Bibliographies thématiques / Motion pictures – iran – history

Littérature scientifique sur le sujet « Motion pictures – iran – history »

Auteur : Grafiati
Publié le 26 juillet 2024

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Articles de revues sur le sujet "Motion pictures – iran – history"

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Mottahedeh, Negar. « Collection and recollection : On studying the early history of motion pictures in Iran ». Early Popular Visual Culture 6, no 2 (juillet 2008) : 103–20. http://dx.doi.org/10.1080/17460650802150374.

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Naficy, Hamid. « Cultural Dynamics of Iranian Post- Revolutionary Film Periodicals ». Iranian Studies 25, no 3-4 (1992) : 67–73. http://dx.doi.org/10.1017/s0021086200015723.

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This essay is in two parts. Part I examines the dynamism and the political economy of the popular culture in Iran by focusing on the developments in the publication of film periodicals since the revolution of 1979. Part II provides a list of periodicals since the revolution that have dealt with cinema and the film industry.Periodicals specializing in film and cinema as well as those which devote only a section of each issue to the motion-picture industry are all part of the larger cultural dynamics of what we might call the Iranian post-revolutionary popular culture. These specialized and allied periodicals cannot be considered in a vacuum since, as part of the dynamics of this popular culture, they are involved in a host of negotiations and conflicting relations with the clerical state, official censorship boards, advertisers, film producers, the publishing industry, and finally their own readers.
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Jennifer Tebbe-Grossman. « Medicine’s Motion Pictures ». Film & ; History : An Interdisciplinary Journal of Film and Television Studies 39, no 1 (2009) : 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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Heinemann, Julia. « Motion Pictures of the Royal Family ». French Historical Studies 44, no 2 (1 avril 2021) : 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.
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Swartz, Mark E. « Motion Pictures on the Move ». Journal of American Culture 9, no 4 (décembre 1986) : 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.

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Oliver, Willard M. « Crime, History, and Hollywood : Learning Criminal Justice History through Major Motion Pictures ». Journal of Criminal Justice Education 22, no 3 (septembre 2011) : 420–39. http://dx.doi.org/10.1080/10511253.2010.519892.

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Ayers, Lee. « Book Review : Crime, history, and Hollywood : Learning criminal justice history throughmajor motion pictures ». Criminal Justice Review 39, no 4 (25 juin 2014) : 459–61. http://dx.doi.org/10.1177/0734016814540302.

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Eckardt, Michael. « South African film history vs the history of motion pictures in South Africa ». South African Theatre Journal 25, no 1 (mars 2011) : 72–77. http://dx.doi.org/10.1080/10137548.2011.626961.

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Dym, Jeffrey A. « Benshi and the Introduction of Motion Pictures to Japan ». Monumenta Nipponica 55, no 4 (2000) : 509. http://dx.doi.org/10.2307/2668250.

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Martin L. Johnson. « Motion Pictures : A Problem to Be Co-operatively Solved ». Film History 29, no 4 (2017) : 157. http://dx.doi.org/10.2979/filmhistory.29.4.07.

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Thèses sur le sujet "Motion pictures – iran – history"

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Vanhala, Helena. « Hollywood portrayal of modern international terrorism in blockbuster action-adventure films : from the Iran hostage crisis to September 11, 2001 / ». view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181135.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes filmography (leaves 435-448) and bibliographical references (leaves 454-471). Also available for download via the World Wide Web; free to University of Oregon users.
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Galt, Rosalind. « Redrawing the map of Europe space, history and spectacle in new European cinema / ». [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

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Williams, Danielle E. Winn J. Emmett. « Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective / ». Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.

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Haywood, Keene McDonald. « Beyond Words : The Use of the Non-Verbal Genre in Natural History Filmmaking ». Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/haywood/HaywoodK0807.pdf.

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Natural history filmmaking has a history that begins with the advent of cinematography as a form of artistic and documentary expression. Natural history filmmaking has increasingly used techniques of fiction, drama and anthropomorphizing to represent the natural world in storytelling. This paper will examine the use of the nonverbal form of filmmaking as an alternative style that can be used to effectively document natural history using a more lyrical, poetic and often more thoughtful style. This work examines previous works in the non-verbal genre and discusses how this style compares with historically more traditional natural history films and why this alternative style is used for the thesis film. Additionally, works from the disciplines of geography and natural history writing are examined for relevance to the non-verbal natural history filmmaking genre.
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Pang, Lai Kwan. « China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology / ». online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.

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Chan, Shuen-yan. « History and memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite ». Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21241065.

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Umphrey, Olivia. « From screen to page : Japanese film as a historical document, 1931-1959 / ». [Boise, Idaho] : Boise State University, 2009. http://scholarworks.boisestate.edu/td/26/.

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Inocencio, Jessica Lynn. « The hybridization of African identities in African film ». Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/828.

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This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.
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Coe, Jason George. « Left behind by history : complicating narrative, modernity in the mundane, and reading history through womenin "feeling of life films" ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48539533.

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This dissertation scrutinizes a corpus of films considered to be the stylistic and thematic descendants of Yasujiro Ozu, which I call “feeling of life films.” Focusing upon common themes such as female narrative and the portrayals of the quotidian, this dissertation identifies various methods used in specific films of Ozu, Hou Hsiao Hsien, and Tran Anh Hung that complicate narrative meaning and engage in the discourse of national modernity and history. The female protagonists of these films can be considered “left behind” by the narrative progression of history, serving an allegorical function that critiques standard notions of time and official history. The basis for understanding this phenomenon will be scholarly discourse primarily concerning Ozu’s “Noriko Trilogy,” which marks the transitional period of post-war Japan through the narrative of a woman’s path to marriage. This dissertation seeks to complicate the discourse of reading women in these films by introducing different methodologies of formalist analysis, cultural analysis, theoretic discourse, historiography, and phenomenology. In doing so, this dissertation demonstrates the cinematic importance of these films through their unique formal characteristics and their cultural and historical meanings.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Võ, Ch'o'ng-Đài Hồng. « An assemblage of fragments history, revolutionary aesthetics and global capitalism in Vietnamese/American literature, films and visual culture / ». Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386844.

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Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed February 11, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 155-168).
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Livres sur le sujet "Motion pictures – iran – history"

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Jāhid, Parvīz. Iran 2. Bristol : Intellect, 2017.

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İran kinosunun inkişaf tämayülläri : (monoqrafiya). Bakı : Elm, 2012.

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Maḥmūdī, Bahārak. Namāyish-i ranj-i Tihrān dar sīnimā-yi Īrān. 8e éd. Tihrān : Andīshah-i Iḥsān, 2020.

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Najafi, Behrad. Film in Iran, 1900 to 1979 : A political and cultural analysis. Stockholm : Universitet Stockholms, Dept. of Theatre and Cinema Arts, 1986.

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Gow, Christopher. From Iran to Hollywood and some places in-between : Reframing post-revolutionary Iranian cinema. London : I.B. Tauris, 2011.

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Thoraval, Yves. Cinémas du Moyen-Orient : Iran, Egypte, Turquie, 1896-2000 : avec une filmographie de 100 films. Paris : Séguier, 2000.

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Ṣayyād, Parvīz. Rāh-i dushvār-i sīnimā-yi dar tabʻīd. 8e éd. Los Angeles : Parsian, 1996.

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Institut d'études de l'islam et des sociétés du monde musulman, dir. Images, combattants et martyrs : La guerre Iran-Irak vue par le cinéma iranien. Paris : Éditions Karthala, 2015.

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Khosronejad, Pedram. Iranian sacred defence cinema : Religion, martyrdom and national identity. Canon Pyon, [UK] : Sean Kingston Pub., 2012.

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Khosronejad, Pedram. Untold stories : The socio-cultural life of images in Qajar era Iran. Zürich : Lit, 2015.

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Chapitres de livres sur le sujet "Motion pictures – iran – history"

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Czitrom, Daniel. « Early Motion Pictures ». Dans Communication in History, 158–66. 8e éd. New York : Routledge, 2023. http://dx.doi.org/10.4324/9781003250463-26.

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Czitrom, Daniel. « Early Motion Pictures ». Dans Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018. : Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.

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Molenda, Michael H. « History and Development of Instructional Design and Technology ». Dans Handbook of Open, Distance and Digital Education, 1–18. Singapore : Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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Molenda, Michael H. « History and Development of Instructional Design and Technology ». Dans Handbook of Open, Distance and Digital Education, 57–74. Singapore : Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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« Early Motion Pictures, Daniel Czitrom ». Dans Communication in History, 175–82. Routledge, 2015. http://dx.doi.org/10.4324/9781315664538-32.

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Lethem, Jonathan. « 1888 The introduction of motion pictures ». Dans A New Literary History of America, 406–10. Harvard University Press, 2012. http://dx.doi.org/10.4159/9780674054219-087.

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Abel, Richard, et Amy Rodgers. « Early Motion Pictures and Popular Print Culture ». Dans The Oxford History of Popular Print Culture, 191–210. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:osobl/9780199234066.003.0010.

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Powers, Stephen, David J. Rothman et Stanley Rothman. « Hollywood's History and the Politics of Motion Pictures ». Dans Hollywood's America, 14–39. Routledge, 2018. http://dx.doi.org/10.4324/9780429493720-2.

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« A History Long Overdue : The Public Library and Motion Pictures ». Dans Useful Cinema, 149–77. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822394167-009.

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Monshipouri, Mahmood. « The Iran Nuclear Program ». Dans In the Shadow of Mistrust, 161–88. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197659632.003.0006.

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Abstract This chapter provides a nuanced understanding of the history, dynamics, and broader implications of the US–Iran relationship in this context, underscoring the importance of the role that diplomacy played in producing the 2015 nuclear deal. The Trump administration pushed, however unsuccessfully, for tearing up the agreement, opening the door to the unconstrained resumption of Iran's nuclear program and set in motion uncertain escalatory pressures in an already volatile Middle East. Trump's move indicated a relinquishment of US leadership on the international scene.
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Actes de conférences sur le sujet "Motion pictures – iran – history"

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Mathias, Yehoshua. « USING MOTION PICTURES TO FOSTER HISTORICAL THINKING : A PROPOSAL FOR HISTORY TEACHERS' EDUCATION ». Dans 15th annual International Conference of Education, Research and Innovation. IATED, 2022. http://dx.doi.org/10.21125/iceri.2022.1817.

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