Letteratura scientifica selezionata sul tema "Cinéma documentaire espagnol"
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Articoli di riviste sul tema "Cinéma documentaire espagnol":
Bernaldo, Cristina. "Regards documentaires sur la folie dans le cinéma espagnol, du Franquisme à la Transition démocratique". Cahiers de civilisation espagnole contemporaine, n. 23 (26 dicembre 2019). http://dx.doi.org/10.4000/ccec.9019.
Tesi sul tema "Cinéma documentaire espagnol":
Castanon, Brice. "Renouveau du documentaire en Espagne et nouveau réalisme catalan : le Master en Documentaire de création de l'Université Pompeu Fabra (Barcelone)". Thesis, Reims, 2011. http://www.theses.fr/2011REIML004/document.
As in others European countries, at the end of the 9O's, documentary experiences a new boom in Spain. The Master in Creative documentary of the Pompeu Fabra University takes part to the renewal and is one the main originator. This training center, where a lot of movies are developed, is the origin of a new world of art and promotes the cooperation between producers, creators, technicians and cultural coordinators. In this thesis, we wanted to give an account of the process that considers both local scale (a University) and the global cultural panorama. In a country where "creative documentary" doesn't success in elaborating a tradition, we wanted to question the transmission between filmmakers of different generations in the UPF and, at the same time, the transmission of the concept of "creative documentary", between filmmakers, producers, programm planners. broadcasters and spectators. In these pages, we analyze movies of filmmakers as Jean-Louis Comolli, Joaquin Jorda, José Luis Guerin, lsaki Lacuesta, Ricardo Iscar, Mercedes Alvarez, Xavier Montanyà, Ariadna Pujol, Lupe Pérez and Marc Recha
Bernaldo, Lopez Cristina. "Regards documentaires sur la folie dans le cinéma espagnol, du franquisme à la Transition démocratique". Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080111.
The aim of this work is to present an intersectional study between psychiatry and documentary film during the Francoist dictatorship and the democratic transition. The end of the Spanish Civil War marks the abandonment of the psychiatric policies applied during the previous historical period and the beginning of new principles based on controlling university chairs and publications and dissolving the treatment policies previously carried out by psychiatric hospitals. Social awareness of mental health issues only arose in Spain at the beginning of the 1970s when a new generation of psychiatrists engaged in a series of public protests in the hope of changing the institution of psychiatry includingits theoretical foundations as well as its practical applications. Meanwhile, during the dictatorship, documentary films were almost exclusively controlled by the NO-DO, the Noticiarios y Documentales, an entity responsible for producing audiovisual propaganda for the regime. Upon Franco’s death, documentary films became the springboard for uncovering certain veiled aspects of Spanishsociety, such as insanity, that, until then, had been forbidden or hidden from the public. Through the study of these two concepts, our work hopes to identify the specific message of Francoist psychiatry and understand how it was portrayed via nonfictional communication channels more concretely in documentary films produced by NO-DO during the dictatorship , before we examine the interest given to psychiatric matters by documentary cinema during the Spanish democratic transition and to what extent it challenged the scientific and therapeutic order established during the previous period. Widely-established as an important instrument in the shaping of history , we consider studying documentary film a fundamental tool in shining a light on different unknown aspects of history, and in this case, those related to mental illness
Campillo, Jean-Paul. "Les représentations des problématiques sociales dans le cinéma espagnol contemporain (1997-2011)". Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2002/document.
This thesis is about documentaries which, in Spain, are in a half-way between militant commitment and political disengagement. Our research focused on minority movies likely to take the opposite view of the feeble representations of social problematics, and thus, to propose a political interpretation. These productions, by coming closer to militancy, question the speech and the action of in place authorities (political and economical) and, at the mean time, show alternatives that belong to a distant or very recent past. Portmán, a la sombra de Roberto (Miguel Martí, 2001), El efecto Iguazú (Pere Joan Ventura, 2002), 200 km. (Discusión14, 2003), La mano invisible (Isadora Guardia, 2004), Veinte años no es nada (Joaquín Jordà, 2004), El astillero (Disculpen las molestias) (Alejandro Zapico, 2007), Flores de luna (Juan Vicente Córdoba, 2009), 15M Libre te quiero (Basilio Martín Patino, 2011), although these movies share a lot of things in common with social criticism, they do not focus on individual fates, but rather on collective projects. Moreover, beyond describing facts, they act as whistleblowers in order to modify the viewer’s consciousness
Kerfa, Sonia. "Géographies du regard dans le cinéma documentaire non institutionnel : le corps ou la question de l'écart (Espagne 1951-1974)". Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/kerfa_s.
The antirepublican's victory at the end of the Spanish Civil War and the long-lasting installation of general Franco at the head of a personal and authoritarian government led to the power's takeover of the non-fiction film production. Nevertheless, and in spite of the monopoly exercised by the official news called NO-DO (Noticiario y Documentales Cinematográficos), which also produced documentary films, a cinema looking into reality in a singular way existed. Away from the monolithic and uniform landscape imposed by the dictatorship, different ways of seeing appeared, as early as the fifties, and did not stop asserting themselves throughout these long years deprived of freedom. This thesis takes support on a tight and heterogeneous corpus of eleven documentary films realized during about twenty five years. The purpose is to bring to light non-institutional realizations which, although not necessarily antifranquist filmmakers' work, nonetheless remain personal creations deviating, even sometimes slightly, from the narrow vision of the official authorities. We designed this corpus and measured this deviating distance with the help of the deterritorialisation and reterritorialisation philosophical concepts as they are exposed in Gilles Deleuze's and Félix Guattari's works. Their conception of the society allowed us to consider the question of the body as center of "becoming", in spite of the historical and cultural determinism under the Franquist regime. The reality of the body, in our corpus's filmmakers' visions, draws a dynamic and unusual field which wanders through the national geography and testifies of the documentary cinema's vigour in a landscape restrained by the censorship
Kerfa, Sonia Seguin Jean-Claude. "Géographies du regard dans le cinéma documentaire non institutionnel le corps ou la question de l'écart (Espagne 1951-1974) /". Lyon : Université Lumière Lyon 2, 2008. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2008/kerfa_s.