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Articoli di riviste sul tema "Imperialism in motion pictures"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 29 luglio 2024

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1

Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels". EduLite: Journal of English Education, Literature and Culture 6, n. 2 (31 agosto 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.
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Geiger, Jeffrey. "Exquisite wonder: Colour film, realism and the Yankee voyage, 1936–38". Journal of New Zealand & Pacific Studies 8, n. 1 (1 maggio 2020): 57–79. http://dx.doi.org/10.1386/nzps_00015_1.

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This article looks at rare Kodachrome film taken across Oceania, mostly shot by a skilled amateur filmmaker, Edmund Zacher, to document the circumnavigation of the famous clipper Yankee. There are three intertwined lines of inquiry traced here. The first explores relations between US imperialism, moving image media and a popular imaginary, considering how experiences of virtual travel engage with cultural ideology. The second examines how this footage may be interpreted: how might critical frameworks brought to bear on amateur non-fiction differ from those commonly applied to professional and narrative fiction film? A key reference point is the theory of cinematic gesture developed by Giorgio Agamben, who expands on the work of Gilles Deleuze and his notion of the movement image. This stress on gesture and on the mediality of moving images leads towards a third key area under consideration: colour and the (then) new medium of Kodachrome. Homing in on relations between colour stock and motion picture realism, this study explores the ways that Kodachrome colour might have affected broader perceptions of the world itself.
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3

Young, Linda. "Motion Pictures". SMPTE Journal 105, n. 4 (aprile 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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4

Masson, Alan J. "Motion Pictures". SMPTE Journal 108, n. 2 (febbraio 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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5

Masson, Alan J. "Motion Pictures". SMPTE Journal 107, n. 1 (gennaio 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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6

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau e Sacha Zilberfarb. "Motion pictures". Vacarme 15, n. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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7

Burns, Edward J. "Motion Pictures". SMPTE Journal 97, n. 4 (aprile 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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8

Young, Linda. "Motion Pictures". SMPTE Journal 106, n. 1 (gennaio 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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9

Ricotta, Frank J. "Motion Pictures". SMPTE Journal 104, n. 4 (aprile 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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10

Ricotta, Frank J. "Motion Pictures". SMPTE Journal 103, n. 4 (aprile 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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11

Antonoff, Michael. "Motion Pictures". Scientific American 296, n. 5 (maggio 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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12

Mitchison, Tim J. "Motion pictures". Nature 357, n. 6373 (maggio 1992): 32. http://dx.doi.org/10.1038/357032a0.

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13

Gomery, Douglas. "Motion Pictures". Communication Booknotes 16, n. 5 (maggio 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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14

Gomery, Douglas. "Motion Pictures". Communication Booknotes 17, n. 1 (gennaio 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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15

Gomery, Douglas. "Motion Pictures". Communication Booknotes 17, n. 9-10 (settembre 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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16

Gomery, Douglas. "Motion Pictures". Communication Booknotes 18, n. 7-8 (luglio 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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17

Gomery, Douglas. "Motion Pictures". Communication Booknotes 18, n. 9-10 (settembre 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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18

Gomery, Douglas. "Motion Pictures". Communication Booknotes 19, n. 5 (settembre 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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19

Block, Eleanor, James K. Bracken, Eleanor S. Block e Bruce A. Austin. "Motion Pictures". Communication Booknotes Quarterly 29, n. 1 (gennaio 1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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20

Levine, Niall, John A. Lent e Bruce Austin. "Motion pictures". Communication Booknotes Quarterly 29, n. 2 (marzo 1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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21

Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca e Gary R. Edgerton. "Motion pictures". Communication Booknotes Quarterly 29, n. 4 (settembre 1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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22

Austin, Bruce A., Niall Levine e Chris Sterling. "Motion pictures". Communication Booknotes Quarterly 30, n. 4 (settembre 1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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23

Blasko, Edward J. "Motion Pictures". SMPTE Journal 95, n. 4 (aprile 1986): 413–19. http://dx.doi.org/10.5594/j17960.

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24

Iosifian, S. A., e V. A. Petrovskii. "Motion Pictures". Russian Education & Society 37, n. 10 (ottobre 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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25

Baptista, John L. "Motion Pictures". SMPTE Journal 101, n. 4 (aprile 1992): 231–34. http://dx.doi.org/10.5594/j02302.

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Baptista, John L. "Motion Pictures". SMPTE Journal 102, n. 4 (aprile 1993): 289–94. http://dx.doi.org/10.5594/j03791.

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27

Baptista, John L. "Motion Pictures". SMPTE Journal 100, n. 4 (aprile 1991): 225–31. http://dx.doi.org/10.5594/j04767.

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28

Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures". Film & History: An Interdisciplinary Journal of Film and Television Studies 39, n. 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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29

Cho, Minhaeng. "Molecular motion pictures". Nature 444, n. 7118 (novembre 2006): 431–32. http://dx.doi.org/10.1038/444431a.

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30

Hunter, Jefferson. "Pictures and Motion Pictures in the 1940s". Hopkins Review 7, n. 1 (2014): 93–111. http://dx.doi.org/10.1353/thr.2014.0001.

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31

Nimis, Erika. "“Motion pictures” in Nigeria". Visual Anthropology 14, n. 3 (settembre 2001): 293–99. http://dx.doi.org/10.1080/08949468.2001.9966836.

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32

Bardell, Eunice Bonow. "Pharmacists in Motion Pictures". American Journal of Health-System Pharmacy 45, n. 1 (1 gennaio 1988): 179–83. http://dx.doi.org/10.1093/ajhp/45.1.179.

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33

Leach-Murray, Susan. "SWANK Motion Pictures, Inc." Technical Services Quarterly 35, n. 1 (27 novembre 2017): 115–16. http://dx.doi.org/10.1080/07317131.2017.1385299.

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34

Copeland, V. Natasha E. "Pictures in Motion or Motion Pictures: Sembène’s Natural Products Steal the Show". Études littéraires africaines, n. 30 (17 novembre 2014): 58–76. http://dx.doi.org/10.7202/1027347ar.

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Dans ses films Xala (1974) et Ceddo (1977), Sembène redéfinit l’usage des sculptures traditionnelles en bois, tout en demeurant fidèle aux métaphysiques sahéliennes dans ses innovations esthétiques, littéraires ou cinématographiques. Des masques, un bâton ou une canne jouent à l’écran un rôle qui, en raison de leur propre vitalité et de leur étroite association avec divers personnages, capte l’attention du public autant que le font les héros des films. Sembène oppose, dans la trame de ses films, la force vitale de ces objets africains à celle d’artefacts, symboles de l’Occident. Sculptés par l’homme, les objets africains restent en relation avec l’environnement dont leur substance est tirée ; Sembene établit de surcroît, entre lieux et personnages, des liens profonds, notamment entre les arbres, le bois et les hommes.
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35

Porée, Marc. "Poets' lives in motion (pictures)". Études anglaises 66, n. 4 (2013): 511. http://dx.doi.org/10.3917/etan.664.0511.

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36

Ba Tu Truong, S. Venkatesh e C. Dorai. "Scene extraction in motion pictures". IEEE Transactions on Circuits and Systems for Video Technology 13, n. 1 (gennaio 2003): 5–15. http://dx.doi.org/10.1109/tcsvt.2002.808084.

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37

Baecker, Dirk. "The Reality of Motion Pictures". MLN 111, n. 3 (1996): 560–77. http://dx.doi.org/10.1353/mln.1996.0032.

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38

Marta Zarzycka and Bettina Papenburg. "Motion Pictures: Politics of Perception". Discourse 35, n. 2 (2013): 163. http://dx.doi.org/10.13110/discourse.35.2.0163.

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39

Yeazell, Ruth Bernard. "Sex, Lies, and Motion Pictures". Henry James Review 25, n. 1 (2004): 87–96. http://dx.doi.org/10.1353/hjr.2004.0012.

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40

Blackstone, Erwin A., e Gary W. Bowman. "Vertical Integration in Motion Pictures". Journal of Communication 49, n. 1 (1 marzo 1999): 123–39. http://dx.doi.org/10.1111/j.1460-2466.1999.tb02785.x.

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41

Nebeker, F. "Motion pictures [Scanning Our Past]". Proceedings of the IEEE 101, n. 4 (aprile 2013): 1020–25. http://dx.doi.org/10.1109/jproc.2013.2244752.

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42

Wartenberg, T. E. "The Philosophy of Motion Pictures". British Journal of Aesthetics 49, n. 1 (1 gennaio 2009): 83–85. http://dx.doi.org/10.1093/aesthj/ayn053.

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43

Gazley, Aaron, Gemma Clark e Ashish Sinha. "Understanding preferences for motion pictures". Journal of Business Research 64, n. 8 (agosto 2011): 854–61. http://dx.doi.org/10.1016/j.jbusres.2010.09.012.

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44

DecencièreFerrandière, Étienne. "Restoration of Old Motion Pictures". Microscopy Microanalysis Microstructures 7, n. 5-6 (1996): 311–16. http://dx.doi.org/10.1051/mmm:1996127.

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45

Bakker, Gerben. "How Motion Pictures Industrialized Entertainment". Journal of Economic History 72, n. 4 (14 dicembre 2012): 1036–63. http://dx.doi.org/10.1017/s002205071200068x.

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Abstract (sommario):
Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled in some cases. Motion pictures’ contribution to aggregate GDP and TFP growth was much smaller than that of general purpose technologies steam, railways, and electricity, but not insignificant. An observer might have noted that “motion pictures are everywhere except in the productivity statistics.”“So long as the number of persons who can be reached by a human voice is strictly limited, it is not very likely that any singer will make an advance on the £10,000 said to have been earned in a season by Mrs. Billington at the beginning of the last century, nearly as great as that which the business leaders of the present generation have made on the last.”1Alfred Marshall
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46

"Motion Pictures". SMPTE Journal 94, n. 4 (aprile 1985): 369–81. http://dx.doi.org/10.5594/j14054.

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47

"MOTION PICTURES". Communication Booknotes Quarterly 31, n. 1 (marzo 2000): 43–54. http://dx.doi.org/10.1207/s15326896cbq3101_10.

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48

"MOTION PICTURES". Communication Booknotes Quarterly 31, n. 2 (giugno 2000): 138–44. http://dx.doi.org/10.1207/s15326896cbq3102_11.

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49

"MOTION PICTURES". Communication Booknotes Quarterly 31, n. 4 (dicembre 2000): 258–65. http://dx.doi.org/10.1207/s15326896cbq3104_06.

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"MOTION PICTURES". Communication Booknotes Quarterly 32, n. 1 (marzo 2001): 27–31. http://dx.doi.org/10.1207/s15326896cbq3201_05.

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