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Artykuły w czasopismach na temat "Cinema verite"
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Hall, Jeanne. "Realism as a Style in Cinema Verite: A Critical Analysis of "Primary"". Cinema Journal 30, nr 4 (1991): 24. http://dx.doi.org/10.2307/1224885.
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Plantinga, Carl. ": Robert Drew and the Development of Cinema Verite in America . P. J. O'Connell." Film Quarterly 47, nr 1 (październik 1993): 60–61. http://dx.doi.org/10.1525/fq.1993.47.1.04a00230.
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Plantinga, Carl. "Review: Robert Drew and the Development of Cinema Verite in America by P. J. O'Connell". Film Quarterly 47, nr 1 (1993): 60–61. http://dx.doi.org/10.2307/1213125.
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Jazdon, Mikołaj. "Czerwiec 1956 wiosną 1981. Poznań 1956 (1981) Tadeusza Litowczenki i Mirosława Kwiecińskiego". Poznańskie Studia Polonistyczne. Seria Literacka, nr 29 (1.03.2017): 129–46. http://dx.doi.org/10.14746/pspsl.2016.29.9.
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The article presents the making of the first documentary film depicting the traumatic events of the anticommunist uprising in Poznań in June 1956 as well as the difficult fate of the documentary after it had been completed. Its authors, Tadeusz Litowczenko and Mirosław Kwieciński, composed their Poznań 1956 (1981) of two interwoven narrative lines. Archive photographs with off screen commentary make the first narrative line while cinema-verite-like interviews with the participants of historical events make the other. The film analysis is aimed to underline the formal means employed in the film to present the opposing sites of the conflict. It also focuses on the historical context from the times when film was being made in the so called ‘festival of Solidarity movement’ in the early 1980s.
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Hubbert, Julie. ""Whatever Happened to Great Movie Music?": Cinema Verite and Hollywood Film Music of the Early 1970s". American Music 21, nr 2 (2003): 180. http://dx.doi.org/10.2307/3250564.
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Davis, Kimberly Chabot. "White Filmmakers and Minority Subjects: Cinema Verite and the Politics of Irony in "Hoop Dreams" and "Paris Is Burning"". South Atlantic Review 64, nr 1 (1999): 26. http://dx.doi.org/10.2307/3201743.
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Aji, Fajar. "STILISTIK REALISME GENRE HOROR SINEMA INDONESIA PASCA REFORMASI: Studi Kasus Film Keramat 2009". Capture : Jurnal Seni Media Rekam 10, nr 1 (24.01.2019): 101. http://dx.doi.org/10.33153/capture.v10i1.2182.
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<p>Artikel ini bertujuan untuk mendeskripsikan eksplorasi stilistik film <em>Keramat</em>. <em>Form</em> dan <em>style </em>dijadikan titik awal untuk mengetahui eksplorasi stilistik film. Informasi data diidentifikasi berdasarkan kesamaan dengan gerakan sinema yang mempengaruhinya. Subjektivitas sebagai pendekatan pada proses deskriptif dengan melakukan analisis interpretatif. Hasil penelitian menunjukkan bahwa <em>Cinema Verite</em> dan <em>Neorealisme Italia</em> mempengaruhi formula khas stilistik dalam film <em>Keramat, </em>terutama<em> </em>mendukung karakteristik <em>genre</em> horor meliputi: menciptakan efek menegangkan, menakutkan, dan teror, serta mewujudkan konsep realisme peristiwa yang difilmkan</p><p><strong>Kata kunci</strong>: film, <em>Keramat</em>, <em>form</em> dan <em>style</em>, stilistik, dan realisme</p><div> </div>
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O’Rourke, Andrea. "Cinema Verité: A Love Story". Missouri Review 35, nr 2 (2012): 176. http://dx.doi.org/10.1353/mis.2012.0054.
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DE MIRANDA, MARIA, i Bruno de Matos Farias. "NELISITA: NARRATIVAS NYANEKA, DE RUY DUARTE DE CARVALHO:". CADERNOS DE ESTUDOS CULTURAIS 2, nr 26 (26.10.2022): 153–74. http://dx.doi.org/10.55028/cesc.v2i26.13063.
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Resumo: Durante um bom tempo, ao discutir a linguagem cinematográfica, acreditou-se que o “olho mecânico” do cinema podia apagar a ilusão literária do estilo, do modo de contar. Bastava colocar uma câmera em uma rua e deixá-la filmando os passantes para criar uma espécie de relatório cinematográfico, de cinéma verité. A capacidade de narrar do cinema é certamente o que mais o aproxima da literatura, apesar de possuir linguagens e regras bem diferentes. Este trabalho, que é um estudo do filme Nelisita, narrativas Nyaneka, de Ruy Duarte de Carvalho, busca, primeiramente, observar o modo pelo qual o realizador recriou, em seu filme, o mito Nambalisita, narrado por Carlos Estermann na obra Cinquenta contos bantos do Sudoeste de Angola. Em seguida, aborda a representação da história, em que se inclui a análise de elementos como encenação, enquadramentos, trilha sonora e encadeamento. Tal análise objetiva elucidar a singularidade da linguagem estética utilizada por Carvalho para compor seu discurso cinematográfico, que é de valorização da resistência do mito dos ovakwanyama e de tudo o que ele representa do ponto de vista cultural para Angola
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Coates, Jennifer. "Blurred Boundaries: Ethnofiction and Its Impact on Postwar Japanese Cinema". Arts 8, nr 1 (2.02.2019): 20. http://dx.doi.org/10.3390/arts8010020.
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This article explores the use of ethnofiction, a technique emerging from the field of visual anthropology, which blends documentary and fiction filmmaking for ethnographic purposes. From Imamura Shōhei’s A Man Vanishes (Ningen jōhatsu, 1967) to Hou Hsiao Hsien’s Cafe Lumieré (Kōhi jikō, 2003), Japanese cinema, including Japan-set and Japan-associated cinema, has employed ethnofiction filmmaking techniques to alternately exploit and circumvent the structural barriers to filmmaking found in everyday life. Yet the dominant understanding in Japanese visual ethnography positions ethnofiction as an imported genre, reaching Japan through Jean Rouch and French cinema-verité. Blending visual analysis of Imamura and Hou’s ethnofiction films with an auto-ethnographic account of my own experience of four years of visual anthropology in Kansai, I interrogate the organizational barriers constructed around geographical perception and genre definition to argue for ethnofiction as a filmmaking technique that simultaneously emerged in French cinema-verité and Japanese feature filmmaking of the 1960s. Blurring the boundaries between Japanese, French, and East Asian co-production films, and between documentary and fiction genres, allows us to understand ethnofiction as a truly global innovation, with certain regional specificities.
Rozprawy doktorskie na temat "Cinema verite"
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Majoros, Michael A. "Truth and lies in cinema verite". Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/75983.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (leaf 48).
1985 in partial fulfillment of the requirements for the degree of Master of Science in Visual Studies. This thesis consists of two sections: Truth and Lies, and the making of Everything Must Change. Truth and lies traces several developments made in the evolution of the documentary cinema (both technological and ideological) and explores their effect upon the manner in which the world before the camera has been transformed onto film over the course of the past ninety years. During this period, the documentarian has labored under the constraint of having to present a more or less objective view of his subject, and historically this objectivity has been considered synonymous with "truthfulness"; the filmmaker has not been allowed to present subjective truth. In the eyes of critics, subjectivity and bias were lies. The premise throughout this discussion is that documentaries indeed are subjective statements, and that as the tools available to the documentarian become more and more transparent, this inherent subjectivity becomes increasingly masked. This paper contends that a possible solution to this dilemma might be for filmmakers to include contextual clues to subjectivity within the scope of their work . The second section, the making of Everything Must Change, outlines the process of shooting and editing my thesis movie, and examines how a certain degree of contextualized subjectivity has been included specifically within this work. The thesis is comprised of a written text and a 42 minute video copy of my thesis film, Everything Must Change.
by Michael A. Majoros.
M.S.V.S.
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Hrechdakian, Karine. "An experiment in form : the merging of cinema-verite documentary and narrative filmmaking". Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/74969.
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Kilaru, Sunilrao Mohanrao M. ""Tales of My Cities"". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248487/.
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Tales of My Cities is a poetic observation of life in the cities of Hyderabad and Secunderabad, India. The documentary is an intimate first-person exploration of the culture in these cities. The viewer should find a surreal peace in the life and atmosphere of the cities where life extends from centuries old traditions to the current hi-tech pace of life.
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Baker, Jeremy Charles. "Observational Animation: An Exploration of Improvisation, Interactivity and Spontaneity in Animated Filmmaking". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357315576.
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Koch, Anna. "Characters as social beings : social performance in the French and Czechoslovak New Waves". Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:21a0725e-0028-4ddb-9c9d-4eee40148cc3.
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This thesis investigates the aesthetic presence of social performance in six French and Czechoslovak New Wave films of the 1960s. The New Wave was particularly interested in portraying everyday life, and the film corpus studied in this thesis focuses specifically on the representation of the characters' social lives. In addition, the films share the commonality of being made with an aesthetic of authenticity inspired more or less by the 1960s observational documentary genre of cinéma vérité. In the film corpus, ordinary social situations occupy a more prominent place on screen than usual, and instigate a social kind of engagement with the films. Where narrative context conventionally provides the framework for a character's actions, in these unconventional films, it is the characters' social environments that more precisely contextualize their way of being. The aim of the thesis is to engage with these social contexts to understand the characters' social behaviours, and to examine how the 'vérité aesthetic' evokes a social kind of reading of the films. To this end, I develop in the first chapter a Goffmanian approach to the films, inspired by sociologist Erving Goffman's writings on social reality as a performative realm. I use his notions of social performance, social framework, and social perception to engage with each film through what I call a 'social gaze' that inspects the social dynamics of the characters' behaviours. Over the course of three case study chapters, I apply this approach to the films to unearth and discuss their social range of meaning. This thesis thus aims to contribute both to film historical scholarship on the 1960s European New Wave, and to a study of the aestheticization of social reality in film in general.
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Mullins, Michael Bryan. "Hildegard On Rubble Mountain". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3328/.
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Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.
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Buckle, Luke. "Contemporary Neorealist principles in Abbas Kiarostami's filmmaking (1997-2005)". Thesis, University of Hertfordshire, 2012. http://hdl.handle.net/2299/9036.
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Iranian film has in recent decades comprised an increasingly important and influential cinema. The Iranian Islamic Revolution of 1979 paved the way for freedom of artistic and literary expression, communicating a new generation of unheard voices in Iranian society. More specifically Iranian cinema has progressed in maintaining an identity that reflects both a contemporary nation and auteuristic cinematics. Abbas Kiarostami is one of the more recent and leading film directors rewarded with critical and filmmaking acclaim out of Iran, producing contemporary snapshots of society and culture. His filmmaking methods and ideals are very much reflective of the style of post Second World War Italian Neorealism. In context and filmmaking principles Kiarostami adapts the conventions of Neorealism in exploring contemporary Iranian socio-cultural problems in a similar manner. This project aims to explore the relationship between the style and context of his filmmaking in terms of mise-en-scène, themes and socio-cultural concerns. It shows how Kiarostami creates a distinctive form of Neorealist filmmaking to get at the ‘truths’ of contemporary Iranian life in a particular way. In doing so an emergent strand of a modern-Neorealism becomes apparent.
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Vance, Sharie. "Miz Markley". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849604/.
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Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.
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Vettori, Irene <1996>. "Arte, fotografia e attivismo negli anni Ottanta: tematiche femministe in Barbara Kruger, Cindy Sherman e Verita Monselles". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18252.
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Nel primo capitolo il focus viene posto su un’introduzione del concetto di femminismo, così come la sua applicazione nell’arte e nella fotografia, per poi analizzare i motivi del suo sviluppo e come esso veniva interpretato dalle artiste.
Viene sottolineata l’importanza dello sguardo femminile in un ambiente in cui la maggior parte delle volte lo sguardo maschile veniva preso come canone fisso da utilizzare e considerare, e viene evidenziato l’immenso apporto tematico portato dalle artiste nel mondo della fotografia e dell’arte.
Nel secondo capitolo vengono presi in analisi tre casi studio diversi per osservare sfaccettature delle tematiche femministe e del modo in cui esse si amalgamavano con l’arte.
Il primo esempio proposto è quello della fotografa Barbara Kruger, con la sua aderenza al femminismo più politica e aggressiva, fatta di fotografie con scritte e slogan provocatori sotto forma di cartelloni, il secondo caso studio preso in esame è quello di Cindy Sherman, che nelle sue fotografie analizza il tema del femminismo attraverso un’analisi sugli stereotipi dell'immagine, tutti interpretati da lei stessa. Infine l'ultimo caso studio presentato è quello di Verita Monselles, attiva in Italia, che si impegna in una critica dei valori dominanti che vedono la donna come oggetto passivo, rigirandola e trasformando gli uomini in fantocci e lasciando quindi la figura femminile come unica parte vitale della fotografia.
Infine il terzo capitolo si dedica a un approfondimento sulle Guerrilla girls, un gruppo di artiste attiviste formatosi inizialmente a New York, delle femministe anonime che vogliono combattere il sessismo e il razzismo nel mondo dell’arte e vogliono portare l’ineguaglianza di genere e razziale come focus nelle discussioni, esponendo discriminazioni e corruzione attraverso poster, libri, cartelloni pubblicitari e apparizioni pubbliche.
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Caputo, Livio. "Perspectives autour de l'exercice d'un corps au cinéma". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA009.
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Le corps du spectateur est au centre d’une antinomie récurrente dans les théories de l’art, l’œuvre doit d’abord émouvoir l’esprit et, dans la relation qu’elle établit avec son observateur, le corps n’est qu’un intermédiaire qui ne doit pas être trop sollicité. Cependant, certaines œuvres semblent remettre en cause cette relation et altérer le statut du spectateur en cherchant à surprendre l’esprit pour émouvoir le corps. Définir le cinéma comme paradigme d’un dispositif d’immersion fictionnel s’inscrivant dans une chronologie en dehors de toute spécificité historique, permet alors de considérer autrement la position de face à face entre l’œuvre projetée et son spectateur en les incluant dans la structure même du dispositif. L’œuvre projetée apparaît comme variable d’un système clos, lui-même laboratoire de l’exercice de la perception humaine dont les conditions sensationnelles expérimentales rejoignent les conditions réelles dans certains cas particuliers. L’étude de trois sensations distinctes isole certains cas spécifiques et conduit à l’établissement et à l’observation des différentes altérations que subit le statut du spectateur dont le corps est également partie prenante de la réception de l’œuvre.De l’analyse du vertige, défini comme sensation complexe, émerge la filiation du paradigme exploré ainsi que la possibilité de contourner cette dichotomie cartésienne. Les larmes et leur dualité, le rire et la tristesse, redéfinies comme symbole d’un complexe de sensations, attirent l’attention sur la possibilité d’une double appréhension d’une œuvre d’art, l’une psychologique, l’autre physiologique. Enfin le dégoût, une sensation simple, pose le cas limite dans lequel l’esprit du spectateur est piégé et où seul son corps lui permet d’appréhender ce monde qui le submergeThe spectator’s body is at the centre of a recurring antinomy in the theories of Art, the work must first move the mind and, in its relation with its observer,the body which is a mere medium not to be too much appealed to.However,some works of Art seem to challenge this relation and alter the spectator’s status by trying to surprise the mind to move the body. Defining cinema as the paradigm of a fictional immersion device, inscribed in a chronology outside any historical specificity,makes it possible to consider differently the face to face position between the projected work and its spectator by including them within the structure of the same device. The projected work looks like the variable of a closed system which is itself a laboratory for the exercise of human perception whose experimental conditions come close to real-life conditions in some particular cases. The study of three distinct sensations isolates some specific cases and leads to establish and observe different alterations undergone by the spectator’s status whose body is also part and parcel of the reception of the work.From the analysis of vertigo,defined as a complex sensation , the relation of the explored paradigm rises as well as the ability to get round that cartesian dichotomy.Tears and their duality,laughter and sadness,redefined as a symbol of complex sensations draw attention to a potential double apprehension of a work of Art, both psychologically physiologically.Lastly, disgust, a simple sensation,sets a borderline case in which the spectator’s mind is trapped and where only his body enables him to grasp the world he is submerged in
Książki na temat "Cinema verite"
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Merali, Shaheen, red. Cinema Verite Redux. Bangalore, India: Gallery Sumukha and Vadehra Art Gallery, 2010.
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Robert Drew and the development of cinema verite in America. Carbondale: Southern Illinois University Press, 1992.
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Cinema Verite: Iran International Documentary Film Festival i Markaz-i Gustarish-i Sīnimā-yi Mustanad va Tajribī, red. Ḥaqīqat dar qāb-i mustanad: Majmūʻah-i maqālāt darbārah-i sīnimā-yi mustanad. Tihrān: Markaz-i Gustarish-i Sīnimā-yi Mustanad va Tajribī, 2008.
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Italy) Convegno internazionale di studi cinematografici (12th 2008 Rome. Immagini dal mondo: Cinema, rappresentazione, verità. Roma: Fondazione ente dello spettacolo, 2008.
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Madrignani, Carlo A. Verità e visioni: Poesia, pittura, cinema, politica. Pisa: Edizioni ETS, 2013.
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La sfida della verità: Il cinema di Francesco Rosi. Firenze: Aida, 2005.
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Cinema e ceci: Romanzo verità sul mondo dello spettacolo. Pavona di Albano Laziale (Roma): Iacobelli, 2010.
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Luigi Nono e il cinema: "un'arte di lotta e fedele alla verità". Lucca: Libreria musicale italiana, 2017.
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Scaringi, Francesco. Verità e cinema d'inchiesta: I film su Benito Mussolini, Salvatore Giuliano, Enrico Mattei, Aldo Moro e le stragi. Lucca: Tralerighe libri, 2021.
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Mortenson, Denis. Cinema Verite. PublishAmerica, 2003.
Znajdź pełny tekst źródłaCzęści książek na temat "Cinema verite"
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Vykoupil, Libor. "Botrys neboli esej o záludnostech historikovy práce (rozprava o metodě)". W Filosofie jako životní cesta, 182–91. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-14.
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The elder and more experienced certainly know or at least have a vague idea that there used to be a Greek brandy named Botrys containing 40 % of alcohol. Its name was probably derived from the name of Botrytis cinerea (botrytis bunch rot, more commonly). The Greek term is Βότρυς and its transcription into Latin alphabet is Votrus or Votris. However, if a scholar attempts to verify in such an elementary finding, they can get entangled in very complex and tricky historical facts. After weeks of hard work it turned out that it is probably easier to write a chapter on the history of Greek economy of the second half of 19th century than a few lines on a distillery producing a brandy called Botrys. And so this contribution somehow by the way describes a solution to the „raisin problem“ in order to conclude with some basic information on the label Botrys.
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"Cinema Verity". W Women With Attitude, 207–18. Routledge, 2003. http://dx.doi.org/10.4324/9780203218099-16.
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MacDonald, Scott. "Fred Wiseman at the Brattle Theater with Hospital, July 19, 2010". W The Sublimity of Document, 113–24. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190052126.003.0005.
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This interview is an edited version of a public discussion with filmmaker Fred Wiseman at the Brattle Theater in Cambridge, Massachusetts, about his film, Hospital (1970). Wiseman discusses his filmmaking approach and his belief that shooting film footage is research, while the actual filmmaking is done in the editing. During the shooting of each of his features, Wiseman takes sound and directs his cinematographers. In his editing, he is more interested in presenting an experience of the places he films than in developing particular socio-political arguments. Wiseman has been remarkably prolific, making at least one feature film a year since Titicut Follies (1967). He is understood as the epitome of “fly-on-the-wall” observational cinema-verite documentary and has used his approach to explore a considerable panorama of American institutions—“institutions” in the broadest sense. Hospital remains among the most engaging of his films.
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Ryan, Susan. "Blurring Lines and Intersecting Realities in Barbara Kopple’s Fictional Work". W ReFocus: The Films of Barbara Kopple, 159–77. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0010.
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In addition to Barbara Kopple’s recognized contributions to documentary filmmaking, she directed several fictional works for both television broadcast and theatrical release. Although she often refers to herself as a director of both non-fiction and fiction, since both are important to her, very little critical attention has been paid to her fictional work such as the television episodes she directed for Homicide: Life on the Street, the PBS production Keeping On (1983), based on a screenplay by Horton Foote, and the independent feature Havoc (2005). This chapter examines the ways that she uses documentary techniques associated with cinema verite to establish a sense of place, character, realism, and social engagement within fictional stories. Rather than see her fictional work as an addendum to her acclaimed documentaries, the chapter argues that there is a continuum in which dramatic form and documentary practice inform one another as part of her style and approach to filmmaking.
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Carrier, Scott. "That Jackie Kennedy Moment". W Reality Radio, Second Edition. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469633138.003.0003.
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Despite Scott Carrier’s initial urge to do cinema verité, Scott instead found himself in radio, relying mostly on his writing and his own arresting voice. “People liked my narration better than the tape,” he writes with a hint of resignation. Often, for Scott, the best way to create cinema verité in sound, to show the listener what he wants them to see, is to “narrate the part of the camera.”
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Wang, Qi. "Personal Documentary". W Memory, Subjectivity and Independent Chinese Cinema. Edinburgh University Press, 2014. http://dx.doi.org/10.3366/edinburgh/9780748692330.003.0005.
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Chapter 4 turns to independent documentary and examines its non-fictional exercise of the subject-driven intervention in historical thinking. After an analysis of the observation documentary of Duan Jinchuan, it distills from the prevalent and much discussed verité practices an initially neglected line of “personal documentary.” It delineates the formal features as well as theoretical implications of this extraordinary practice and then examines two monumental examples of personal documentary: I Have Graduated by Wang Guangli and West of the Tracks by Wang Bing.
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Margulies, Ivone. "Ascetic Stages". W In Person, 141–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.003.0006.
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This chapter investigates the relationship between the spare, concentrated theatricality aesthetics favored by post-Holocaust cinema and the imperatives of modern and contemporary testimonial reenactment in posttraumatic situations. It examines the convergence between cinema, the courtroom, and in-person reenactment in Rouch, Morin, and Lanzmann’s cinema, discussing how the viewer is implicated in these post-verité reenactments (Williams, Nichols). The chapter looks in particular to the monologue reenactment as a privileged form of testimonial in situations evoking atrocities (Ganda’s monologue in Moi un Noir, Marceline’s in Chronicle of a Summer, and Karski’s in The Karski’s Report). It relates these films’ conflation of past and present to other revisitations of empty sites in Night and Fog and testimony films such as Time of the Ghetto (Rossif, 1961) as well as Loridan Iven’s La petite prairie aux bouleaux. And it discusses the repetitive movements of Lanzmann’s touching camera as a form of phatic reenactment.
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Marrone, Gaetana. "Operatic Microhistory". W The Cinema of Francesco Rosi, 121–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190885632.003.0004.
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Il momento della verità (The Moment of Truth, 1965), a thematic departure from earlier films, is a bold experiment in shooting “freely” without a script. The film, informed by a keen sense of class consciousness and Rosi's penchant for location shooting, centers on the career of a matador, Miguel Mateo “Miguelín,” a peon who leaves the country for the city to escape poverty. Visually, Rosi’s searing exposure of the corruption and exploitation rampant in contemporary Spain is achieved through the use of a long 300mm lens. Sacrificial rituals also lie at the heart of Carmen (Bizet’s Carmen, 1984), Rosi's only experiment in opera adaptation. Also shot in Andalusia and featuring actual soldiers, gypsies, and locals, Carmen counterposes realistic settings to staged theatricality.
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Margulies, Ivone. "Neorealist Reenactment as Postwar Pedagogy". W In Person, 37–76. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.003.0003.
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This chapter examines the Italian cinema contexts for Cesare Zavattini’s radical reconception of the notion of the nonprofessional actor—that everyone acts his or her life on camera—during the waning of neorealism. Pedinamento, closely tracking an event, and film-lampo, the investigation film, are analyzed as a transition from neorealist precepts to a verité focus on named individuals who turn their lives into exemplary narratives. Episodes from Love in the City (1953)—Zavattini and Maselli’s The Story of Caterina and Antonioni’s Attempted Suicides—are analyzed in their articulation of narrative of self-revision. A complementary omnibus project We the Women (1953) on famous stars’ everyday existence suggests the ways early 1950s reenactment engages thematically with the star system (e.g., Guarini’s Contest: 4 Actresses; 1 Hope, Franciolini’s Alida Valli) and with questions of authenticity and theatricality. In-person reenactment leads to modern cinema hybrids mixing acting and self-presentation (e.g., Visconti’s take on Magnani, Rossellini’s on Bergman).
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Margulies, Ivone. "A Sort of Psychodrama". W In Person, 113–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.003.0005.
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This chapter explores the political and cultural contours of the late 1950s impetus for autocritique in France, focusing on two films engaged with antiracist role-play and self-awareness: The Human Pyramid (Jean Rouch, 1959) and Chronicle of a Summer (Rouch and Morin, 1961). The chapter tracks the reception of psychodrama and group dynamics in late 1950s France correlating interests on authenticity, self-determination, and racism apparent in publications such as Arguments (Morin’s coedited journal) to cinema verité’s intent to stage a transformative process on camera. This program coalesces in Chronicle’s notorious postscreening scene, and it also emerges in The Human Pyramid’s suspended resolution in achieving an integration between French and African students at a high school in Ivory Coast. The quandaries of trying to register process in film are highlighted in the fixation with authentic emergent speech in cinema verité and in analyses of the brilliant ruptures of registers in The Human Pyramid.
Streszczenia konferencji na temat "Cinema verite"
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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example". W COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.
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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.
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Kruger, Eduardo, Solange Leder i Ticiana Trento. "Variação na percepção visual sob vidros cinza e verde". W XIX ENCONTRO NACIONAL DE TECNOLOGIA DO AMBIENTE CONSTRUÍDO. UFRGS, 2022. http://dx.doi.org/10.46421/entac.v19i1.2041.
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A vegetação modifica as características físicas da luz natural, incluindo sua distribuição espectral. Esta pesquisa procura estabelecer a relação entre a percepção visual e iluminação natural modificada por dois tipos de vidro – o de referência, cinza, TL 45%, e outro verde, TL 53%, como substituto para o efeito da vegetação. Em um ambiente semi-controlado em Israel, testou-se o seu efeito sobre variáveis subjetivas de 29 participantes voluntários, sob condições experimentais. Aplicou-se um questionário de situações de luz, e mediu-se iluminância horizontal e vertical. Os resultados sugerem que ambas as métricas são insuficientes para explicar a experiência visual dos participantes.
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"ESPAÇO SALA VERDE AUTAZES: INSTRUMENTO DE EDUCAÇÃO AMBIENTAL NO AMAZONAS". W I Congresso Nacional On-line de Conservação e Educação Ambiental. Revista Multidisciplinar de Educação e Meio Ambiente, 2021. http://dx.doi.org/10.51189/rema/1777.
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Introdução: O Projeto Salas Verdes está presente atualmente em todas as regiões do Brasil, constituindo-se em uma rede de 640 centros de referência em educação ambiental. Objetivos: O Espaço Sala Verde Autazes teve como objetivo realizar a implantação das práticas de Educação Ambiental e meio ambiente, obedecendo às metas dos objetivos de desenvolvimento sustentável (ODS 30). Material e Métodos: As atividades citadas nesse resumo, foram realizadas entre os anos de 2017 e 2019. As atividades realizadas em 2017 foram: “Campanha Autazes Limpa” com palestras de informação sobre o lixo domiciliar e entulho de quintal, descarte correto, direitos e deveres; e Palestras com tema “Diga não as queimadas”. Resultados: Em 2018 as ações realizadas foram: Palestras com o tema “Lixo e queimadas de quintal – Diga Não Ao Fogo”; Circuito Tela Verde apresentando vídeos e curtas-metragens com o tema “Resíduos Sólidos e água”. Em 2019 as ações realizadas foram: palestras sobre “Resíduos Sólidos Urbanos - Lixo”; Mesa redonda com o tema “Recursos Hídricos e Educação Ambiental”; Sessão Cine Pipoca Sustentável nas escolas; Caminhada no mês de junho, referente ao Mês Ambiental; Arborização e competição (Desenho, Poesia, Paródia, Teatro e Vídeo Documentário) entre escolas das redes municipais e estaduais da sede do município; “I Copa Verde de Autazes” realizada no bairro do Mutirão; Reunião de orientação aos agricultores e feirantes com o tema “Técnica de Roçado sem Fogo”; Oficina de Materiais Recicláveis; e orientação sobre lixo, queimadas e desmatamento através da rádio local. Na análise geral, as ações desenvolvidas pelo Espaço Sala Verde Autazes atingiram um público heterogêneo, abrangendo o setor escolar das redes do ensino fundamental e médio de escolas públicas da zona urbana e rural. As palestras foram realizadas de maneira expositiva com auxílio de notebook, datashow, banners, cartazes e panfletos. O Espaço Sala Verde Autazes teve um total de 70 participantes em 2017, 5.399 participantes no ano de 2018 e 6.024 participantes no ano de 2019. Conclusão: Nesse artigo, foi possível apresentar e discutir o processo de consolidação do Projeto Espaço Sala Verde Autazes a partir da caracterização dos elementos trazidos de todas as ações realizadas entre os anos de 2017 e 2019, em Autazes/AM.
Raporty organizacyjne na temat "Cinema verite"
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Reisch, Bruce, Avichai Perl, Julie Kikkert, Ruth Ben-Arie i Rachel Gollop. Use of Anti-Fungal Gene Synergisms for Improved Foliar and Fruit Disease Tolerance in Transgenic Grapes. United States Department of Agriculture, sierpień 2002. http://dx.doi.org/10.32747/2002.7575292.bard.
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Original objectives . 1. Test anti-fungal gene products for activity against Uncinula necator, Aspergillus niger, Rhizopus stolonifer and Botrytis cinerea. 2. For Agrobacterium transformation, design appropriate vectors with gene combinations. 3. Use biolistic bombardment and Agrobacterium for transformation of important cultivars. 4. Characterize gene expression in transformants, as well as level of powdery mildew and Botrytis resistance in foliage of transformed plants. Background The production of new grape cultivars by conventional breeding is a complex and time-consuming process. Transferring individual traits via single genes into elite cultivars was proposed as a viable strategy, especially for vegetatively propagated crops such as grapevines. The availability of effective genetic transformation procedures, the existence of genes able to reduce pathogen stress, and improved in vitro culture methods for grapes, were combined to serve the objective of this proposal. Effective deployment of resistance genes would reduce production costs and increase crop quality, and several such genes and combinations were used in this project. Progress The efficacy of two-way combinations of Trichoderma endochitinase (CHIT42), synthetic peptide ESF12 and resveratrol upon the control of growth of Botrytis cinerea and Penicillium digitatum were evaluated in vitro. All pairwise interactions were additive but not synergistic. Per objective 2, suitable vectors with important gene combinations for Agrobacterium transformation were designed. In addition, multiple gene co-transformation by particle bombardment was also tested successfully. In New York, transformation work focused on cultivars Chardonnay and Merlot, while the technology in Israel was extended to 41B, R. 110, Prime, Italia, Gamay, Chardonnay and Velika. Transgenic plant production is summarized in the appendix. Among plants developed in Israel, endochitinase expression was assayed via the MuchT assay using material just 1-5 days after co-cultivation. Plants of cv. Sugraone carrying the gene coding for ESF12, a short anti-fungal lytic peptide under the control of the double 358 promoter, were produced. Leaf extracts of two plants showed inhibition zones that developed within 48 h indicating the inhibitory effect of the leaf extracts on the six species of bacteria. X fastidiosa, the causal organism of Pierce's disease, was very sensitive to leaf extracts from ESF12 transformed plants. Further work is needed to verify the agricultural utility of ESF12 transformants. In New York, some transformants were resistant to powdery mildew and Botrytis fruit rot. Major conclusions, solutions, achievements and implications The following scientific achievements resulted from this cooperative BARD project: 1. Development and improvement of embryogenesis and tissue culture manipulation in grape, while extending these procedures to several agriculturally important cultivars both in Israel and USA. 2. Development and improvement of novel transformation procedures while developing transformation techniques for grape and other recalcitrant species. 3. Production of transgenic grapevines, characterization of transformed vines while studying the expression patterns of a marker gene under the control of different promoter as the 35S CaMV in different part of the plants including flowers and fruits. 4. Expression of anti-fungal genes in grape: establishment of transgenic plants and evaluation of gene expression. Development of techniques to insert multiple genes. 5. Isolation of novel grape specific promoter to control the expression of future antimicrobial genes. It is of great importance to report that significant progress was made in not only the development of transgenic grapevines, but also in the evaluation of their potential for increased resistance to disease as compared with the non engineered cultivar. In several cases, increased disease resistance was observed. More research and development is still needed before a product can be commercialized, yet our project lays a framework for further investigations.