Littérature scientifique sur le sujet « Storia del cinema »
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Articles de revues sur le sujet "Storia del cinema"
Penasso, Marina. « Un fondo per la storia del cinema ». HISTORIA MAGISTRA, no 24 (novembre 2017) : 166–67. http://dx.doi.org/10.3280/hm2017-024018.
Texte intégralCherchi Usai, Paolo. « I migliori film del 1913 ? Sette paradossi sulla storia del cinema ». 1895 Mille huit cent quatre-vingt-quinze 1, no 1 (1993) : 170–84. http://dx.doi.org/10.3406/1895.1993.1022.
Texte intégralDe Leo, Maya. « Storie, visioni, memorie Lgbtq+ : il Novecento italiano in tre libri ». ITALIA CONTEMPORANEA, no 297 (janvier 2022) : 257–65. http://dx.doi.org/10.3280/ic297-oa4.
Texte intégralMocci, Maria Lucia. « Cinema, PTSD e trauma in etŕ evolutiva ». IPNOSI, no 1 (août 2011) : 69–74. http://dx.doi.org/10.3280/ipn-2011-001009.
Texte intégralFanchi, Mariagrazia. « Andare al cinema a Milano. Fra trasformazioni nazionali e specificità locali ». TERRITORIO, no 95 (mai 2021) : 99–108. http://dx.doi.org/10.3280/tr2020-095011.
Texte intégralRiefolo, Giuseppe. « Pornografia e dolore mentale ». PSICOBIETTIVO, no 2 (juin 2021) : 181–90. http://dx.doi.org/10.3280/psob2021-002014.
Texte intégralCorona, Gabriella. « Paolo Frascani e le trasformazioni storiche dei mari italiani ». SOCIETÀ E STORIA, no 126 (mars 2010) : 669–72. http://dx.doi.org/10.3280/ss2009-126004.
Texte intégralToti, Anna Maria Paola. « Le forme istituzionali del potere. Pier Paolo Pasolini e il linguaggio della praxis ». RIVISTA TRIMESTRALE DI SCIENZA DELL'AMMINISTRAZIONE, no 1 (mars 2012) : 131–49. http://dx.doi.org/10.3280/sa2012-001006.
Texte intégralNoto, Paolo. « La scuola italiana del cinema. Il Centro Sperimentale di Cinematografia dalla storia alla cronaca (1930-2017), Alfredo Baldi (2018) ». Journal of Italian Cinema & ; Media Studies 9, no 2 (1 mars 2021) : 330–34. http://dx.doi.org/10.1386/jicms_00078_5.
Texte intégralLamera, Federica. « LAURA NUDA : UN INTENSO RITRATTO FEMMINILE NEL CINEMA ITALIANO DEGLI ANNI SESSANTA. » Revista Internacional de Culturas y Literaturas, no 15 (2014) : 270–81. http://dx.doi.org/10.12795/ricl.2014.i15.20.
Texte intégralThèses sur le sujet "Storia del cinema"
Martin, Florez Camilo Andres <1980>. « Lineamenti di storia del cinema muto in Colombia ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9555/1/Tesi_di_dottorato_CamiloMartinFlorez%20%28finale%29.pdf.
Texte intégral"Outlining the History of Silent Cinema in Colombia" stems from a particular interest aimed at determining to what extent Colombians participated in the development of their national cinema between 1897 and 1926. In order to achieve this goal, this work aims to create a critical review of the lineament of the history of Colombian silent cinema. Furthermore, and considering the strong participation of Italian entrepreneurs and filmmakers in Colombian silent cinema between 1909 and 1926, particular attention is paid to their contribution, to which chapter 4 is fully devoted as well as some sections of chapters 2, 3, 5 and 7. It is important to point out that analyzing the contribution of local filmmakers denies much of the existing bibliography on silent cinema since no Colombian or foreign text has ever established their contribution to local or international cinema. In fact, in this research, the notions of polycentrism, polymorphism, and cinematographic versatility are studied in-depth, with the aim of creating a documented and updated study of Colombian silent cinema. It is aimed to be able to demonstrate that the contribution of the latter to Colombian and Latin American silent cinema - and in part to the Italian one - was substantial and far-reaching, both in terms of quantity and content. Finally, this research aims not only to define the contribution of Colombian filmmakers to the development of their national cinema but also, and above all, to identify the origin of some of the elements that characterize Colombian cinema.
Ricca, Lucio. « Senza i conforti del cinema. Elsa Morante e il cinema : storia di un'illusione ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Trouver le texte intégralMUSCOLINO, MARCO. « LA "RIVISTA DEL CINEMATOGRAFO" : UNA STORIA CULTURALE, 1928-2008 ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/630.
Texte intégralThe «Rivista del Cinematografo» is the most ancient magazine in the Italian history of cinema. Published before 1928, in 2008 it celebrated its 80th anniversary. In spite of this long-lived presence in Italian publishing, the «Rivista del Cinematografo» represents a history left out in social discourses. This research considers instead the «Rivista del Cinematografo» as a cultural history that can illuminate the historical processes of the Italian cinema with particular – but not exclusive – reference to their relationships with the catholic culture. It could be said that the history of the «Rivista del Cinematografo» is a long duration microhistory. This definition can appear conflicting because it puts two categories that come from two different historical traditions near to each other: the microhistory and the long duration. But this research intends to explore a new historical perspective – the ‘so called’ cultural history – with the aim of learning from a debate which has developed enormously in recent years and analysing the consequences that this debate also has on the historical practice in the field of cinema.
MUSCOLINO, MARCO. « LA "RIVISTA DEL CINEMATOGRAFO" : UNA STORIA CULTURALE, 1928-2008 ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/630.
Texte intégralThe «Rivista del Cinematografo» is the most ancient magazine in the Italian history of cinema. Published before 1928, in 2008 it celebrated its 80th anniversary. In spite of this long-lived presence in Italian publishing, the «Rivista del Cinematografo» represents a history left out in social discourses. This research considers instead the «Rivista del Cinematografo» as a cultural history that can illuminate the historical processes of the Italian cinema with particular – but not exclusive – reference to their relationships with the catholic culture. It could be said that the history of the «Rivista del Cinematografo» is a long duration microhistory. This definition can appear conflicting because it puts two categories that come from two different historical traditions near to each other: the microhistory and the long duration. But this research intends to explore a new historical perspective – the ‘so called’ cultural history – with the aim of learning from a debate which has developed enormously in recent years and analysing the consequences that this debate also has on the historical practice in the field of cinema.
Nicoletti, Chiara <1978>. « Storia in immagini del PCI. Modalità di comunicazione e di propaganda audiovisiva tra attendibilità storica e mercato contemporaneo ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3054/1/nicoletti_chiara_PropagandaPCI.pdf.
Texte intégralNicoletti, Chiara <1978>. « Storia in immagini del PCI. Modalità di comunicazione e di propaganda audiovisiva tra attendibilità storica e mercato contemporaneo ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3054/.
Texte intégralGiurlando, Davide <1979>. « Mondi in guerra : strategie di rappresentazione del conflitto nel cinema russo ». Doctoral thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1162.
Texte intégralThe present dissertation is divided into three sections and intends to trace an history of Russian war cinema from the 20s to the present day, through the analysis of a selection of films. The first section aims to give substance to the theoretical possibility of using films as tools for cultural research, by comparing the history of Soviet war cinema with the one from other countries, and thus ascertaining the presence of a “myth” of the war in Russia. In the second section, an analysis of early propaganda films, newsreels and documentaries from World War II is proposed. Stylistic procedures and conceptual schemes under which war is outlined in these films provide the foundation for the works of fiction about the same theme which are developed in the following decades. The third section focuses on studio films, and consists of six subsections; each one including the analysis of a series of films, selected according to the historical period they were produced in. In the final conclusions, some suggestions for further research are proposed, such as a possible analysis about current war-themed TV series.
Ceriani, Eleonora <1994>. « Storie d’Italia. Raccontare e valorizzare il territorio e la sua storia millenaria. Il ruolo del documentario e le possibilità di finanziamento in Italia ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14164.
Texte intégralDel, Monte Marco <1974>. « Il film sull'arte e la Mostra internazionale del cinema di Venezia ». Doctoral thesis, Università Ca' Foscari Venezia, 2010. http://hdl.handle.net/10579/986.
Texte intégralThis thesis addresses the debate on films on art which emerged from the post-war years to the end of the fifties, by reconstructing the history and the initiatives of international institutions created for its regulation, use and circulation. After identifying and contextualizing the role of UNESCO, the first part of the thesis follows the birth of the Fédération Internationale du Film sur l'Art in 1948, as well as the protagonists and congresses that established its policies and targets; it shall then proceed with the analysis of other institutions and of a several catalogues produced worldwide. The second part focuses on the context of internationals festivals, in particular on the Venice International Film Festival. We shall thereby address the production of films as well as the gradual definition of critical and methodological debate around this genre.
Migliarino, Mattia. « L'Italia degli anni di piombo alla luce del cinema italiano ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25319/.
Texte intégralLivres sur le sujet "Storia del cinema"
Rondolino, Gianni. Storia del cinema. Torino : UTET Libreria, 1988.
Trouver le texte intégralStoria del cinema. Venezia : Marsilio, 1998.
Trouver le texte intégralRondolino, Gianni. Storia del cinema. 2e éd. Torino : UTET, 1988.
Trouver le texte intégral1988, Vincent Carl, Morandini Morando 1924- et Volpi Gianni, dir. Storia del cinema. Milano : Garzanti, 1988.
Trouver le texte intégralStoria del cinema. Venezia : Marsilio, 2002.
Trouver le texte intégralRondolino, Gianni. Storia del cinema. 3e éd. Torino : UTET, 1995.
Trouver le texte intégralRondolino, Gianni. Storia del cinema. Torino : UTET libreria, 2000.
Trouver le texte intégralStoria e storie del cinema americano. [Turin, Italy] : UTET università, 2013.
Trouver le texte intégralGualtiero, De Santi, et Valli Bernardo M. 1948-, dir. Carlo Lizzani : Cinema, storia e storia del cinema. Napoli : Liguori, 2007.
Trouver le texte intégralBrunetta, Gian Piero. Storia del cinema italiano. Roma : Editori Riuniti, 1993.
Trouver le texte intégralChapitres de livres sur le sujet "Storia del cinema"
Gott, Michael. « Mapping the Hybrid European Road : French Connections, European Traditions and American Influence ? » Dans French-language Road Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748698677.003.0002.
Texte intégralOwens, Rebekah. « Introduction ». Dans Studying Shakespeare on Film, 7–18. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348547.003.0001.
Texte intégralWhite, Patricia. « Sentimental MiseducationWomen Directors Coming of Age ». Dans Cinema, Media, and Human Flourishing, 118—C7.P60. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197624180.003.0008.
Texte intégralOlivares-Merino, Julio-Ángel. « Desposesión y desencanto del espectro contemporáneo : el fantasma en I Am a Ghost (2012), I Am the Pretty Thing that Lives in the House (2016) y A Ghost Story (2017) ». Dans Revisiones posmodernas del gótico en la literatura y las artes visuales, 31–48. Ediciones Universidad de Salmanca, 2022. http://dx.doi.org/10.14201/0aq03223148.
Texte intégralGunning, Tom. « A Machine for Killing Time ». Dans The Oxford Handbook of Film Theory, 15—C1.N58. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.013.1.
Texte intégralAvila, Jacqueline. « The Prostitute and the Cinematic Cabaret ». Dans Cinesonidos, 21–67. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.003.0002.
Texte intégralMilner, Andrew, et J. R. Burgmann. « Cli-fi in Other Media ». Dans Science Fiction and Climate Change, 171–89. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621723.003.0008.
Texte intégralBhrugubanda, Uma Maheswari. « The Exemplary Citizen–Devotee and the Other ». Dans Deities and Devotees, 86–116. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199487356.003.0003.
Texte intégralMuller, Christine. « Post-9/11 Power and Responsibility in the Marvel Cinematic Universe ». Dans American Cinema in the Shadow of 9/11. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474413817.003.0014.
Texte intégralOwens, Rebekah. « Teenpic Shakespare ». Dans Studying Shakespeare on Film, 95–120. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348547.003.0005.
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