Letteratura scientifica selezionata sul tema "Modernité cinématographique"
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Articoli di riviste sul tema "Modernité cinématographique"
Hallé, Esther. "Adaptation et modernité dans le cinéma italien d’après-guerre". Transcr(é)ation 1, n. 1 (15 settembre 2022): 1–22. http://dx.doi.org/10.5206/tc.v1i1.15097.
Testo completoGarneau, Michèle. "Effets de théâtralité dans la modernité cinématographique". L’Annuaire théâtral, n. 30 (5 maggio 2010): 24–40. http://dx.doi.org/10.7202/041469ar.
Testo completoBouchard, Vincent. "Transmettre l’expérience d’une rencontre : le cas du cinéma léger synchrone". Transmettre, n. 5 (10 agosto 2011): 81–97. http://dx.doi.org/10.7202/1005493ar.
Testo completoPastre, Béatrice de. "De la tradition littéraire à la modernité cinématographique". 1895, n. 68 (1 dicembre 2012): 67–81. http://dx.doi.org/10.4000/1895.4567.
Testo completoMarantz, Eléonore. "L’architecture des cinémas en France pendant les années 1930: captation et mise à l’épreuve du concept de modernité". Apuntes. Revista de estudios sobre patrimonio cultural 31, n. 1 (23 settembre 2018): 84–101. http://dx.doi.org/10.11144/javeriana.apc31-1.acfp.
Testo completoMoser, Walter. "Présentation. Le road movie : un genre issu d’une constellation moderne de locomotion et de médiamotion". Cinémas 18, n. 2-3 (4 agosto 2008): 7–30. http://dx.doi.org/10.7202/018415ar.
Testo completoVidal, Bertrand. "Que les ténèbres soient… Les univers mythiques du film-catastrophe moderne et postmoderne". Comunicação e Sociedade 18 (30 dicembre 2010): 63–73. http://dx.doi.org/10.17231/comsoc.18(2010).986.
Testo completoGuétin, Marie-Laure. "Le descriptif en questions : le décor XIXe dans l’oeuvre cinématographique de Luchino Visconti". Figures de l'Art. Revue d'études esthétiques 24, n. 1 (2013): 167–77. http://dx.doi.org/10.3406/fdart.2013.1044.
Testo completoGoerlitz, Guido. "Visage et ornement. Remarques sur une préhistoire de la visagéité photographique dans la modernité allemande chez Simmel et George". Envisager, n. 8 (10 agosto 2011): 103–19. http://dx.doi.org/10.7202/1005542ar.
Testo completoBelloï, Livio. "Les intermittences du visible : reprises de vue dans le cinéma expérimental américain". Recherches anglaises et nord-américaines 45, n. 1 (2012): 173–81. http://dx.doi.org/10.3406/ranam.2012.1434.
Testo completoTesi sul tema "Modernité cinématographique"
Pourvali, Bamchade. "L'"Essai filmé" comme forme de la modernité cinématographique, 1953-1997". Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0034.
Testo completoIn the field of cinematic studies, modernity refers to the attempts to challenge classical modes of representations at the time of the Second World War, which take the form of a return to the documentary. This process takes two expressions: one runs through Hollywood productions, for instance the opening scene of Chaplin’s Great Dictator and the conclusion of Orson Welles’ Citizen Kane; the other is apparent in post-war Europe with Italian neorealism. In this context, film criticism defines the essay as one of the objects of modern cinema, joining ontology to language, as described in the works of Alexandre Astruc, André Bazin or Jacques Rivette. In the middle of the 1950s, modern cinema offers striking examples of these cinematographic forms with, on the one hand Alain Resnais’ Night and Fog, a film which is typical of “the French school of short films”, and on the other hand Roberto Rossellini’s Journey to Italy, which its author has described as the expression of “a refine form of neorealism”. In 1963, two French films are at once heirs to the tradition of classic American cinema and the start of a deeper reflection on the cinematographic essay, Chris Marker’s The Jetty and Jean-Luc Godard’s Contempt. By comparing the evolution of both these directors we will attempt to define the cinematographic essay as form closely linked to a certain moment in the history of cinema. Thus the essay, after producing its first major works in the 1960s will develop during the 1990s around the time of the hundredth anniversary of cinema. New stakes arise at that time to define cinematographic modernity between North and South, East and West, as cinema enters a new century
Hallé, Esther. "Antonio Pietrangeli, critique et création (1940-1965). : pensées du réalisme cinématographique". Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC042.
Testo completoAntonio Pietrangeli (1919-1968) has been a prominent figure in Italian cinema, as a critic throughout the 1940’s and as a director from 1953. As an actor in the critical debates during the elaboration of neorealism, Pietrangeli places his first film (Empty Eyes, 1953) under the auspices of a neorealist ending season. This style will evolve afterwards towards a realism conceived under the concepts of loss and incompleteness, which is particularly visible in the light of his concern to the condition of women. The present study proposes the first french-language monography about the work of Pietrangeli, with the ambition to establish a dialogue between his critical and filmic work. The hypothesis of a Pietrangelian conception of cinematographic realism, by revealing specific relations between critics and creation, established a dialogue where the realistic question appears as a conceptual tool, which enlightens Pietrangeli's contribution to the elaboration of a cinematic modernism. The first three chapters trace back a "realistic struggle", which is fully part of Italian neorealism’s historiography, and is characterized by its moral specificity. It announces an epistemological transition, meaning that the conception of cinema moves away from an idealistic tradition in favor of existential perspectives, embodied in a filmography where reality, becoming questionable, indicates a skeptical phenomenology, which constitutes the core of the fourth and fifth chapters
Li, Yuanyuan. "Entre tradition et modernité : le mélodrame chinois durant la période républicaine". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010616/document.
Testo completoMany western film scholars have strong interest to the Chinese contemporary movie, but, rarely they devotes to the films of the first half of the 20s century. This study proposes a reflection on a field of study that is the Chinese film melodrama during the Republican period (1911-1949), a field of study which is utterly neglected in France. It envisages a revaluation on the movies often called "realist" and "revolutionary". Chinese melodramatic films possess multiple faces: its stereotyped style (the victim, the traitor, the miserabilism and the Manichaeism), its hybrid nature (Chinese heritage and western influences), and contradictory messages (conservative for some people, revolutionaries for others). Despite its propagandistic character, melodrama is considered as one of the most popular gender by both the Chinese people and intellectuals
Korn, Mirabelle. "La Réconciliation de La Tradition et de La Modernité dans L’adaptation Cinématographique Contemporaine du Conte de Fées en France et en Allemagne". Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/49.
Testo completoLesson, Benjamin. "La torpille numérique : problématiques métier de l’exploitation cinématographique à l’heure des multiplexes et des diffusions multi-supports". Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20090/document.
Testo completoThe movie theatre manager articulates the cinematographic public place and the public place. He proposes a definition and an objectification of the cinema within the public place, depending how he « builds » an aesthetic experiment frame. Thus, the movie theatre manager is on a « crossroad ’: he has to ensure the (material and symbolical) frame required for an aesthetic experiment, depending on institutional practices and according to the spectators « demands». The business challenges of the movie theatre manager concern as well its competitive location, as its location within the cinematographic public place as well as within the public place. This thesis aims at reporting it, in an interdisciplinary way. It also commits a comment on the definitions of the cinema belonging to the public place as well as the function that this space grants it.The new digital devices can drive to the radicalisation of the mass media aspect of the movie (by multiplying the ways of reception). But they also offer new aesthetic configurations. Thus, the cinema has to be (re) defined according to these new possibilities (Part 1).It is all the film institution which is concerned by the problems due to the new technologies emergence and which tends to reduce the cinematographic experiential value to the mass media of the film aspect. Now the market exploits this logic more than the institutions do and so appears as the only guarantor of the quality (Part 2).However, the movie theatre manager is not only a diffuser; his work also is to proceeds a mediation. So, it is a matter of considering the sociability problematics committed by the theatre space and the conditions of creation of micro- agora, micro public place by the movie theatre (Part 3).It is only in a global seizure of both aspects of the cinema (mass media and micro-agora) that the movie theatre manager has a clear and an important function, that it must be revalued within the film public place (conclusion)
Bron, Jean-Albert. "L' image à contre-sens (1950-1968) : le discours critique et l'exploration théorique face aux "modernités" cinématographiques". Paris 7, 2013. http://www.theses.fr/2013PA070011.
Testo completoThis dissertation aims at analysing how French intellectuals considered cinema — their main strengths and contradictions — between 1950 and 1968, at a time when they were confronted with a major turnaround in the evolution of forms and in terms of film issues in the European cinema sphere. Firstly, an Intellectual Critical Group is being defined, that stands outside the cinephilic circles, with a view to analyse the intellectuals' expectations (ideology, morale and aesthetic) about movie re,ception. Secondly, these reception grids (in the early 1950's) are made explicit through three theoretical mainstays: the theoretical proposais issued by the Existentialist movement and Merleau-Ponty; the impact of Malraux's writings on aesthetic; and Cohen-Séat's theoretical approach on cinema. Thirdly, the various aspects of film theory are considered during this period, with a particular focus on the works of Albert Laffay, Edgar Morin, Christian Metz, and Roland Barthes. Lastly, the four part deals with the movies favoured by the Intellectual Critical Group's reception to account for the difficulty, at that time, to reflect on film experience, and to emphasise the intricate and complex of those intuitions winch will foster the progression of Film theory, in the long term
Park, Heui-Tae. "Deux modes fondamentaux de la création cinématographique : au-delà de l'émotion (Takeski Kitano) et au-delà du visible (Hong Sangsoo)". Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30095.
Testo completoAccording to the studies of French philosopher Gilles Deleuze, the arrival of Italian neorealism is the crossing point between a classic form of film (The movement-image) and a modern one (The time-image). Such a distinction is widely endorsed by theorists, critics and historians of films. Far from corresponding to a historical rupture, it refers to two types of films that have their own characteristics. This study intends initially to approach, from Deleuze's typology, the specifics of each of these regimes in terms of creation. The films of Takeshi Kitano, Japanese filmmaker, and Hong Sangsoo, Korean director, are analyzed under this prospect. The former represent a structure based on a classical scheme, while the latter is based on the characteristics of modern film. The analyst also allows following the creative process of these two internationally renowned filmmakers. This study attempts secondly to illustrate that they have a universal perspective in terms of creation
Essoukan, epee Hermann. "La Vision poétique du 'Monde' dans les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache". Electronic Thesis or Diss., Université Grenoble Alpes, 2023. http://www.theses.fr/2023GRALL024.
Testo completoThe present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation
Bertrand, Solène. "Les adaptations cinématographiques des œuvres médiévales : de la lettre à l'image, de l'écrit à l'écran". Rouen, 2004. http://www.theses.fr/2004ROUEL488.
Testo completoThis work is a thought about the changes created by the movement between books and screen. Each adaptation is a rewriting of literature. It concerns the structural transformations and the evolution of the texts. What becomes the literary style ? Film adaptations change the art of writing. The movies i have chosen are adapations of medieval works : L'Eternel Retour from Jean Delannoy, Lancelot du Lac from Robert Bresson, Monthy Python Holy Grail, Perceval Le Gallois from Eric Rohmer. Each director goes back to the texts and to Middle Ages and XXth century are quite similar : same status for the images, for the author. These adaptations try to demonstrate that this periods are not so far away : it's good to think about it
Pillard, Thomas. "Négociations identitaires : le film noir français face aux bouleversements de la France d’après-guerre (1946-1960)". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100066.
Testo completoAlthough the term « film noir » is generally associated with Hollywood cinema, this generic label was originally coined in France in reference to French films made in the 1930s, and the « noir » genre defines a transnational form which circulated between Europe and Hollywood. We intend to study « noir » films in French cinema through this lens, highlighting that the genre is rooted in an old French tradition. Our analysis of the evolution of French film noir foregrounds historical and cultural aspects, positing that film noir articulates a critical discourse on modernity. This doctoral thesis shows that the « noir » form underwent changes which evidenced the ambivalence of identity in a nation in transition between 1946 and 1960, that had to negotiate the cultural shift from Occupation to the Consumer society : the « noir realism » cycle expressed a strong pessimism that has nostalgic, masculinist and nationalist implications, in opposition to the « série noire pour rire » which illustrated a playful reappropriation of History and modernity ; last but not least, gangster films built on the contrast between older characters, marked by the burdens of war, and contemporary mutations, including the development of the American way of life in France. Through its diversity, French film noir reveals the contradictions of post-war French society : the country was keen to dive into the future but obsessed with its traumatic past ; in part seduced by the « American model », it was however determined to keep its « French identity »
Capitoli di libri sul tema "Modernité cinématographique"
Daniellou, Simon. "VII. La modernité cinématographique japonaise à l’aune de l’esthétique théâtrale classique". In Les cinémas d’Asie, 91–101. Presses universitaires de Strasbourg, 2016. http://dx.doi.org/10.4000/books.pus.6342.
Testo completoMellet, Laurent. "Modernité et explicitation de Ivory à Forster". In L’œil et la voix dans les romans de E.M. Forster et leur adaptation cinématographique, 251–70. Presses universitaires de la Méditerranée, 2012. http://dx.doi.org/10.4000/books.pulm.10445.
Testo completoDeyanova, Liliana. "7. Les images cinématographiques du passé national. Le Congo, le temps utopique-mythique de la modernité socialiste et le problème du comparatisme". In Images, mémoires et savoirs, 281. Editions Karthala, 2009. http://dx.doi.org/10.3917/kart.nday.2009.01.0281.
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