic Lens. Taylor & Francis Group, 2012.
Trouver le texte intégralKumar, Nirmal, et Meenakshi Bharat. Filming the Line of Control : The Indo-Pak Relationship Through the Cinematic Lens. Taylor & Francis Group, 2012.
Trouver le texte intégralKumar, Nirmal, et Meenakshi Bharat. Filming the Line of Control : The Indo-Pak Relationship Through the Cinematic Lens. Taylor & Francis Group, 2012.
Trouver le texte intégralKumar, Nirmal, et Meenakshi Bharat. Filming the Line of Control : The Indo-Pak Relationship Through the Cinematic Lens. Taylor & Francis Group, 2012.
Trouver le texte intégralKumar, Nirmal, et Meenakshi Bharat. Filming the Line of Control : The Indo-Pak Relationship Through the Cinematic Lens. Taylor & Francis Group, 2012.
Trouver le texte intégralCinéma métis aux Etats-Unis : Représentations de la frontière Mexique/Etats-Unis. Paris : Maison des sciences de l'homme d'Aquitaine, 2012.
Trouver le texte intégralChapitres de livres sur le sujet "Frontières au cinéma"
Petric, Boris. « Imaginaire européen et cinéma social. Entretien avec Luc Dardenne ». Dans Frontières, 246–55. Autrement, 2009. http://dx.doi.org/10.3917/autre.petri.2009.01.0246.
Texte intégralMarquet, Martin, et Jean-Michel Geneste. « Du cinéma à l’art rupestre ». Dans Préhistoire. Nouvelles frontières, 435–40. Éditions de la Maison des sciences de l’homme, 2023. http://dx.doi.org/10.4000/books.editionsmsh.56405.
Texte intégral« Imaginaire Américain et Cinéma Québécois ». Dans Frontières flottantes / Shifting Boundaries, 245–53. BRILL, 2001. http://dx.doi.org/10.1163/9789004489097_022.
Texte intégralFiant, Antony. « Les frontières abstraites dans le cinéma de Tariq Teguia ». Dans Filmer les frontières, 157. Presses universitaires de Vincennes, 2016. http://dx.doi.org/10.3917/puv.maury.2016.01.0157.
Texte intégralMonvoisin, Frédéric. « Déterritorialisation-reterritorialisation de la frontière dans le cinéma sud-coréen ». Dans Filmer les frontières, 69. Presses universitaires de Vincennes, 2016. http://dx.doi.org/10.3917/puv.maury.2016.01.0069.
Texte intégralWiddis, Emma. « La représentation des frontières dans le cinéma soviétique des années 1930 : une esthétique de la conquête ». Dans Le cinéma « stalinien », 111–21. Presses universitaires du Midi, 2003. http://dx.doi.org/10.4000/books.pumi.19592.
Texte intégralZéau, Caroline. « Le cinéma vérité et la « non-fiction » : With Love from Truman, Drew Associates, 1966 ». Dans Frontières de la non-fiction, 35–45. Presses universitaires de Rennes, 2014. http://dx.doi.org/10.4000/books.pur.56129.
Texte intégralRachédi, Lilyane, Yannick Boucher, Catherine Montgomery et Béatrice Halsouet. « La mort des migrants aux frontières dans la littérature et au cinéma ». Dans Quand la mort frappe l'immigrant, 106–17. Les Presses de l’Université de Montréal, 2017. http://dx.doi.org/10.1515/9782760637085-012.
Texte intégralRodriguez, Marie-Soledad. « Le fantastique métaphorique ou les frontières du genre : Nunca es tarde (Armiñán, 1977) et Feroz (Gutiérrez Aragón, 1984) ». Dans Le fantastique dans le cinéma espagnol contemporain, 75–87. Presses Sorbonne Nouvelle, 2011. http://dx.doi.org/10.4000/books.psn.1954.
Texte intégralRobillard, Guillaume. « La parole d’Édouard Glissant dans le « cinéma antillais » ». Dans Littérature Hors Frontière, 207–17. Presses universitaires de Vincennes, 2020. http://dx.doi.org/10.3917/puv.noude.2020.01.0207.
Texte intégralActes de conférences sur le sujet "Frontières au cinéma"
Dürrenmatt, Jacques. « Les rêves de Jimmy : divagations sans frontières dans la bande dessinée contemporaine ». Dans Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2008. http://dx.doi.org/10.58282/colloques.899.
Texte intégralMounier, Pascale. « Les frontières du récit comme lieu d’investigation herméneutique. Le cas de romans de la Renaissance ». Dans Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2007. http://dx.doi.org/10.58282/colloques.716.
Texte intégralCorbí-Sáez, María Isabel. « Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature ». Dans XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.
Texte intégralM'selmi, Sana. « Lecture croisée du désir dans Hable con ella de Pedro Almodóvar et La Macération de Rachid Boudjedra à travers le motif de l’eau ». Dans XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2969.
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