Littérature scientifique sur le sujet « RAI Cinema (Firm) »
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Articles de revues sur le sujet "RAI Cinema (Firm)"
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Rahman, M. Sadiqur. « Early ‘Glocalization’ in Indian Cinema : An Analysis of Films of Dada Saheb Phalke and Himanshu Rai ». Asiatische Studien - Études Asiatiques 73, no 3 (26 mars 2020) : 521–44. http://dx.doi.org/10.1515/asia-2019-0047.
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AbstractThat the adaptation of international ideas and foreign technology had an impact on local film culture, is not a new idea in Indian cinema. Nevertheless, more scholarship and greater familiarity with extant literature are needed. This article aims to contribute to the study of the integration process of early Indian films into World cinema. This article considers the early ‘glocalization’ in Indian cinema which traces the process of universalizing particular experiences in silent cinema and transcending from the local to (achieve) global levels. Through the analysis of the films of Dada Saheb Phalke and Himanshu Rai, two film producers who were hugely impacted by the European style of filmmaking, I will discuss how their global vision with local considerations played a decisive role in shaping the early Indian film history. I argue how local and global forces in Phalke and Rai’s cinema boosted cultural open-mindedness and economic growth.
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Pugsley, Peter C., et Saira Ali. « Activating Bollywood buzz : Promoting Indian film superstars in supporting roles ». Studies in South Asian Film & ; Media 13, no 1 (1 janvier 2022) : 19–37. http://dx.doi.org/10.1386/safm_00046_1.
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This article shows how India’s popular Hindi cinema markets celebrity actors to promote films where they only appear in supporting roles. Focusing on promotional images of Shah Rukh Khan and Aishwarya Rai Bachchan from two 2016 Bollywood releases, we consider how ‘studio actions’ build on existing celebrity profiles to entice audiences to films. The combined promotion of these stars’ on- and off-screen personas and their ability to transcend Hindi cinema affords them a base of fans that increases their celebrity status across India, its diasporas and globally. As a marketing strategy, the ‘studio actions’ approach has its antecedents in Hollywood and is clearly aimed at increasing box office revenues. The highly visible inclusion of Khan and Rai on promotional materials creates a ‘buzz’ that reminds audiences of the star’s past successes and hints at the promise of seeing them again for an extended screen time.
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Bermúdez de Castro, Juan José. « Classrooms Without Closets : LGBTIQ+ Cinema in University Education ». Revista Alicantina de Estudios Ingleses, no 33 (23 décembre 2020) : 151. http://dx.doi.org/10.14198/raei.2020.33.04.
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From September 2017 to June 2020 the University of the Balearic Islands organised a monthly film workshop called Aules Sense Armaris: Cinema LGBTIQ+ a la UIB focused on giving visibility to affective and sexual diversity through film analysis in a university context. Each film was introduced with an interview with a queer activist or cultural expert related to the particular topics the film addressed, and after the screening a cinematographic and critical discussion was held in which the students contributed either with their own reflections or asking questions to the guests. This article exposes the necessity of approaching and celebrating sexual diversity from the university classroom as a form of activism. It also describes the as well as describing the criteria that were followed when choosing the films, how the monthly workshops took place and the most interesting conclusions from the post-film debates between activists, university students and spectators.
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Michel Modenessi, Alfredo. « Looking for Mr GoodWill in “Rancho Grande” and Beyond : The ‘Ghostly’ Presence of Shakespeare in Mexican Cinema ». Revista Alicantina de Estudios Ingleses, no 25 (15 novembre 2012) : 97. http://dx.doi.org/10.14198/raei.2012.25.08.
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The Perhaps as an outcome of the “globalization” of Shakespeare studies, the film Huapango (dir. Iván Lipkies, 2003), avowedly based on Othello, seems to be drawing attention from scholars world-wide far more quickly and productively than the only other movie unabashedly adapted from a Shakespeare play in Mexican cinema: Cantinflas’s Romeo y Julieta (dir. Miguel M. Delgado, 1943). Although in Mexico these two pictures still stand alone in deriving integrally from a Shakespeare play, they are not, of course, the sole cases in Spanish-speaking cinema, where over the years a handful of films have been made with similar premises. All of them share a simple but potentially revealing feature, however: so far, no Spanish-speaking film made from Shakespeare can be deemed a “straightforward” performance/translation of its source. Nonetheless, films that ‘reset’, ‘cite’, or somehow ‘ex/ap-propriate’ Shakespeare are not wanting in Mexico. After briefly revisiting points I have made elsewhere on the two aforementioned pictures, this mostly descriptive paper* will aim to identify the “actual” or “ghostly” “presence” of Shakespeare in three films made at diverse stages in the history of Mexican cinema: Enamorada (dir. Emilio Fernández, 1946), El charro y la dama (dir. Fernando Cortés, 1949), and Amar te duele (dir. Fernando Sariñana, 2002).
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Rizwan, Snobra. « Multimodal signs in (non)heteronormative discourse of transnational Hindi cinema : the case study of Hindi film Dostana ». Revista Alicantina de Estudios Ingleses, no 27 (15 novembre 2014) : 179. http://dx.doi.org/10.14198/raei.2014.27.11.
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This article conducts a detailed analysis of multimodal signifiers in a popular Hindi film Dostana (meaning friendship) with particular focus on film’s (non) heteronormative and sexist system of signification. The signifiers that construct gender and sexual stereotypical worldview of the film are analyzed following Lazar’s (2007) conception of feminist critical discourse analysis and Wodak’s (2001) framework of Discourse Historical Approach which proposes three simultaneously functioning aspects of discourse, i.e. immanent, diagnostic and prognostic. The multimodal signifiers in the film are analyzed within Indo-Pakistani discursive context where patriarchal discourse does not seem to allow any cognitive pattern and mental model other than heteronormativity and heterosexual love and romance. In such discursive set-up, so-called deviant sexualities and gender roles struggle for voice, signifiers and representation. The prognostic critique of this article can be thought of as Positive Discourse Analysis (Martin, 2004), because eventually film’s text offers some examples of how certain multimodal signs can be used to resist hegemonic patriarchal and heteronormative discourses which are considered common sense and natural by mainstream Hindi film audience.
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Gardener, Ryan. « Storming off the tracks : Zombies, high speed rail and South Korean identity in Train to Busan ». Asian Cinema 32, no 1 (1 avril 2021) : 37–53. http://dx.doi.org/10.1386/ac_00032_1.
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This article focuses on how the recent blockbuster hit Train to Busan (Yeon 2016), in transposing the zombie horror genre into the South Korean setting, allows South Korean history and social context to actively shape the manner in which it appropriates a genre largely untested by the local film industry. It argues that the film uses genre as a global vernacular through which to speak of specifically Korean issues (in particular, the Korean War, and the issues of South Korea’s speed-oriented Ppalli-Ppalli culture), and locates such practice within the broader context of contemporary South Korean cinema.
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Singer, Elyse. « Strike a Pose ». Feminist Media Histories 7, no 1 (1 janvier 2021) : 147–71. http://dx.doi.org/10.1525/fmh.2021.7.1.147.
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This article traces methods and conventions of performing women’s mental distress before the camera circa 1900. It features an analysis of gestural performances in French, US, Italian, and British films, with special attention given to two pre-1916 Gaumont films that include mad scenes. The topos of the white madwoman presents a valuable lens through which to investigate intermedial relations across performance forms and visual media as early cinema emerged, and gestures signifying madness have been particularly resilient even as approaches to film acting have evolved. Drawing on scholarship from Giorgio Agamben and Rae Beth Gordon, this article questions how techniques of performing female madness intersected with ideologies of race, class, and nationality.
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Khiun, Liew Kai. « Cosmopolitan Intimacies : Malay Film Music of the Independence Years by Adil Johan, and : Celluloid Singapore : Cinema, Performance and the National by Edna Lim ». Journal of the Malaysian Branch of the Royal Asiatic Society 92, no 1 (2019) : 118–19. http://dx.doi.org/10.1353/ras.2019.0010.
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Rabai, Carlo Maria. « Sembra mio figlio (Just Like My Son), Costanza Quatriglio (dir.) (2018), Italy, Belgium, Croatia and Iran : Ascent Film, Caviar Films, Antitalent Produkcija and Rai Cinema ». Journal of Italian Cinema & ; Media Studies 9, no 2 (1 mars 2021) : 306–8. http://dx.doi.org/10.1386/jicms_00072_4.
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Kızıler Emer, Funda, et Esma Şen. « Thematic comparasion Hermann Hesse’s novel names Beneath The Wheel (Unterm Rad) and Michael Haneke’s film names The White Ribbon (Das Weiße Band) Hermann Hesse’nin Çarklar Arasında (Unterm Rad) adlı romanı ile Michael Haneke’nin Beyaz Bant (Das Weiße Band) adlı filminin tematik açıdan karşılaştırılması ». Journal of Human Sciences 16, no 2 (7 mai 2019) : 543–60. http://dx.doi.org/10.14687/jhs.v16i2.5733.
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Hermann Hesse, one of the most renowned and well-known Nobel laureates in German literature, is the first years of the 20th century, described in his novel, Beneath The Wheel (Unterm Rad, 1906). The film The White Ribbon. A German Children's Story. (Das Weiße Band. Eine deutsche Kindergeschichte, 2009) of Michael Haneke, one of the world-renowned screenwriters and directors of contemporary German cinema, covers the years of World War I 1913-1914.The main point of criticism in both works is the criticism of education and ideological education policies that dominated the period. In the two works of which one is a novel and the other is a film, we choose them as a thematic aspect, cover the period between 1900 and 1914. In other words, in the first quarter of the 20th century, the criticism of education in Germany and all over Europe is criticized. In this study, we will compare the two German works with each other on the basis of this ‘common subject’. We will limit the comparative analysis of the education problem in selected works to the first quarter of the 20th century based on the time periods described in the works. Within the scope of our study, we will present a critique of the ideological education concept that dominated this period Germany and at the same time laid the foundations of World War I.In the analysis of these two works, which we compare in the common theme axis, we will use the comparative literature method. In the study, we will use an eclectic method in which we will harmonize the methods of text analysis (werkimmanent) and non-text extern (werk extern) in a balanced way.Extended English summary is in the end of Full Text PDF (TURKISH) file. ÖzetAlman edebiyatının Nobel ödüllü ve dünya çapında tanınmış çok yönlü yazarlarından biri olan Hermann Hesse’nin Çarklar Arasında (Unterm Rad, 1906) adlı romanında anlatılan zaman dilimi 20. yüzyılın ilk yıllarıdır. Çağdaş Alman sinemasının ödüllü ve dünya çapından ün salmış senarist ve yönetmenlerinden biri olan Michael Haneke’nin Beyaz Bant. Bir Alman Çocuk Öyküsü. (Das Weisse Band. Eine deutsche Kindergeschichte, 2009) adlı sinema filmi ise I. Dünya Savaşı’nın patlak verdiği yılları 1913-1914 kapsar.Her iki eserde de temel eleştiri noktası, döneme egemen olan eğitim anlayışı ve ideolojik eğitim politikalarına yöneliktir. Çalışma konusu olarak seçtiğimiz biri roman, diğeri film türünde olan iki eser de tematik açıdan, 1900 ila 1914 yılları arasındaki dönemi kapsar. Yani eserlerde 20. yüzyılın ilk çeyreğinde Almanya’da ve tüm Avrupa genelinde egemen olan eğitim anlayışının eleştirisi yapılır. Biz de bu çalışmada, her iki Almanca eseri, saptadığımız bu ‘ortak konu’ ekseninde birbiriyle karşılaştıracağız. Seçtiğimiz eserlerdeki eğitim sorunsalının karşılaştırmalı analizini, eserlerde anlatılan zaman dilimlerini temel alarak yalnızca 20. yüzyılın ilk çeyreğine sınırlandıracağız. Çalışmamız kapsamında, bu dönem Almanya’sına egemen olan ve aynı zamanda I. Dünya Savaşı’nın temellerini atan ideolojik eğitim anlayışının eleştirisini sunacağız.Ortak tema ekseninde karşılaştıracağımız bu iki eserin analizinde temel olarak karşılaştırmalı edebiyat bilimi yöntemini kullanacağız. Çalışmada, ayrıca metiniçi (werkimmanent) ve metindışı (werkextern) metin inceleme yöntemlerini dengeli biçimde harmanlayacağımız eklektik bir yöntemden yararlanılacaktır.
Thèses sur le sujet "RAI Cinema (Firm)"
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Lessa, Rodrigo Oliveira. « Da passividade à luta política : as imagens da classe trabalhadora no cinema documentário brasileiro ». Faculdade de Filosofia e Ciências Humanas, 2015. http://repositorio.ufba.br/ri/handle/ri/19015.
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Neste estudo buscamos compreender as representações da classe trabalhadora no cinema documentário brasileiro, sobretudo as que foram desenvolvidas entre meados dos anos 1960 e início dos anos 1980, um período de desenvolvimento estético muito singular para este gênero do cinema nacional. Para realizar este objetivo, reunimos um conjunto de quatro filmes documentários que abordaram temas como movimentos grevistas, migração e modo de vida das populações urbanas, questões que levaram os filmes a capturar aspectos das condições sociais de frações do proletariado. São eles: Viramundo (1965), de Geraldo Sarno, A opinião pública (1968), de Arnaldo Jabor, ABC da greve (1979/1990), de Leon Hirszman, e Cabra marcado para morrer (1984), de Eduardo Coutinho. A investigação toma como ponto de partida os próprios filmes, pois, sob a perspectiva dialética aqui empregada, os conhecimentos presentes na obra de arte são parte de uma representação que é a síntese das determinações resultantes da relação reciprocamente mediada entre o sujeito e a realidade social. Esta síntese, por sua vez, compreende a própria representação, exteriorizada no modo como conteúdo e forma estão articulados na obra de arte, acionada através de um exercício de decomposição e recomposição da linguagem cinematográfica. Mediante o estudo aqui realizado, destaca-se o modo pelo qual as imagens do cotidiano, das lutas e do modo de vida da classe trabalhadora acompanharam as principais transformações no âmbito do desenvolvimento estético do cinema documentário no país, sendo a classe o principal sujeito histórico de um momento no qual o cinema documentário revisou seus modos de representar e reportar-se à realidade social. This study aims to understand the representations of the working class in the Brazilian documentary filmmaking, especially those that have been developed between the mid 1960s and early 1980s – an aesthetic development period very unique for this genre of national cinema. To accomplish this goal, we have compiled a set of four documentary films that covered topics such as strike movements, migration and way of life of urban populations, issues that led the film to capture aspects of the social conditions of the proletariat fractions. They are: Viramundo (1965), by Geraldo Sarno, A opinião pública (1968), from Arnaldo Jabor, ABC da greve (1979/1990), realized by Leon Hirszman, and Cabra marcado para morrer (1984), maked by Eduardo Coutinho. The research takes as its starting point the films themselves because, in the dialectical perspective employed here, the knowledge present in the work of art are part of a representation which is the synthesis of the determinations resulting from mutually mediated relationship between the subject and the social reality. This synthesis, in turn, comprises the representation itself, externalized in how content and form are articulated in the artwork, triggered by an exercise of decomposition and recomposition of film language. Through the study held here, there is the way in which the images of everyday life, the struggles and the way of life of the working class followed the main changes under the aesthetic development of documentary filmmaking in the country. Class that consists in the main historical subject in which the documentary film revised its ways of representing and refer to the social reality.
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Jesus, Guilherme Maia de. « Elementos para uma poética da música do cinema : ferramentas conceituais e metodológicas aplicadas na análise da música dos filmes Ajuste final e O homem que não estava lá ». Programa de Pós-Graduação em Comunicação e Cultura Contemporâneas da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/11305.
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Neste trabalho é examinada a hipótese de que os estudos fílmicos brasileiros pagam tributos altos demais a um determinado esquema conceitual de atribuição de valor à música dos filmes, esculpido no âmbito das grandes teorias gerais do cinema, com raízes mais profundas na declaração assinada por Eisenstein, Pudovkin e Alexandrov sobre o futuro do cinema sonoro, de 1929, e em um artigo escrito pelo compositor francês Maurice Jaubert, em 1937. Flagrando fragilidades conceituais e empíricas importantes no paradigma em questão, a pesquisa questiona a rentabilidade analítica deste modelo e propõe, como alternativa, uma base epistêmica construída a partir de um conjunto de pressupostos do campo da Estética, da Musicologia e dos estudos internacionais contemporâneos sobre a música do cinema, articulados no interior da matriz metodológica que orienta os trabalhos do Laboratório de Análise Fílmica – a ‘Poética do Filme’. O teste da metodologia, realizado nos filmes Ajuste final e O homem que não estava lá, sugere que a dimensão pragmática da análise torna-se acentuadamente mais dinâmica com a aplicação da matriz de raiz aristotélica aqui proposta - análise imanente com foco nos efeitos sensoriais, sentimentais e cognitivos que a obra produz sobre o apreciador -, do que com os esquemas conceituais dominantes no contexto dos estudos fílmicos brasileiros. Tudo indica que esta ‘poética da música dos filmes’, aplicada a uma determinada obra, constrói um território conceitual e analítico mais seguro e fecundo para ajudar a compreender por que algumas estratégias musicais têm grande potência de impressionar o gosto e a memória, enquanto outras são esquecidas ou guardadas nas subpastas das coisas corriqueiras e banais.
Salvador
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Guazzetti, Fabio. « Produrre il reale - analisi della produzione e distribuzione del cinema documentario italiano contemporaneo (2000 - 2019) ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25139/.
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Nell’ultimo ventennio, il genere documentaristico ha conosciuto una rinnovata popolarità in Italia, con un considerevole aumento dei volumi produttivi e numerosi autori in grado di ottenere importanti riconoscimenti a livello tanto nazionale quanto internazionale; nonostante ciò, sono tutt’ora ben pochi gli studi dedicati agli aspetti più economici ed industriali alla base di tale “rinascita del documentario”. Scopo di questa tesi è dunque quello di analizzare la contemporanea produzione e distribuzione di documentari in Italia, al fine di individuarne le caratteristiche fondamentali e delinearne le principali dinamiche evolutive. Un’analisi che non può prescindere dal prendere in considerazione il più ampio contesto audiovisivo in cui opera la cinematografia italiana: proprio per questo nel primo capitolo è proposta un’analisi del contemporaneo mercato audiovisivo europeo (con particolare riguardo alle misure di sostegno economico sovranazionali previste dalle principali istituzioni europee), per poi procedere nel secondo capitolo ad analizzare il più delimitato contesto italiano in una prospettiva storico-economica, al fine di individuare appunto le caratteristiche della contemporanea produzione documentaristica italiana; il terzo e ultimo capitolo è invece dedicato all’analisi della produzione e distribuzione di tre documentari del regista Gianfranco Rosi, che appaiono esemplificativi dello stato di salute del documentario italiano contemporaneo e permettono di verificare in maniera operativa quanto analizzato nelle due sezioni precedenti della tesi.
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Cerisuelo, Marc. « L'Instauration du cinéma : Poétique des films et interprétation : L'exemple des métafilms hollywoodiens ». Paris 3, 1998. http://www.theses.fr/1998PA030188.
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La presente etude se propose d'illustrer les liens entre la poetique des films, l'histoire du cinema et la necessite d'une approche interpretative d'inspiration litteraire et philosophique. Une longue introduction presente la "discipline" en justifiant le recours au terme de poetique, et s'attache a demontrer - ou a rappeler - que le cinema n'est pas l'art de l'image. Une premiere partie definit la notion de metafilm, en la distinguant des autres productions consacrees au cinema et en proposant l'idee d'un genre ouvert. La seconde partie etudie le deploiement historique du genre a hollywood. La conclusion rappelle l'importance du mepris comme fil conducteur des etudes metafilmiquesThe object of this study is to establish the relationships between poetics of film, film history and the claim of an interpretation based upon a literary background and a philosophical point of view. A "metafilm" is not just one more "movie-about-themovies". This study will attempt to show how, from show people to fedora, the hollywood tradition provides a real discourse of the film
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Chen, Yannleon. « The laws of terrorism| Representations of terrorism in German literature and film ». Thesis, University of Oregon, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1542689.
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Representations of the reasons and actions of terrorists have appeared in German literature tracing back to the age of Sturm und Drang of the 18th century, most notably in Heinrich von Kleist's Michael Kohlhaas and Friedrich Schiller's Die Räuber, and more recently since the radical actions of the Red Army Faction during the late 1960s and early 1970s, such as in Uli Edel's film, The Baader Meinhof Complex. By referring to Walter Benjamin's system of natural law and positive law, which provides definitions of differing codes of ethics with relation to state laws and personal ethics, one should be able to understand that Michael Kohlhaas, Karl Moor, and the members of the RAF are indeed represented as terrorists. However, their actions and motives are not without an internal ethics, which conflicts with that of their respective state-sanctioned authorities. This thesis reveals the similarities and differences in motives, methods, and use of violence in Schiller, Kleist, and representations of the RAF and explores how the turn to terrorism can arise from a logical realization that ideologies of state law do not align with the personal sense of justice and law of the individual.
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Prince, Rob. « Say Hello to My Little Friend : De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero ». Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.
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« Towards a National Cinema : An Analysis of Caliwood Films by Luis Ospina and Carlos Mayolo and Their Fundamental Contribution to Colombian Film ». Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63097.
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abstract: This dissertation proposes a re-evaluation of the films of Caliwood—a close-knit group of film fanatics who produced socially-minded independent cinema in Cali, Colombia—and the group’s contribution towards a national film industry. Focusing primarily on the works of Luis Ospina and Carlos Mayolo during the period ranging between 1971 and 1991, this study analyzes six key films—Oiga vea! (1972), Cali de Película (1973), Agarrando Pueblo (1977), Pura Sangre (1982), Carne de tu carne (1983)—which showcase the evolution of the group’s production from experimental documentaries to pseudo-documentaries and fictional films. Additionally, It All Started at the End (2015) is analyzed because it is the last film produced by Luis Ospina and it showcases the history of the group from his own perspective. In totality, these films represent a political stance derived from the tenets of the Third Cinema movement—a call for a revolutionary cinema which reverberated throughout Latin America—which denounces neocolonialism, the capitalist system, and the Hollywood model of cinema as mere entertainment for profit. Furthermore, this comprehensive analysis of Caliwood’s films covers a representative sample of their film legacy, as well as their critique of socio-political and cultural issues in Colombia. The reflections yielded from this study propose a reframing of Colombian film history and acknowledges the importance of Ospina’s and Mayolo’s contribution to the development of a “national” film tradition in Colombia.Dissertation/Thesis
Doctoral Dissertation Spanish 2020
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« Pólvora, sangre y sexo : dialogismos contemporáneos entre la literatura y el cine en América Latina ». Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.8906.
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abstract: The nature of the link between a literary text and its film adaptation has been a point of contention within academic thought since the inception of cinema due to the fact that film adaptation forms part of film history since the early 20th century. For most of the past century, the main concern of critics has been the level of fidelity that adaptations exhibit in terms of their relationship with the text, which was viewed as "the original" that directors needed to use as a model. In the last 25 years, however, the discourse of fidelity has been challenged by a number of intellectuals as a result of poststructuralist thought, which rejects the notion of an "original" text and proclaims the existence of infinite meanings within each text that are constructed by the reader, not the writer. The present investigation will take into account this type of epistemology as its starting point in order to review and defy a number of theoretical approximations from the last several decades that deal with the relationship between literature and cinema towards its main goal of overcoming the limitations of fidelity discourse. This will be carried out through an in-depth analysis of Latin American texts that have been adapted to film. Thematically both the literary texts and the films contain elements that portray the reality of marginalized groups that build their existence in opposition to the model of patriarchal heteronormativity. In current epistemological thought such a modus vivendi falls within the realm of queer theory. Another common thread that unites all the cultural productions is the presence of violence that showcases the high level of intolerance towards any subject who somehow seems to be different, hence threatening the dominant configuration of patriarchy. Furthermore, the different texts and films expose a general fragmentation within Latin American society, a result of the constant struggles among its diverse social groups, between the ones who occupy the position of socioeconomic power and those who are left outside of it; such a fragmentation also stems from the multiple clashes that occur within the marginalized groups themselves.Dissertation/Thesis
Ph.D. Spanish 2011
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« Negociaciones transnacionales en el cine del (in)migrante : acercamientos dialógicas al (in)migrante Otro dentro de España y Argentina ». Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14846.
Texte intégralRésumé :
abstract: Esta disertación analiza las maneras en que el sujeto (in)migratorio es representado en el cine español y argentino de los últimos años. El estudio investiga cómo el cine del (in)migrante ofrece convincentes narraciones (no)ficticias que son aportadas con temas de raza, género, lenguaje e identidad desde ambas perspectivas del sujeto migratorio y de aquellos ubicados dentro de las culturas "indígenas" de recepción. Al cuestionar la conceptualización de la nación-estado, este proyecto contribuye a una base teórica fundada en una ruptura de las nociones hegemónicas que han construido opiniones de diferencia y aceptación de una persona sobre otro. En términos de lenguaje, este estudio es relevante por su análisis del discurso y epítetos raciales que existen y persisten debido a parámetros y limitaciones en el lenguaje Castellano y su léxica inherente. Equipado con esto es la propuesta de que si nuestra lengua tiene un registro inadecuado para interactuar con el supuesto otro, entonces solo se puede concluir que nosotros también estamos limitados en nuestro entendimiento de otros sujetos globales. De allí, una mejora del lenguaje resultaría en una mejora de sensibilidades culturales y globales. Además, la representación del género y la raza son puntos importantes para una interpretación semiótica de estos textos y se observa las maneras en que los temas socio-lingüísticos son triangulados entre las películas, los países y las sociedades de tales producciones culturales. Por ejemplo, las mujeres están sujetas a puestos restringidos e inferiores del sector de servicio, como prostitutas y mucamas, mientras los hombres están atados a cuestionables formas de trabajo en la agricultura y servicios sociales de baja categoría. Al final de todo, un mayor empuje detrás de este género fílmico subversivo es romper con las erróneas, anticuadas y precipitadas nociones de identidades nacionales para incitar deseables sensibilidades culturales a través de la lente artística del cine.Dissertation/Thesis
Ph.D. Spanish 2012
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« SARA GARCÍA : ICONO CINEMATOGRÁFICO NACIONAL, ABUELA Y LESBIANA ». Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.24961.
Texte intégralRésumé :
abstract: ABSTRACT Mexican Golden Age Cinema materialized the narratives of identity, unity and morality that became the obligated point of reference to understand social stability and mexicaness during the post-revolutionary period. Hence, film stars evolved into cultural icons that embodied the representation of patriarchal order as a synonym for nationalism. However, dissident depictions that challenged carefully tailored heteronormative roles were as much a part of the post-revolutionary reality as was the attempt to manufacture a utopic heterosexual family on screen, that functioned as a metaphor for national reunification under the law of the father/president of the Mexican Republic. Nonetheless, even when an distinguished member of the Mexican star system, Sara García´s queer performativity of her quintessential sainted mother and even more revered grandmother characters highlights fissures in the effort to naturalize sexual passivity and heterosexual motherhood as the core of Mexican women identity. Furthermore, García took advantage of her romanticized butch characters in order to revert lesbian invisibility in movies where she portrait roles that exemplified sapphic households. In most of García's films masculine presence became redundant, hence challenging male privilege. Not very far from her own reality, García's queer women of a certain age, involved in female marriages, contested the post-revolutionary discourse of stability and mexicaness even in the heteronormative realm of Golden Age Filmmaking. Regardless of her queerness, unlike any other transgressive figure, Sara García became a national icon in her time and her image continues to hold relevance in current Mexican popular culture. More than five decades after her death young generations are still familiar with her legacy and her image has evolved into the representation of the nostalgia for tradition and alleged "more simple" times.Dissertation/Thesis
Ph.D. Spanish 2014
Livres sur le sujet "RAI Cinema (Firm)"
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Frascella, Larry. Live fast, die young : The wild ride of making Rebel without a cause. New York : Simon&Schuster, 2005.
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Green, Adolph, et Betty Comden. Singin' in the Rain (Classic Film Scripts). Continuum International Publishing Group, 1986.
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Ahmed, Omar. Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.001.0001.
Texte intégralRésumé :
This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, audience and mise en scène. The case studies run chronologically from Awaara (The Vagabond, 1951) to The Elements Trilogy: Water (2005) and include films by such key figures as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall) and Mira Nair (Salaam Bombay!).
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Sawhney, Rashmi. Revising the Colonial Past, Undoing “National” Histories. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0012.
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This chapter investigates the historical imagination of 1980s Indian women filmmakers seeking “companionship” with generations of women enduring or resisting convention in India's colonial past. Leveraging the emergence in the 1980s of an Indian women's cinema—and reflecting on the cinematic construction of gender debates in colonial India through its films, the chapter highlights the challenges they pose to establishing “national” narratives of gender or film history. Three films about gender and reform in late-nineteenth and early-twentieth-century colonial India are discussed: Phaniyamma (Prema Karanth, 1983), Rao Saheb (Vijaya Mehta, 1986), and Sati (Aparna Sen, 1989). Together these films present a constellation that supports the development of a feminist historiography of Indian cinema. The chapter also considers how literature on Indian regional cinemas, published in regional languages with little translation, has contributed to the marginalization of such cinemas in the construction of Indian film history.
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Rajadhyaksha, Ashish. 3. Partition and the ‘all-India’ film. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723097.003.0003.
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India officially became ‘independent’ in 1947 and a Republic in 1950. Neither were easy transitions. The cinema would inherit all of India’s political contradictions. It would soon become apparent that India, once incapable of creating an ‘Empire’ film, was now equally unable to provide the newly free country with a properly nationalist cinema. ‘Partition and the “all-India” film’ describes India’s film industry in Bombay after the war; the arrival of the most famous stars; the success of film music; and the impact of independent auteurs Satyajit Ray, Guru Dutt, and Ritwik Ghatak, who defined local industries as they emerged from out of the shadow of Bombay.
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Mayer, Geoff. Guide to British Cinema. Greenwood, 2003. http://dx.doi.org/10.5040/9798400660023.
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Scholarly and popular interest in British cinema has never been stronger, with films ranging from the Merchant/Ivory pictures throughNotting Hillfinding both critical and commercial success in America. As such,The Guide to British Cinemarepresents an invaluable guide to the nation's cinematic output, including entries on major British actors, directors, and films from 1929 through the present day. The volume also highlights both major cycles such as the Gainsborough melodrama, the Ealing comedy, and the British new wave; as well as less well-defined cycles including the vein of dark melodramas that characterized the British cinema from 1945 to 1950. Such figures as Alfred Hitchcock, David Lean, and Dirk Bogarde are covered in detail, as well as Christopher Lee, Roy Ward Baker, Ray Winstone, and other long-serving but less well-known artists. TheGuidepays close attention to films includingThe Third ManandBrief Encounteras well as genre pieces such asBrighton Rock. In all, the volume represents the first full-length examination of its subject, providing an irreplaceable resource for both film scholars and historians of British culture.
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Williams, James S. Xala. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839026010.
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Xala (1974) by the pioneering Senegalese director Ousmane Sembene, was acclaimed on its release for its scorching critique of postcolonial African society, and it cemented Sembene’s status as a wholly new kind of politically engaged, pan-African, auteur film-maker. Centring on the story of businessman El Hadji and the impotence that afflicts him on his marriage to a young third wife, Xala vividly captures the cultural and political upheaval of 1970s Senegal, while suggesting the radical potential of dissent, solidarity and collective action, embodied by El Hadji’s student daughter Rama and the group of urban ‘undesirables’ who act as a kind of raw chorus to the affairs of the neocolonial elite. James S. Williams’s lucid study traces Xala’s difficult production history and analyses its daring combination of political and domestic drama, oral narrative, social realism, symbolism, satire, documentary, mysticism and Marxist analysis. Yet from its dazzling extended opening sequence of revolution as performance to its suspended climax of redemption through ritualised spitting, Xala presents a series of conceptual and formal challenges that resist a simple reading of the film as allegory. Highlighting often overlooked elements of Sembene’s intricate, experimental film-making, including provocative shifts in mood and poetic, even subversively erotic, moments, Williams reveals Xala as a visionary work of both African cinema and Third Cinema that extended the parameters of postcolonial film practice and still resounds today with its searing inventive power.
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The screening of America : Movies and values from Rocky to Rain Man. New York : Continuum, 1990.
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Thomson, C. Claire. Citizens of the Future : Informational Film and the Welfare State. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0008.
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Although informational films made for domestic audiences in 1950s Denmark sometimes circulated internationally, their primary function was to instruct the populace about national institutions and infrastructure. They help to shape and renegotiate citizenship and national identity on screen, and mediate new technologies, laws and practices. This chapter examines five such films covering a range of topics: the national rail network, public libraries, home economics training for housewives, careers advice, and sport and leisure. Of these, three were directed by Theodor Christensen, a leading figure in Danish documentary. The production history of each film is outlined and contextualised within the contemporary socio-political developments and innovations which, in most cases, triggered the film projects. The chapter also describes the national network of informational film distribution, including Statens Filmcentral, and the screening of films in a range of venues such as cinemas, libraries and leisure clubs. The distinction in the Danish context between the forfilm (for theatrical exhibition) and foreningsfilm (for use by clubs and societies) is examined.
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Willis, Andy. From Killer Snakes to Taxi Hunters : Hong Kong Horror in an Exploitation Context. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0004.
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From the Shaw Brothers production line to the clones of Bruce Lee, Hong Kong cinema has long been seen as driven by raw commercial concerns. Like many other commercial film industries, most notably Hollywood, production in the Hong Kong film industry has also been focused on popular cycles of production. These have included phases when family melodramas, historical swordplay and kung-fu films, screwball comedies and triad based crime films have all proved successful at the domestic and regional box-office. As with other commercially focused film industries there has also been a low budget sector within Hong Kong industry. Here producers and directors have fashioned energetic, populist films that were designed to appeal to audiences’ desire for films that contained sex and violence. The horror genre seemed the perfect vehicle to satiate these needs. This chapter explores the work of filmmakers who worked at this rougher end of Hong Kong horror in the 80s and 90s. As well as placing them into this exploitation context of production, this chapter discusses their excessive content and the visual style employed by directors such as Kuei Chih-hung (Killer Snakes, Hex) and Herman Yau (The Untold Story, Ebola Syndrome) to deliver their exploitative content.
Chapitres de livres sur le sujet "RAI Cinema (Firm)"
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Lenehan, Fergal. « Singing in the Rain : The Irish-Themed Film Musical and Schlager’s Hibernian Moment ». Dans Ireland and Cinema, 149–57. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137496362_14.
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Cardullo, R. J. « Thought, Feeling, and The Cinema of Francis Ford Coppola : The Rain People As Exemplum ». Dans Teaching Sound Film, 125–34. Rotterdam : SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_12.
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« 21. Film Festivals ». Dans Satyajit Ray on Cinema, 126–29. Columbia University Press, 2013. http://dx.doi.org/10.7312/ray-16494-022.
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« 3. Should a Film-Maker Be Original ? » Dans Satyajit Ray on Cinema, 13–18. Columbia University Press, 2013. http://dx.doi.org/10.7312/ray-16494-004.
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« 9. A Film Must Achieve its Objective ». Dans Satyajit Ray on Cinema, 43–50. Columbia University Press, 2013. http://dx.doi.org/10.7312/ray-16494-010.
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Viart, Christophe. « The Happy Failure ». Dans Post-cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland : Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463727235_ch16.
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Among the most interesting and humorous artists that Marcel Duchamp has inspired, Christophe Viart proposes considering another of Marcel’s incursions into film. Marcel Broodthaers was a Belgian contemporary artist whose range of activities also covered poetry and (post-)cinema. A single film can have considerable theoretical power. This is the case with La pluie (Projet pour un texte) [The Rain (Project for a Text)], a 1969 two-minute 16mm black-and-white film, which presents Broodthaers attempting to write on paper in the rain. Is it a film? Is it cinema? This may be the material of a regular film, but not the spirit. We are definitely in the post-art era…
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Andrew, Dudley. « Postwar renewal and retrenchment ». Dans French Cinema : A Very Short Introduction, 49—C4P11. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/actrade/9780198718611.003.0004.
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Abstract This chapter covers the state of French cinema just after the World War II armistice. Critics from L’Écran Français, La Revue du Cinéma, and other papers and cultural journals broadcast the return of French cinema to international prominence and its role in envisaging a free, egalitarian society. The chapter explores the opening of the film school IDHEC and the Cannes Festival, where France entered five features including prize-winners La Bataille du rail and La Symphonie Pastorale. Though not selected by its own country, Georges Rouquier’s poetic documentary Farrebique took the critics’ award. The chapter explains how cinema was at the mercy of trade negotiations with America following the 1946 Blum–Byrnes accord. It discusses the establishment of the Objectif 49 movement, led by Cocteau, Bazin, Jacques Becker, and Robert Bresson, to build an audience for a new avant-garde of mature feature films.
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Ahmed, Omar. « Feminist Concerns ». Dans Studying Indian Cinema, 87–106. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0006.
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This chapter surveys the career and legacy of Indian cinema's greatest film-maker, Satyajit Ray. If Raj Kapoor can be credited with popularising Indian cinema around the globe, then Satyajit Ray can certainly lay claim to bringing a measure of artistic credibility and sincerity to Indian cinema. Choosing a favourite Ray film was a tricky proposition given the consistency he maintained as a film-maker over four decades. He may have built his reputation on the Apu trilogy, winning major awards at film festivals, but his lifelong fascination with Bengali novelist Rabindranath Tagore provided the source material for some of his finest and most complex works. Charulata (The Lonely Wife, 1964) forms the focus for the chapter, which covers the Bengal renaissance, Satyajit Ray's status as an auteur, gender representations in the films of Ray, camera and narrative style, the relationships between the three central characters, political undercurrents, and the film's portrayal of married life in the Bengali middle class.
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Missero, Dalila. « Searching for Gender in the Audience : Cultural Discourses and Opinion Surveys ». Dans Women, Feminism and Italian Cinema, 17–26. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.003.0002.
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This chapter opens the section dedicated to film spectatorship, by offering an overview of the cultural discourses about women’s spectatorship and the trends of cinema-going in post-war Italy. It combines quantitative sources (especially surveys conducted by independent agencies and the national broadcaster RAI) with an heterogenous array of examples from mass culture (popular press, films). While women appear as a minority in the cinema audience, their complex engagement with films and media reveals their numerous strategies to participate in social life.
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Narula, Brahmneet Kaur. « Indian Cinema : Indian Diaspora’s Culture Export to the Middle East ». Dans Diaspora in MENA Region and Beyond, 299–317. UJ Press, 2024. http://dx.doi.org/10.36615/9781776489312-13.
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The Middle East accounts for one of the largest Indian diasporas abroad, mostly concentrated in the Gulf Region. This diaspora has been instrumental in establishing people-to-people contact between India and the Middle East. One of the ways in which the diaspora has been successful in bringing the cultural elements of India to the region is through the popularisation of Indian cinema. From the screening of Raj Kapoor’s “Awara” as early as 1951, to releasing multiple Indian movies every week, be they from Bollywood or other regional cinemas like the Tamil and Malayalam film industry, the presence of Indian cinema in the region has come a long way. The Middle East has also transformed from simply being a consumer of Indian cinema to being a location where movies are directed and produced. Due to the presence of a large Indian diaspora, as well as an Arab audience which consumes Indian cinema just as enthusiastically, the movies and the film industry, particularly Bollywood, have moved beyond being a source of entertainment. For many, it is a representation of India and its culture. Due to the strong influence that Indian cinema has in the region, it also contributes significantly to the economy of Middle Eastern countries, including in the tourism, food and clothing sectors, and in the region’s own filmmaking ecosystem.