Letteratura scientifica selezionata sul tema "Réalisateurs de cinéma allemands – États-Unis – États"
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Tesi sul tema "Réalisateurs de cinéma allemands – États-Unis – États":
Tsopotos, Alexandros. "Entre ironie critique et fascination : les États-Unis dans le regard de quelques cinéastes immigrés : Erich von Stroheim, Ernst Lubitsch, Josef von Sternberg, Michael Curtiz, William Dieterle". Paris 1, 2011. http://www.theses.fr/2011PA010618.
Demoulin, Claire. "Hollywood Transatlantique : traversées visuelles, culturelles et sociales dans les films biographiques de William Dieterle (1936-1942)". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080023.
This dissertation focuses on a corpus of biographical films, directed by German-born filmmaker William Dieterle in Hollywood between 1936 and 1942. It examines the multifaceted relationships between the Studio System in which the director worked, the growing feeling of danger in the period that led up to the United States’ entry into the war, and the genre of biographical pictures that developed at the time. Because this film cycle was produced in a historical context marked by exile and deep political crises, its analysis brings out the central role played by migration —and the intermediaries and networks it entailed— in the transatlantic cultural transfers that contributed to the development of Western narratives shared by both sides of the Atlantic. The iconographic, formal, and discursive analysis of these films highlights the processes of cultural hybridization that contributed to the syncretism of European and American referents, and through which Paul Ehrlich and Florence Nightingale are reborn as progressive heroes and defenders of America. It is through a formal face-to-face encounter with audiences of the 1930s and 1940s —by means of direct address to the camera— that these reenactments of the past plea for the universality and timelessness of the struggles they seek to convey ; the biographical mode is used in this encounter as a strategy to circumvent censorship and to ward off, via entertainment, the collapse of political expression. The primary goal of this dissertation is to question the interactions between cinema and society and to examine the relationships between social spheres and the making of these films, both for the films’ portrayals of societal transformations of the era and for the types of social and political intervention that they created
Dubois, Régis. "Le cinéma africain-américain : enjeux politiques et discours idéologiques". Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX10015.
Vinet-Kammerer, Romaric. "Appropriations de la ville américaine par les cinéastes européens : 1960-1980". Paris 1, 2005. http://www.theses.fr/2005PA010539.
Demoulin, Anne. "Trajectoires de Fritz Lang de Babelsberg à Hollywood". Lyon 3, 2005. http://www.theses.fr/2005LYO33022.
The work of Fritz Lang is mostly considered as a two period work : German period/American period. Is this dichotomy relevant ? To answer it, first, we study how the film maker proceeded and his career in the public sphere ; by understanding how the media image was built and how Lang was involved and took part in this construction. Then, we consider how Fritz Lang proceeded in the private sphere as a sociological actor : his origins, how he was formed and the actantiel diagram of his migratory course. Lastly, we observe the professional trajectory of the director himself. We compare the working conditions of the film maker in Germany and in Hollywood. We propose a new segmentation of the work of director by showing the constancy of two major topics : the myth and the crime. By a compared analysis of M and Fury, we conclude that while passing from the figure of the super-criminal to the ordinary criminal, M contains the programming science of the American work of the director
Baqué, Zachary. "L'Amérique dans l'œuvre cinématographique et télévisuelle de David Lynch". Toulouse 2, 2006. http://www.theses.fr/2006TOU20056.
In the ongoing American search for the artistic forms that would best represent its territory, David Lynch’s œuvre is an incarnation of America. As a national representation of the United-States, America has been the main location of Lynchian fictions since Blue Velvet in 1986. The “americanness” of his works is first defined by a settling of his fictions in the American space, in the geographical sense of the term, that of common and specific places, as well as that of popular culture and ideology. It is then based on an aesthetics of violence, which reveals the carnal dimension of bodies while it undermines the codes of conventional cinematography. Finally, it is grounded in the revelation of its own status as a truly fantasmatic construction. Whether it is for Cinema or for Television, the works of David Lynch represent America as the coexistence of mundane day life with nocturnal perversion. However, none of these parallel worlds embodies the ultimate truth about America
Delaporte, Chloé. "Genres et socialisation a Hollywood : sociologie des films américains des réalisateurs de cinéma d’origine européenne expatries aux États-Unis entre 1900 et 1945". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030042.
This thesis consists of a sociology of American films by European émigré directors expatriated to the United States between 1900 and 1945. The corpus, exhaustive, has been elaborated from a group delimited to 77 directors, and includes 2657 films. This work informs a particular aspect of the transatlantic cultural transfer : professional socialization in Hollywood through the categorization system of movie industry into « genres ». Genre is viewed as a product of social construction, in a pragmatic way. Thus, our research falls within sociology of arts and borrows its subject from the film history. Two approaches are mixed. The first is microsociological, meaning films of the corpus are analyzed using a qualitative method, seeking to investigate their production context and reception process. The second is macrosociological, for films are next analyzed using a quantitative method, particularly by having recourse to statistic tools. Our a! mbition is not to offer a comparison of socialization through genre between the European émigré and « the others », but definitely to conduct an inner one, by measuring similarities and differences between the group’s numerous directors, these having varied careers and trajectories. This thesis brings into light the effective impact of a certain number of things on socialization dynamic in Hollywood. We demonstrate therefore that professional status at the time of American expatriation is a prevalent factor
Zeis, Vincent. "Stuart Heisler : un kaléidoscope hollywoodien". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC006.
Stuart Heisler is an American director working in the context of major studios based on a division into genres and on actors constituting models for spectators and used to attract crowds in the period from the 1930s to the 1960s. Films by Stuart Heisler will be studied in detail through film analysis, in a stylistic approach of the filmmaker’s career, but also in relation to the global meaning of the films in relation to their narrative, the acting and their use of sets. The relationship between this aesthetic and the films’ modes of production of the can be considered as a direct consequence of Hollywood’s modes of production. So, how to characterize these joint evolutions? They concern both the filmmaker and his production context through time in a historiographical perspective. The study will combine a stylistic and a historiographic approach of Stuart Heisler’s career. Characterizing these evolutions will make it possible to understand the different facets of the director's practice, his manner of cinematographic creation for each film, and finally to make the artistic portrait of the director through his practice within the production system in which he is working. The study will paint the artistic portrait of Stuart Heisler through his insertion in several contexts of production corresponding to the joint evolution of the filmmaker’s career and his production structures. It will define the forms and the modalities of the particular aesthetic coalescence of the director's style, starting from his position as editor during the 1920’s and 1930’s during his career beginnings before the actual directing. The influence of the different collaborators have on Stuart Heisler will be studied before the passage from editing to directing in 1936. Heisler goes towards more independence in 1944 and 1945 whereas his personal will remains framed by the production. Stuart Heisler goes to the situation of a director developing a particular style during the 1940s and 1950s centered around the filmic figure. The central figure of the fire is founded on the destruction of the pro-filmic. The figure of the fire is also related to the figure of bursting and is visible for television production during the 1950s and 1960s. The director is turning towards television in the 1950’s and 1960’s. The filmmaker's familiarity with his work is reflected in the television series. The work will finally study the works inspired by Stuart Heisler's style
Eliopoulos, Mariamne. "Esthétique et intertextualité dans les films des frères Coen". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030136.
Film intertextuality in the Coen brothers’ films allows generic formulas and styles to be reformulated, in a reworking of cinema traditions. The Coen brothers borrow techniques and themes from the era of the Hollywood studio system as well as those of writers of the twentieth century like Raymond Chandler or James Joyce. A study of thenarratology of the Coen brothers’ oeuvre allows readers to appreciate their innovations in film direction. Their rewriting of schemas of the past is analyzed in the context of the history of ideas and of contemporary American civilization. In comparing their work to that of other directors in the history of cinema, such as Fritz Lang and Alfred Hitchcock,the effects of intertextuality on the spectator will be evaluated