Letteratura scientifica selezionata sul tema "Alain Cavalier"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Consulta la lista di attuali articoli, libri, tesi, atti di convegni e altre fonti scientifiche attinenti al tema "Alain Cavalier".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Articoli di riviste sul tema "Alain Cavalier":
Sáez-González, Jesús Miguel. "Thérése (Alain Cavalier)". Vivat Academia, n. 114 (15 marzo 2011): 322. http://dx.doi.org/10.15178/va.2011.114.322-323.
Guyot-Bender, Martine. "Pater by Alain Cavalier". French Review 87, n. 2 (2013): 207–8. http://dx.doi.org/10.1353/tfr.2013.0299.
Perron, Bernard. "Alain Cavalier: visage de style". Canadian Journal of Film Studies 5, n. 1 (marzo 1996): 23–34. http://dx.doi.org/10.3138/cjfs.5.1.23.
Jeannelle, Jean-Louis. "Alain Cavalier : le filmeur, la caméra et le spectateur". Itinéraires, n. 2009-4 (1 dicembre 2009): 175–91. http://dx.doi.org/10.4000/itineraires.1282.
Guyot-Bender, Martine. "Alain Cavalier, cinéaste et filmeur éd. par Robin Dereux, Serge Lepéron". French Review 89, n. 2 (2015): 197–98. http://dx.doi.org/10.1353/tfr.2015.0039.
Koch, Jana. "Erinnernd, grabend. Alain Cavaliers Irène". Maske und Kothurn 60, n. 3-4 (1 ottobre 2014): 196–203. http://dx.doi.org/10.7767/muk-2014-603-414.
Koch, Jana. "Erinnernd, grabend. Alain Cavaliers Irène". Maske und Kothurn 63, n. 3-4 (1 ottobre 2014): 196–203. http://dx.doi.org/10.7767/muk-2014-633-414.
Tweedie, James. "The Afterlife of Art and Objects: Alain Cavalier's "Therese"". SubStance 33, n. 3 (2004): 52. http://dx.doi.org/10.2307/3685545.
Tweedie, J., e D. F. Bell. "The Afterlife of Art and Objects: Alain Cavalier's Therese". SubStance 33, n. 3 (1 gennaio 2004): 52–79. http://dx.doi.org/10.1353/sub.2004.0047.
Seror, R., G. Baron, M. Camus, D. Cornec, E. Perrodeau, S. J. Bowman, M. Bombardieri et al. "OP0286 DEVELOPMENT AND PRELIMINARY VALIDATION OF THE SJÖGREN’S TOOL FOR ASSESSING RESPONSE (STAR): A CONSENSUAL COMPOSITE SCORE FOR ASSESSING TREATMENT EFFECT IN PRIMARY SJÖGREN’S SYNDROME". Annals of the Rheumatic Diseases 81, Suppl 1 (23 maggio 2022): 189.2–190. http://dx.doi.org/10.1136/annrheumdis-2022-eular.2583.
Tesi sul tema "Alain Cavalier":
Robles, Amanda. "Le cinéma d'Alain Cavalier : le contact et la preuve". Toulouse 2, 2007. http://www.theses.fr/2007TOU20067.
How does one define the emotional impact of such singular shots in which a film-maker literally reaches his hand into the frame to touch what he's filming? In my research, I have decided to label this cinematic gesture a "contact-shot". Alain Cavalier's films offer a wide variety of such "contact-shots": are they not shots that emblematize his vision of the cinema? His films are “contact-films”: he puts his entire self into his works and strives to get to the heart of matters, to create a direct link with what he's filming and foster an exchange at times verging on fusion. But his films may also be qualified as “proof films” in the sense that assertions are based on documents, events of all kinds, eye-witness accounts, “root-images” and true-life experiences. “Contact and proof”: Alain Cavalier only films what he can touch. Spanning the author's entire works from Un Américain (1958) right through to Filmeur (2005) I have focused on the evolution of the “contact-shot” concept in its various stages (nascent forms, first attempts, experimentations, its emergence and progressive dissolution) and thus witnessed the author's transformation from film director into “filmer” (filmeur)
Rèbre, Isabelle. "Figures du deuil et du photographique. Formes du film-essai chez Naomi Kawase, Alain Cavalier et David Perlov". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080044.
This dissertation is a consideration of the photographic in its relation to memory and mourning in both their personal and historical forms. It demonstrates how photography is a figure of mourning; how it is at once a means of connecting and a means of cutting off. Figures of mourning and filmmakers’ unique formal gestures are analyzed through a pared-down corpus of three essay films. In Letter From a Yellow Cherry Blossom (2002), Naomi Kawase is personally confronted with death. Her use of photographic stills provokes an interruption that reverses a seemingly fatal trajectory. Photography is a connecting figure that brings together the living and the dead. In Alain Cavalier’s This Answering Service Takes No Messages (1978), the filmmaker embodies a man in mourning. He uses a number of photographic stills from his personal archives, including newspaper clippings showing cadavers from the Second World War. This gesture of reuse brings out the historical dimension of the issues investigated in this dissertation. Photography becomes a figure of cutting off: the film deploys a number of figures through which rupture is insistent and participates in a process of mourning. In David Perlov’s Diary (1973-1982), a project bookended by two wars, these issues take on a political dimension. The Israeli filmmaker and photographer makes use of a number of photographic formats. Through reuse and repetition, the photographic allows for a transformation of the figure that breaks off from a traumatic past
Müller, Maria Ganem. "Found footage na era digital: especificidades da montagem nos filmes baseados em arquivos amadores e familiares". Doctoral thesis, 2020. http://hdl.handle.net/10451/48403.
La thèse Found Footage à l'ère numérique, le montage avec les films d'archives amateurs et familiaux a pour objectif étudier la pratique du found footage, en particulier la création de films réalisés avec des archives amateur et de famille à l'ère du numérique, en faisant attention aux particularités du montage dans de telles oeuvres audiovisuelles. L'étude approfondit les connaissances sur ce sous-genre du film de montage, le film créé à partir d'archives amateurs, remettant en question les archives et les documents historiques, les mémoires personnelles et les mémoires collectives, la représentation et l'évolution technologique, la sphère privée et la sphère publique et la dissolution de frontières entre cinéma amateur, cinéma expérimental et documentaire. Dans le cadre d`une recherche théorique et pratique, j’ai réalisé trois courts métrages qui ont servi de fil conducteur à cette étude, à savoir : Jacarepaguá (2017), Tabu, propriedade privada (2018) et À memória de Nilda (2019). Les films ont été créés à partir de vieilles images d’amateur et de familles, recueillies par moi ou bien provenantes de l`archives privé portugais Ideias no Escuro. Cette thèse théorico-pratique s'inscrit dans la continuité de ma recherche de maîtrise sur les films de montage d'archives, intitulée Found Footage, mouvement cinématographique contemporain. La thèse Found Footage à l'ère numérique, le montage avec les films d'archives amateurs et familiaux s'inscrit dans un mouvement académique en faveur de l'élargissement de la connaissance des archives amateurs et familiales au cinéma, en tenant compte la réalité contemporaine des technologies et des écosystèmes numériques, autrement dit de la disponibilité et de la circulation dans le réseau numérique des archives photographiques et audiovisuelles, ainsi que des oeuvres créées avec ce matériau en ligne.
Libri sul tema "Alain Cavalier":
Michel, Estève, a cura di. Alain Cavalier. Paris: Minard, 1996.
Robles, Amanda. Alain Cavalier, filmeur. [Le Havre]: De l'incidence, 2011.
Dereux, Robin, e Eugenie Zvonkine. Alain Cavalier, cinéaste et filmeur: Journée d'étude du 27 mars 2012. Paris: Harmattan, 2014.
Henri, Agel, e OCIC (Organization), a cura di. Cinéma et spiritualité: Robert Bresson, Andreï Tarkovski, Ermanno Olmi, Krzyzstof Zanussi, Alain Cavalier. Bruxelles, Belgique: OCIC, 1988.
Villain, Dominique. Le travail du cinéma: Rencontres avec André S Labarthe, Alain Cavalier, Claire Denis et Albert Serra. Saint-Denis: Presses universitaires de Vincennes, 2013.
Aleksandrovich, Kuznet︠s︡ov Vladimir. Les Alains: Cavaliers des steppes, seigneurs du Caucase. Paris: Errance, 1997.
Aleksandrovich, Kuznet︠s︡ov Vladimir. Les Alains: Cavaliers des steppes, seigneurs du Caucase : Ier-XVe siècles apr. J-C. Paris: Errance, 2005.
Aleksandrovich, Kuznetsov Vladimir. Les Alains: Cavaliers des steppes, seigneurs du Caucase : Ier-XVe siècles apr. J-C. Paris: Errance, 2005.
Tweedie, James. Moving Pictures, Still Lives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.001.0001.
Tweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.
Capitoli di libri sul tema "Alain Cavalier":
Villain, Dominique. "Alain Cavalier. Filmeur". In Le travail du cinéma II, 56–97. Presses universitaires de Vincennes, 2013. http://dx.doi.org/10.4000/books.puv.2715.
Sharpe, Mani. "Stardom, Atrocity and the Beauty of Violence". In Late-colonial French Cinema, 56–71. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474414227.003.0002.
Chaplin, Felicity. "Courtesan". In La Parisienne in Cinema. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526109538.003.0006.