Bibliographies thématiques / Motion picture producers and directors

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Littérature scientifique sur le sujet « Motion picture producers and directors »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 31 juillet 2024

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Articles de revues sur le sujet "Motion picture producers and directors"

Lavoie, Sophie M. « Film Review : Eufrosina's revolution [Motion picture]HofmannH., PardoL., & ; BukantzK. (Producers), & ; KaplanL. (Director). (2012). Eufrosina's revolution [Motion picture].Mexico : Centro de Capacitación Cinematográfica/Fondo para la Producción Cinematográfica de Calidad/Instituto Mexicano de Cinematografía. » AlterNative : An International Journal of Indigenous Peoples 12, n^o 2 (juin 2016) : 205–7. http://dx.doi.org/10.20507/alternative.2016.12.2.9.

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Copeland, Kameron J. « Blackbird [Motion picture], by P. Polk (Director/Producer), K. L. Brown, C. A. Shine, I. Washington, & ; M. Young (Producers), United States of America, KBiz Entertainment and Tall Skinny Black Boy Productions, 2014. » Journal of GLBT Family Studies 14, n^o 4 (septembre 2017) : 400–403. http://dx.doi.org/10.1080/1550428x.2017.1362847.

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Sharp, William. « Matsoukas, M. (Director/Producer), Waithe, L. (Screenplay/Producer), & ; Frey, J. (Story by). Queen & ; Slim [Motion Picture]. Universal Pictures, 2019. Running Time, 2 hours and 12 minutes ». Journal of African American Studies 24, n^o 2 (22 mai 2020) : 297–301. http://dx.doi.org/10.1007/s12111-020-09479-2.

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Briuchowecka, Łarysa. « Nie zmieniając poglądów. Przedstawianie okrucieństwa i zła w filmach Andrzeja Wajdy ». Studia Filmoznawcze 39 (17 juillet 2018) : 79–91. http://dx.doi.org/10.19195/0860-116x.39.6.

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NOT CHANGING LOOKS. PRESENTATION OF CRUELTY AND EVIL IN THE FILMS OF ANDRZEJ WAJDAAmong Andrzej Wajda’s legacy, the image of the totalitarian regime and its repercussions for people, countries, and humanity holds a significant place. Films of Andrzej Wajda, who was a liaison officer in the anti-Hitler Polish underground, are a kind of chronicle of the survivors of twentieth century. The article is dedicated to study the various forms of evil and its effects on real people. The study is applicable for our time because the world again deals with the recidivism of evil which the Soviet government spread in its own country and beyond its own borders. In the USRR, the perception of Andrzej Wajda’s films was dependent on the political play in action: when the relations between two countries were friendly, he received awards, however after the Solidarity was established, no one ever mentioned Wajda. The epic work Danton, about the French revolution, made in France during times difficult for Poland because of the martial law imposed on Poland, reveals the effects of revolution that paradoxically destroyed its most dedicated revolutionists, including Danton. Wajda’s refusal to American producers to direct a motion picture based on a screen play of Aleksander Slozenicyn had se-rious reasons, primarily commitment to his homeland. He made up for the missed opportunity to show Stalin’s evil empire when he shot the film Katyń. This word echoes deep tragedy in the heart of every Pole and the director succeeded in portraying the cruelty of mechanism of punishment in totalitarian USRR. The second most important aspect was the discovery of the lies of this regime, which tried to place the responsibility for the execution of Polish officers on the Nazis. After a premiere of Katyń in Ukraine, Andrzej Wajda was awarded the medal of Jaroslaw Madry. The article also includes the theme of influence of Fyodor Dostoyevsky’s novels on Andrzej Wajda’s work — the director not only used Dostoyevsky’s work for his filmmaking and staging, but as well he was inspired by Dostoyevsky’s deep analysis of dangerous social phenomena and the courage in discovering the evil. In Wajda’s films, which belongs to the so-called “cinema of moral unrest”, the tragic fate of a talented journalist Jerzy Michalowski, the hero of film Bez znieczulenia who personalizes the characteristics of a professional and a good man, simply horrifies. In his last film Powidoki, the director masterfully shows circles of hell survived by avant-garde artist Wladyslaw Strzeminski, the lecturer of Fine Arts Academy. All the films mentioned above are deemed necessary warning for future generations, they cannot put up with the aggression — on a political and private levels. Wajda’s lessons are universal, timeless, and everla-sting, like an eternal battle of good against evil.

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Curtin, Michael. « What makes them willing collaborators ? The global context of Chinese motion picture co-productions ». Media International Australia 159, n^o 1 (mai 2016) : 63–72. http://dx.doi.org/10.1177/1329878x16638938.

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Market access is becoming the single most significant factor affecting collaborations between Hollywood feature film producers and their Chinese partners. The current import quota system approves only 34 films each year, which are then distributed by the state-run China Film Group, which also controls the release date for each title. The best way for a foreign filmmaker to manage these uncertainties is to fashion a co-production deal with a mainland counterpart, such as Dalian Wanda Group, which is now nearing completion of a huge studio complex in Qingdao, a project that has been greeted sceptically by industry critics. This essay assesses the ambitious logic behind this project, situating it in the broader context of the globally networked production infrastructure that has emerged over the past 20 years, one that generally favours Hollywood producers at the expense of local partners. It illustrates why the Wanda studio may in fact succeed and why foreign producers are growing ever more willing to collaborate with Chinese partners.

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Lee, Sangjoon. « Creating an anti-communist motion picture producers’ network in Asia : the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association ». Historical Journal of Film, Radio and Television 37, n^o 3 (10 mars 2016) : 517–38. http://dx.doi.org/10.1080/01439685.2016.1157292.

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Al Mousawi, Aqeel Al Mousawi. « Employing (Artificial Intelligence) Techniques in the Aesthetic Construction of Cinematic Tricks in the Cinematic Film ». Journal Port Science Research 7, issue (29 mai 2024) : 57–66. http://dx.doi.org/10.36371/port.2024.special.8.

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Cinema is a unique art based on innovation and scientific inventions in addition to the talent and genius of directors, and directors such as Edison, the inventor of the motion picture, the Le Maire brothers, the pioneers of the cinema projector, the Frenchman of genius imagination and visual creativity, Georges Mila and Gervath, the creator of magazines. Editing, photography, directing and innovations such as motion pictures, sound entry to the cinema, color film tape, wide lenses, 3D imaging, films that used scientific techniques, such as the Star Wars series of director Lucas, the Jurassic Park series of Spielberg films, and computer technologies developed by James Cameron are all They are considered as basic pillars of a world full of excitement and suspense called cinema, and cinema is still to this day making rapid and interesting transitions in the world of entertainment because it attracts the latest scientific innovations in the field of motion picture, and among the modern and important innovations, the use of artificial intelligence techniques in the manufacture of cinematic trick scenes Whether by making movie scenes backgrounds, digital characters, or controlling lighting and a camera, to be either a must Let's talk about movie workers or a key element to help movie workers.

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Rosenbloom, Nancy J. « Toward a Middle-Class Cinema : Thomas Ince and the Social Problem Film, 1914–1920 ». Journal of the Gilded Age and Progressive Era 8, n^o 4 (octobre 2009) : 545–72. http://dx.doi.org/10.1017/s1537781400001481.

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Thomas H. Ince (1882–1924) was a popular motion-picture producer and director in the 1910s. He built his reputation and fortune by making feature films that appealed to middle-class tastes. In addition to his westerns and the epics for which he is best known, Ince made a number of social-problem films. Three of his films—The Italian(1914),Dangerous Hours(1920), andThe Dark Mirror(1920)—are particularly interesting for how they illuminate the relationship between the American cinema and Progressive Era reform. A close analysis of these three films suggests ways that popular culture reflected the concerns of mainstream progressives and how these concerns shifted during the course of the decade.

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Lavoie, Sophie M. « Film Review : Huicholes : The last peyote guardians.Huicholes : The last peyote guardians. [Motion picture]. StefaniP. (Producer), & ; VilchezH. (Director). (2014). 128mins. Argentina-México : Kabopro Films. » AlterNative : An International Journal of Indigenous Peoples 11, n^o 2 (juin 2015) : 205–7. http://dx.doi.org/10.1177/117718011501100212.

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Perkins, Edwin J. « Writing the Script for Survival and Resurgence : RKO Studio and the Impact of the Great Depression, 1932-1933 ». Southern California Quarterly 93, n^o 3 (2011) : 289–311. http://dx.doi.org/10.2307/41224083.

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RKO Studio's business records, opened briefly to researchers in the 1970s, detailed the company's strategies for surviving and prospering during the worst years of the Great Depression, 1932-1933. They also revealed the workings of the Motion Picture Producers Association, the cartel linking the leading Hollywood studios. David O. Selznick and Benjamin Kahane engineered significant budget reductions while maintaining the quantity and improving the quality of movie output. Their hugely successful King Kong (1933), often given sole credit for RKO'S survival, was only one factor and serves to illustrate the studio's various strategies.

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Thèses sur le sujet "Motion picture producers and directors"

Carter, Sandra Gayle. « Moroccan cinema : what Moroccan cinema ? / ». Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Law, Yuk-wa, et 羅玉華. « The poetics of absence : a study of Antonioni and Wenders ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42577093.

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Law, Yuk-wa. « The poetics of absence a study of Antonioni and Wenders / ». Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B42577093.

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Sitnisky-Cole, Carolina. « La literatura y el cine Andinos de la segunda mitad del siglo XX de una modernidad sólida a una líquida / ». Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973896441&sid=2&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Prime, Rebecca Lynn. « Intimate strangers blacklisted filmmakers in postwar Europe / ». Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1779835961&sid=4&Fmt=2&clientId=48051&RQT=309&VName=PQD.

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Udden, James. « Hou Hsiao-hsien and the aesthetics of historical experience ». access full-text online access from Digital dissertation consortium, 2003. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3089679.

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Altıner, Birsen. « Metin Erksan sineması ». Bağcılar, İstanbul : Pan, 2005. http://catalog.hathitrust.org/api/volumes/oclc/62555500.html.

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Ng, Hoi-shan Crystal. « Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark ». Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.

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Hoffman, Alison R. « Our bodies, our cameras women's experimental cinema in the U.S., 1964-1976 / ». Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023781661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Lass, Barbara Frances. « Hans Richter : film artist / ». Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778974.

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Livres sur le sujet "Motion picture producers and directors"

Samuels, Charles Thomas. Encountering directors. New York, N.Y : Da Capo Press, 1987.

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1959-, Joyner C. Courtney, dir. The westerners : Interviews with actors, directors, writers and producers. Jefferson, N.C : McFarland & Company, Inc., Publishers, 2009.

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Joyner, C. Courtney. The westerners : Interviews with actors, directors, writers and producers. Jefferson, N.C : McFarland & Co., 2009.

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Aurich, Rolf, 1960- editor, writer of supplementary text et Jacobsen, Wolfgang, 1953- editor, writer of supplementary text, dir. "What makes him tick?" : Notizbuch 1929-1934. Berlin] : Deutsche Kinemathek, Museum für Film und Fernsehen, 2018.

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Cornwell, Andrea. First facts 2 : Essential information for screenwriters, producers and directors. London : First Film Foundation, 2003.

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Suganuma, Masako. Sutā 55 : Actressess actors directors. Tōkyō : Tsukuba Shobō, 1996.

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Sinyard, Neil. Directors : The all-time greats. New York : Gallery Books, 1985.

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Malone, Peter. Myth & meaning : Australian film directors in their own words. Strawberry Hills, Sydney, N.S.W : Currency Press, 2001.

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Leather, Michael. The picture life of Steven Spielberg. New York : F. Watts, 1988.

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Leather, Michael. The picture life of Steven Spielberg. New York : F. Watts, 1988.

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Chapitres de livres sur le sujet "Motion picture producers and directors"

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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Erish, Andrew A. « 1905–1908 ». Dans Vitagraph, 31–57. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0003.

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Chapter Two covers Vitagraph's return to production on a full-time basis, which began with relocating its studio from a rooftop in Manhattan to a purpose-built facility in Brooklyn. The new glass-roofed studios enabled year-round production, necessitating the establishment of a stock company of players and writer-directors. Blackton and Smith devised a system whereby each would oversee production units that reflected their individual values and approach to cinema. This coincided with the explosive growth of nickelodeon theatres across America. Vitagraph opened a distribution office in Chicago, as well as sales offices in London and Paris, to become the most popular producer of motion pictures in much of the world. During this time Blackton applied his talent as an illustrator to create motion picture animation. The chapter concludes with Vitagraph and the other pioneer filmmakers being forced to join Edison's Motion Picture Patents Company in order to remain in business.

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McDonough, Christopher M. « Quod Scripsi Scripsi ». Dans Pontius Pilate on Screen, 13–26. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474446884.003.0002.

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This is not a book about Pontius Pilate. Not really. It is a book, instead, about what Pilate means, and has meant, on film and television. While this means looking to the religious and historical significance of the Roman prefect, there are a host of other issues I hope to unpack in this volume. Among these matters is the political context in which any given film was produced, as well as the “office politics” which often require archival exploration to uncover. In the yellowing memoranda and hand-written notes as well as the email records of newer films, one sees just how much behind-the-scenes collaboration goes into the making of any motion picture production. Casting is considered, but also the “star theory” that media theorist Richard Dyer discusses at length. In addition, I have looked for insight from the directors, writers, and producers of the films here under study, but above all, have tried to find out what the actors themselves had to convey about the subject. The Christian apologist Tertullian once famously asked, “What has Athens to do with Jerusalem?” This book explores and amplifies that question. “And what has Washington, London, or Hollywood to do with all of them?”

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De Vany, Arthur. « Motion Picture Directors : Luck, Talent and Rewards ». Dans Economics of Art and Culture Invited Papers at the 12th International Conference of the Association of Cultural Economics International, 2–17. Emerald Group Publishing Limited, 2003. http://dx.doi.org/10.1108/s0573-8555(2003)0000260004.

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Lee, Sangjoon. « The Asia Foundation’s Motion Picture Project ». Dans Cinema and the Cultural Cold War, 17–46. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0002.

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This chapter investigates how and to what extent the Asia Foundation (TAF) and its field agents covertly acted to construct an alliance of anticommunist motion picture producers in Asia. It explores how US government–led Cold War cultural policies influenced the Asian regional film industry in the 1950s. It also scrutinizes the ways TAF agents responded to the various needs of local film executives and negotiated with the constantly changing political, social, and cultural environments in the region during the project's early activities. The chapter reviews the origin of TAF, the Committee for a Free Asia (CFA), which is intended to advance US foreign policy interests in Asia. It discusses the CFA's core activities, which include the broadcasting of Radio Free Asia.

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Marzola, Luci. « “Maintained Solely for Your Benefit” ». Dans Engineering Hollywood, 42–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0003.

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Chapter 2 centers on the specialized technology companies and service firms that formed around the motion picture producers in Los Angeles, creating an industrial “cluster” in the region. The movement of independent technology distributors, inventors, and laboratories to Southern California to cater exclusively to the needs of the motion picture producers was essential to the growth and stability of Hollywood. The relationship between the studio workers and companies such as Technicolor, Mole-Richardson, and Mitchell Cameras helped establish the community of Hollywood as the center of the motion picture industry, even as the studios themselves dispersed throughout Los Angeles. These companies, unlike their corporate brethren in the East, were eager to adapt their technical training to the creative needs of the studio, thus forming a unique engineering community around the production studios.

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Stokes, Melvyn. « David Wark Griffith ». Dans D. W. Griffith’s The Birth of a Nation, 55–80. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336788.003.0004.

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Abstract In 1914, when his path crossed that of Thomas Dixon Jr. for the second time in their lives, David Wark Griffith was already a commanding figure in American cinema. The principal director for the Biograph company since 1908, Griffith had produced more than four hundred motion pictures before quitting Biograph in late 1913 to produce longer films. Griffith’s interest in using Dixon’s story of The Clansman as the basis for a film was to lead to the release of The Birth of a Nation. It was also in many ways to transform the American film industry. To appreciate Griffith’s part in making The Birth of a Nation as well as his creative role in early American cinema, it is necessary to know something of the man himself.

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Lo, Patrick, Dickson K. W. Chiu, Allan Cho et Brad Allard. « Dr. Linda Harris Mehr, Director, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences ». Dans Conversations with Leading Academic and Research Library Directors, 395–408. Elsevier, 2019. http://dx.doi.org/10.1016/b978-0-08-102746-2.00027-3.

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Erish, Andrew A. « Conclusion ». Dans Vitagraph, 219–20. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0008.

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The Conclusion summarizes of a fundamental key to Vitagraph's success. Smith and Blackton's decision to embrace the vaudeville aesthetic of providing a variety of family-friendly entertainment proved so profitable that it laid the foundation upon which the rest of the American motion picture industry was to follow for well over half a century. It is posited that Vitagraph produced a greater variety of subjects than most other companies because of the inherent differences of its founding partners, Blackton being a humanist and Smith a Christian. It is an approach that American producers have chosen not follow for several decades as motion picture attendance declines. Not only does a comprehensive history of Vitagraph correct fundamental inaccuracies to the canon, it can also serve as a blueprint for a more inclusive and profitable future.

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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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