Bibliographies thématiques / Love story (Motion picture)

Littérature scientifique sur le sujet « Love story (Motion picture) »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Love story (Motion picture)"

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Abramova, K. V. « “Reviving Pictures” in “The Adolescence of Luvers” by B. Pasternak ». Studies in Theory of Literary Plot and Narratology 15, no 2 (2020) : 472–89. http://dx.doi.org/10.25205/2410-7883-2020-2-472-489.

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We consider the features of the images’ construction in the story “The Adolescence of Luvers” by Boris Pasternak. In this regard, we turn to the analysis of individual episodes in the story, which, in our opinion, become key for revealing the theme of the main character’s growing up. The narrative itself in the poet’s prose texts is constructed in such a way that all its components are endowed with special internal dynamics, owing to which the images lose their outlines, transform, receive additional, not always decipherable meanings. We dwell on three points in detail: the collision of Zhenya Luvers with Motovilikha – the moment of the end of her infancy – and the two meetings of the heroine with Tsvetkov, an “stranger” whose figure influences Zhenya’s consciousness, her transition to growing up. In the episodes under consideration, there is a hint of an “ecphrastic mark”: the images and objects in the story seem to add up to a kind of description of the picture, although there are no direct references to pictorial or sculptural images in the story. We analyze how the similarities of the ecphrase appear in Pasternak’s text and how they transform the space of the story. The pictures appearing in the story are often enclosed in a kind of frame (visual or symbolic, for example, acoustical), they freeze for a moment, but then come back into motion. The objects that appear in these descriptions and the boundaries between them become unsteady, everything in the space of the text oscillates between static and dynamic. We dwell in detail on the analysis of images and motives that accompany the turning points for the heroine of the transition from infancy to childhood, and then to adulthood, and we come to the conclusion that they are filled with pictorial allusions, all objects are in a complex relationship: objects lose their outlines and endow internal dynamics – paintings “come to life”. Thus, we can speak of an “ecphrasis mark” that supports the internal dynamics of the text of the story “The Adolescence of Luvers”, and “reviving pictures” become an important element of the artistic world of the story by Boris Pasternak.
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Adji, Alberta Natasia. « REVEALING THE RE-TRANSFORMATION OF 9 SUMMERS 10 AUTUMNS ». Paradigma, Jurnal Kajian Budaya 8, no 1 (31 juillet 2018) : 99. http://dx.doi.org/10.17510/paradigma.v8i1.185.

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<p><span style="font-size: medium;"><em>9 Summers 10 Autumns</em> (2011) is an inspirational autobiographical novel about a young man from a small city of Batu who later succeeded in pursuing his dream by working in the United States. The novel was written according to Iwan Setyawan’s life story and it has been made into a movie by the same name in 2013. Two years later, the movie was adapted into an augmented motion picture hinted illustrative book which is said to be the first kind to appear in Indonesia that combines novel, comic, app and film together. Somehow this phenomenon has also contributed to the rising trend of films adapted into books in Indonesia, such as <em>Assalamualaikum Beijing</em> (2015), <em>What’s Up with Love?</em> (2016), and others. This study caters for Iwan Setyawan’s strategy in achieving legitimacy in the arena of Indonesian Literature and his American Dream Ideals that are depicted within the book. The discussion is carried out within the perspectives of Pierre Bourdieu’s field of cultural production theory as well as sociology of literature approach in highlighting the phenomenon of transformation from novel into film and eventually into augmented motion picture hinted illustrative book. Later, the study discovers that it has changed the image of Indonesian art and literary world in which such prestigious legitimacy can now be achieved through commercial strategies, making it seem dynamic but at the same time questionable in its most authentic sense. </span></p>
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Rubtsova, N. S. « THE PLOT OF “FIRST LOVE” IN THE NOVEL OF THE SAME NAME BY I.S. TURGENEV AND THE “PICTURESQUE” ROMANTIC TRADITION ». Bulletin of Udmurt University. Series History and Philology 32, no 2 (29 avril 2022) : 319–25. http://dx.doi.org/10.35634/2412-9534-2022-32-2-319-325.

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The article is devoted to the realization of the picturesque plot in the story “First Love” by I. S. Turgenev. The main character of the heroine is considered according to a combination of sculptural and pictorial plans. At the same time, the key features of this image are “statuary” and artistic talent for creating a “mental picture”, which reflects the internal dynamics of the heroine's image and overcoming the initial predetermined plot. The inclusion in the plot of the story of a casually mentioned painting with Malek-Adel, the hero of the romantic French novel by M. Cotten, provokes the role-playing behavior of Turgenev's heroes and points to a traditional romantic love story with a tragic outcome.
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Wang, Huan. « The Peony Pavilion as a picture of sexual individuation ». Psychoanalysis and Psychotherapy in China 4, no 2 (17 décembre 2021) : 151–69. http://dx.doi.org/10.33212/ppc.v4n2.2021.151.

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The Peony Pavilion is a story central to Chinese gender identity. It vividly portrays a story of the path of sexual individuation of a Chinese woman. In comparison to female images in Western stories, Chinese women are the active ones in their intimate relationships with men. They have been oppressed for many years because they are recognised as the subject of desire and as having reflexive aggression. However, with enough love, a girl dares to separate from her natal family, to fight against the patriarchal system, and to be herself. Identifying with the father’s aggression can facilitate her in this process.
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Fitria, Nora, Nyak Mutia Ismail et Cut Mulia Zuhra. « The Employment of Figurative Language in a Motion Picture Artwork ». International Journal of Education, Language, and Religion 5, no 2 (2 décembre 2023) : 136. http://dx.doi.org/10.35308/ijelr.v5i2.7598.

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This study aimed at finding out the use of figurative language in an artwork, specifically movie called Toy Story 3. The method used in this study was descriptive qualitative which provided the necessary data analysis to gain the information needed from the movie. The data soure was movie entitled Toy Story 3 with xxxx minutes in length. In collecting data, the researcher used document analysis; later in daa analysis, the interactive analysis consisting of data reduction, data display, and dat verification was employed. Te result shows that there are three types of figurative language consisted in the movie: Metaphor, Simile, and Hyperbole. The metaphors were used to describe something by comparing it with other objects, Hyperbole ws employed iin order to make the language used in the film increase a child's imagination to infinity, and Simile usage enhances the sentences to spark the curiosity of the audience—merely children. Then, it was aso found that regarding the frequency, Metaphor occurs nine times and represents 60%, Hyperbole occurs five times and represents 33%, and Simile occurs one time and represents 7%. Iin conclusion, The movie Toy Story 3 used only a few figurative speeches because the target audience is children, hence simple forms of language uses are utilized.
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Tarihoran, Rezky Khoirina, et Muhammad Kiki Wardana. « Hegemonic Masculinity and Homosexuality in Contemporary Indonesian Motion Picture ». International Journal Linguistics of Sumatra and Malay 2, no 1 (31 décembre 2023) : 1–6. http://dx.doi.org/10.32734/ijlsm.v2i1.14365.

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Homosexuality in Indonesia is examined in through its contemporary motion picture. The data for this study came from the motion picture named Arisan! released in 2003. This study incorporated Foucault&#39;s theory of sexuality as a social construction, Connell&#39;s Hegemonic Masculinity, and A,J Greimas’ Narrative Structuralism . Numerous findings can be found in the research, including the actantial model and functional model of the story in Arisan!. Additionally, this research discovered that homosexuality in Indonesia is subordinated.
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Stollberg-Rilinger, Barbara. « Maria Theresa and the Love of Her Subjects ». Austrian History Yearbook 51 (24 mars 2020) : 1–12. http://dx.doi.org/10.1017/s0067237820000041.

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I have been asked to speak about the life of the Empress-Queen Maria Theresa. I would like to start by directing your attention to the cover pictures of three recent biographies (Figures 1‒3). If you look at these pictures you will find one astonishing commonality. I am sure that this is neither a coincidence, nor just a fad: on each of the three covers, you only see a part of the portrait. For me, this perfectly symbolizes a specific, skeptical view of biography writing. As a biographer, these cover pictures say, you never get the whole picture of a person. It's always up to the author not only to choose the material but also to establish a certain narrative structure. A life is not a story, and a biography does not simply tell itself. There is always more than one true life story of a person. As the Swiss historian Valentin Groebner recently put it: “The past is a big untidy cellar. It is a bit damp and dark and smells a bit strange there. We go down and get what we want.” What you choose and how you arrange it—which story you tell—depends on which perspective you take and in what you are interested.
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Yaxshiyeva, Zebo. « POETIC AND ARTISTIC INTERPRETATION OF THE STORY IN THE TETRALOGY ». INTERNATIONAL JOURNAL OF WORD ART 1, no 3 (30 janvier 2020) : 178–85. http://dx.doi.org/10.26739/2181-9297-2020-1-25.

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In this article, the talented writer Muhammad Ali describes the psychological traits in the first part of the tetralogy "the Great reign" in the book Jahongir Mirzo. It explores the chronology of news, the principles of artistic conflict and the psychological picture, as well as how researchers from all over the world and Uzbekistan react. The wonderful pain and sadness surrounding the soul of the wonderful Jahongir Mirzo give a beautiful illustration of his great and infinite love.
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Radaviciute, Jurate. « Jurate Radaviciute, Devoid of (E)motion : Farah’s Story ». Open Cultural Studies 2, no 1 (1 décembre 2018) : 790–96. http://dx.doi.org/10.1515/culture-2018-0072.

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Abstract This essay investigates the theme of emotionlessness in Salman Rushdie’s novel Shame; the research is carried out within the theoretical framework of postmodernism. In the novel, otherwise filled with strong emotions such as love, hate and shame, one character, Farah Zoroaster, can be singled out as a person characterised by a lack of emotion. The question raised in this research is about the place of emotionlessness in the narrative of the novel and the functions it performs. It is discovered that although Farah has a unique position in the novel, her story is intertwined with those of other migrant/ peripheral characters such as Bilquis Hyder, Eduardo Rodrigues and Omar Khayyam Shakil as opposed to the protagonists of the novel Iskander Harappa and Raza Hyder, who are local/central characters of the novel. However, alongside the narrative lines of her father and Eduardo Rodrigues, Farah Zoroaster’s story explores the topic of migration from a perspective of personal freedom and spirituality, which is different from other migrant narratives in the novel. The postmodern nature of the narrative plays with the reader by offering contrasting connotations of the freedom and spirituality attributed to the emotionlessness of Farah, such as narcissism and the absence of personal qualities.
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Zunidar, Zunidar. « Implications of the School Literacy Movement with Picture Storybook Media ». EDUKATIF : JURNAL ILMU PENDIDIKAN 4, no 2 (11 mars 2022) : 2679–87. http://dx.doi.org/10.31004/edukatif.v4i2.2575.

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Interest and reading power are latent problems that occur in students and educators. On this basis, a government policy was issued in Permendikbud Number 23 of 2015 concerning the School Literacy Movement (GLS). One of the mandatory efforts is reading 15 minutes of non-lesson books every day (story books or other books). This study aims to analyze the implications of the school literacy movement using picture story books as media. The type of this research is qualitative with literature study method. The research materials and analysis studies are obtained through scientific reference sources, including books, articles, proceedings, theses, theses, and dissertations. These scientific sources are obtained through credible sites, such as Google Scholar, DOAJ, and SINTA. The results of this study indicate that the activities of the school literacy movement through the media of picture story books have a significant impact on students' reading power and interest. This is in terms of increasing students' knowledge insight, motivation to read books in students, and forming active literacy characters in students. The GLS stages include 15 minutes of reading pre-learning picture story books, reading prayers, reading verses of the Koran in short suras, singing the national anthem, and strengthening the teacher for the previous meeting's teaching materials. Thus, students are increasingly moving to get used to and love the world of literacy
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Thèses sur le sujet "Love story (Motion picture)"

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Samuel, Karin. « Bearing witness to trauma : representations of the Rwandan genocide ». Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4274.

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Thesis (MA (English))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This thesis will examine representations of the Rwandan genocide and its aftermath in selected literary and filmic narratives. It aims in particular to explore the different ways in which narrative devices are used to convey trauma to the reader or viewer, thus enabling them to bear witness to it. These include language, discourse, image, structure and perspectives, on the one hand, and the framing of the genocide on screen, on the other hand. The thesis argues that these narrative devices are used to provide partial insight into the trauma of the genocide and/or to produce empathy or distance between readers and viewers and the victims, perpetrators and survivors of the genocide. Particular attention is paid to the ways in which the selected novels and films advance the human dimension of the genocide. This will shift both victims and perpetrators out of the domain of statistics and evoke emotional engagement from readers and viewers. The thesis argues for the importance of narrative in bearing witness to trauma, particularly due to its unique ability to forge an emotional connection between reader or viewer and character. The primary texts analysed in the thesis are the novels Inyenzi: A Story of Love and Genocide by South African author Andrew Brown and Murambi, The Book of Bones by Senegalese author Boubacar Boris Diop, along with the films Shooting Dogs, directed by British Michael Caton- Jones, and Hotel Rwanda, directed by American Terry George. In addition to considering the use of narrative devices to produce empathy and engagement among readers and viewers, the thesis explores also the implications of the various outsider perspectives of the writers and film-makers, and the effect that this has on their narratives, not least given the role played by the world community in failing to avert the genocide .
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die voorstellings van Rwanda volksmoorde en die nagevolge in geselekteerde narratiewe tekste en rolprente. Die tesis poog om op verskillende maniere ondersoek in stel na die narratiewe middels om die trauma oor te dra na die leser en kyker. Dit sluit taal, diskoers, beelde, struktuur en perspektiewe aan die eenkant, en verfilming op die skerm aan die anderkant. Die tesis argumenteer dat narratiewe middels verskaf gedeeltelike insig van die trauma van die volksmoorde en/of genereer empatie of afstand tussen leser en kyker en die slagoffers, skuldiges en die oorlewendes van die volksmoorde. Aandag sal veral gegee word op welke wyse die geselekteerde romans en rolprente die menslike dimensie van volksmoord bevorder. Beide die slagoffers en skuldiges word uit die ondersoekterrein van statistieke geskuif en daar gaan gefokus word op die uitlok van emosionele betokkendheid van lesers en kykers. Die tesis argumenteer vir die belangrikheid van die narratief om as getuienis op te tree van trauma – veral as gevolg die unieke vermoë om tussen die leser of die kyker en die karakter emosionele bande te smee. Die primêre tekste wat in hierdie tesis geanaliseer word, is die romans, Inyenzi: A Story of Love and Genocide deur Suid-Afrikaner Andrew Brown, Murambi, The Book of Bones deur Senegalese skrywer Boubacar Boris Diop, en die rolprente Shooting Dogs, onder leiding van die Brit, Michael Caton-Jones en Hotel Rwanda, onder leiding van die Ierse, Terry George. Afgesien van die gebruik van narratiewe middels om empatie en betrokkenheid van lesers en kykers te genereer, ondersoek die tesis ook die implikasies van die onderskeie buitestaander perspektiewe van die skrywers en rolprentmakers en die effek op hulle narratiewe – veral die rol wat hulle speel in die wêreldgemeenskap om volksmoorde te voorkom.
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Fitch, Stephan J. (Stephan John). « Cinema Server = s/t (story over time) : an interface for interactive motion picture design ». Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/66353.

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Human, Jacobus Francois. « 'n Kontrolelys vir die skryf en evalueer van dramadraaiboeke ». Thesis, Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-11052008-105503.

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Scrivin, Nicholas. « 'The Bobby Calf' - non linear and non classical narrative structures in the cinema of unease ». Click here to access this resource online, 2008. http://hdl.handle.net/10292/688.

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This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.
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Guilfoyle, Frances Jane. « "A boy's best friend is his mother" cinematic re-tellings of the Ed Gein story / ». Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120299.

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Livres sur le sujet "Love story (Motion picture)"

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Khair, Tabish. Filming : A love story. London : Picador, 2007.

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1937-2010, Segal Erich, dir. Love story : Ein Filmtranskript. Rottenburg-Oberndorf : Wissenschaftler-Verlag, 1986.

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MacGraw, Ali. Adios love story. Buenos Aries : Editorial Atlantida, 1992.

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Kohli, Suresh. Taj Mahal : An eternal love story : making of a motion picture. New Delhi : Om Books International, 2006.

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Shirley, Jones. Shirley & Marty : An unlikely love story. New York : Morrow, 1990.

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Benjamin, Sam. American gangbang : A love story. New York : Gallery Books, 2011.

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Sanford, John B. Maggie : A love story. Fort Lee, N.J : Barricade Books, 1993.

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Jordan, Ted. Norma Jean : A Hollywood love story. London : Pan, 1990.

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Bassett, Angela. Friends : A love story. Washington, D.C : Kimani Press, 2009.

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Bassett, Angela. Friends : A love story. Washington, D.C : Kimani Press, 2009.

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Chapitres de livres sur le sujet "Love story (Motion picture)"

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Brown, Blain. « light as story ». Dans motion picture and video lighting, 143–72. Third edition. | New York : Routledge, Taylor & Francis Group, 2018. : Routledge, 2018. http://dx.doi.org/10.4324/9780429461422-6.

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Hoggan, Michael. « Motion Picture Editor and the Story (the Script) ». Dans The Art and Craft of Motion Picture Editing, 9–22. 2e éd. New York : Routledge, 2021. http://dx.doi.org/10.4324/9781003099765-2.

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Chi, Huynh Thi Kim, Kosuke Takano et Kin Fun Li. « A Color Adaptation Method in Picture Story with Emotional Expression of Body Motion ». Dans Advanced Information Networking and Applications, 625–34. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75078-7_62.

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Dixon, Shane M., et Tim Gawley. « Screening Workplace Disaster : The Case of Only the Brave (2017) ». Dans Visualising Safety, an Exploration, 101–10. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33786-4_12.

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AbstractMedia influence how we define and engage with our world, shaping our interpretations, attitudes, behaviours. Feature films in which work-related injuries, deaths, and disasters are the storylines can convey occupational safety messages to large, diverse audiences. Films can entertain, act as “powerful” and “poignant” memorials to workers, heighten peoples’ awareness of events, and even deepen their understanding of the causes of workplace disasters. However, it is unclear how films actually represent the complexities of workplace injury and industrial disaster. We examined the film Only the Brave (di Bonaventura, Luckinbill (Producers), Kosinski (Director) in Only the Brave [Motion Picture] (Columbia Pictures, United States, 2017)), which recounts the story of the deaths of 19 wildland firefighters in America. In particular, we examine how the film portrays workplace disaster and the factors which led up to the event. We discuss some strengths and limitations of feature films as a form of visualizing workplace disaster.
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Koshino, Go. « Как закалялась сталь в Восточной Азии ». Dans Biblioteca di Studi Slavistici, 203–10. Florence : Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.18.

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How the Steel Was Tempered in East Asia. Nikolai Ostrovsky’s novel How Steel Was Tempered (1932-34) tells the story of a young Ukrainian man named Pavel Korchagin who sacrifices his life and body to forge a steel-like spirit amid revolution, civil war, and postwar socialist construction. Although his physical injuries, which left him paralyzed and even blind, looks somehow grotesque, but his heroic self-sacrifice also had the power to inspire young readers. Regarded as an exemplary work of Soviet socialist realism, it was translated into many languages and read avidly at one time by left-wing readers in the West as well as in the Communist countries in the East. It was particularly influential in China, where it is so popular that even today it is invariably named as one of the favorite books of university students. This is in contrast to post-Soviet Russia today, in which the novel has lost the privileged position it once enjoyed and is no longer widely read. In China under the socialist regime, Ostrovsky’s novel was published in large numbers as suitable reading for young people and incorporated into school education. However, their active introduction in the public sphere alone does not explain their popularity. Chinese readers seem to have become deeply emotionally involved in the protagonist’s unsuccessful love affair with Tonya, a young girl whose bourgeois gestures and characterization must have been considered negative. As a result, the Soviet ideological novel has brought an unexpected meaning of European-style romantic love for Chinese readers. This presentation will trace the reception of Ostrovsky’s novel and the changes in the heroine Tonya’s image by comparing five adaptations: two Soviet films in 1942 and 1957, a Chinese lianhuanhua (serial picture book) in 1972, a Japanese manga in 1975, and a Chinese TV drama in 1999.
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Gleeson-White, Sarah. « Readerly Pleasures : Screen Reading, and The Motion Picture Story Magazine ». Dans Silent Film and the Formations of U.S. Literary Culture, 150–91. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780197558058.003.0005.

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Abstract This chapter picks up on Chapter 3’s conclusion about motion pictures’ ability to expand literature’s readership in order to discover the ways readers responded to and navigated new literary forms and materials generated out of literature’s encounters with motion pictures. To do so, it considers motion pictures’ invitations to read—both on screen and in motion-picture fan magazines—a strategy of motion-picture address recasting literary features. It also considers with the new experiences of and encounters with literature in venues beyond its more conventional sites and print objects. In sum, Chapter 4 aims to discover how motion pictures may have generated, contributed to or altered habits of literary reading and, just as importantly, what pleasures motion-picture reading promised it readers.
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Barusch, Amanda Smith. « Infatuation : A Madness Most Discreet ». Dans Love Stories of Later Life, 63–86. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195314045.003.0004.

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Abstract At the age of 88, Ted is the picture of health. Tall and slim, he swims regularly and has demonstrated his yoga abilities on television. Located in a quiet residential neighborhood, his home speaks of neglect. There is a sadness about him too—an air of lonely regret, sometimes disguised by a frenzy of thought and movement. When painful topics came up, Ted dashed to his piano to play a tune. We met for two 3-hour sessions, and he never seemed to tire. The story that unfolded was one of repeated infatuations.
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Salzberg, Ana. « Love Stories and General Principles : The Development of the Production Code ». Dans Produced by Irving Thalberg, 94–117. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451048.003.0005.

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This chapter examines Thalberg’s role in crafting the Motion Picture Production Code and its influence on cinematic sensuality in a post-talkie context. In 1929, Thalberg would write “General Principles to Cover the Preparation of a Revised Code of Ethics for Talking Pictures” on behalf of a three-person subcommittee, thus informing the industry’s adoption of a formal Production Code in 1930. These Principles outline Thalberg’s theorization of how studios could engage with the issue of regulation while still maintaining their commitment to “entertainment value.” The chapter takes these General Principles – and Thalberg’s extemporaneous defence of them at a 1930 meeting of the Association of Motion Picture Producers – as a lens through which to consider early-Code films such as Norma Shearer vehicle The Divorcée (Leonard, 1930) and Anita Loos-penned Red-Headed Woman (Conway, 1932), starring Jean Harlow.
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Gautreau, Justin. « Introduction ». Dans The Last Word, 1–8. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.003.0001.

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The book’s introduction traces the emergence of so-called motion picture fiction in the pages of industry fan magazines. Such novels as Robert Carlton Brown’s My Experience as a Film Favorite (published in Photoplay in 1913 and 1914) and, later, Edward J. Clode’s My Strange Life: The Intimate Life Story of a Moving Picture Actress (published in 1915 as a standalone book) positioned readers to imagine themselves as stars at a time when the film industry was promoting itself as a place of romance and opportunity. The function of motion picture fiction, however, took a swift turn following a string of celebrity scandals in the 1920s. After laying out the structure for the rest of the book and touching on other studies on the Hollywood novel, the introduction highlights the Hollywood novel’s relevance to and resonance with film theory and more contemporary scandal in the entertainment industry.
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Mills, Alice. « Appropriate or anathema ? The representation of incest in children’s literature ». Dans Incest in contemporary literature, 117–32. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526122162.003.0006.

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The chapter draws attention to the extreme unspeakability of incest in children’s literature and the rarity of texts either literally or symbolically dealing with the topic. It analyses Crew and Scott’s picture story book, In My Father’s Room (2000), in terms of the Bluebeard fairy tale, with close attention to ways of seeing and being seen. This disturbing text (marketed as a book for young children) plays a father’s love for his daughter, manifested in his secret story-writing, against the Bluebeard story of secrecy, multiple sexual partners and murder. The boundaries of the unspeakable in literature for children have changed markedly in the post-war era, particularly in terms of problem novels for a young adult readership; but picture story books for younger readers remain almost uniformly committed to a depiction of the loving nuclear family with mother, father and child or children, where childhood naughtiness is the worst evil that can be encountered; incestuous behaviours by a father are barely mentionable and the incestuous mother unthinkable.
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Actes de conférences sur le sujet "Love story (Motion picture)"

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Kvetanová, Zuzana, et Jana Radošinská. « AQUAMAN THE MOVIE AS A LATE MODERN FAIRY TALE ». Dans NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/24.

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The feature film Aquaman (2018, directed by James Wan) is the most commercially successful superhero movie belonging to the DC Extended Universe. Produced by DC Films and Warner Bros. Pictures, the motion picture portrays a rebellious superhero with an extraordinary physical presence. The paper aims to reflect on the movie Aquaman and its ability to function as a late modern fairy tale. Aquaman’s genre structure includes elements of fantasy, science-fiction and action film. However, the authors work with the assumption that the story is, in its nature, a fairy tale involving late modern means of expression. The first part of the text is largely theoretical, outlining the movie’s importance and defining the genre of a fairy tale in the context of late modern culture. Following the given line of thought, the second part of the paper presents a narrative analysis of the film in question, which is based on Propp’s morphology of fairy tales.
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Stanić Loknar, Nikolina, Diana Bratić et Ana Agić. « Kinetic typography - figuration and technology ». Dans 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p81.

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Kinetic typography - text in motion is an animation method of characters that has a video form instead of some "static" form such as picture, poster or book. The most important element for figuration of kinetic typography is the choice of font. Furthermore, one should think about the letter cut, the size and color of the characters, and the background color on which the animation takes place. It can be created in various ways, most often using software that applies a multitude of effects to the text or letter character, creating dynamic solutions. The effects vary from the simplest such as "fade-in" and "fade-out" (entering and exiting text in and out of the frame). Static characters can expand, narrow, move slowly or rapidly, grow and change in a variety of ways to very complex ones in which the author builds an entire story or promotional video by carefully combining software capabilities. However, each software has its limitations and for this reason the kinetic typography presented in this paper is programmed using codes. In a wide range of available programming languages due to the simple interface that does not require advanced programming concepts and gives exceptional results in the field of kinetic typography, Processing was chosen. The Processing programming language is intended for generating and modifying graphics and is based on the Java programming language. The most important difference between Processing and Java is that Processing offers a simple programming interface that does not require advanced levels of programming such as classes, objects, or animations. It also allows advanced users to use them. Processing uses a variety of typography rendering approaches such as raster and vector solutions and allows typography to be programmed and displayed on the Web independently of the user's Web browser and font database. Processing enables the use of visual elements in animation, including typographic ones, by introducing interaction to the user. The user is no longer a passive observer but actively participates in the performance of the application whose final appearance is not predefined but arises from the actions of each individual user. For the purposes of this paper, individual letters were created in a font-making program. The letters made are of various written classifications and cuts, which with their variety contribute to the attractiveness of the animation. In the creating of motion typography in this paper, the programming language Processing was used. Written program codes that manipulate words, letters, or parts of characters to create interesting visual effects for the viewer that aim to hold the viewer's attention and convey the desired message or emotion. There are no strict rules and patterns when making kinetic typography. In kinetic typography, each author determines his own rules, method of production, and there are no same solutions.
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