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Artykuły w czasopismach na temat "Futur au cinéma"
Coppola, Antoine. "Regain religieux dans le cinéma sud-coréen : vers une trans-religion du futur ?" Sociétés 144, nr 2 (2019): 95. http://dx.doi.org/10.3917/soc.144.0095.
Pełny tekst źródłaColleyn, Jean-Paul. "Laurence Alfonsi, Le Cinéma du futur : les enjeux des nouvelles technologies de l’image". L'Homme, nr 180 (1.12.2006): 209–11. http://dx.doi.org/10.4000/lhomme.2569.
Pełny tekst źródłaDelcourt, Jacques. "Alfonsi Laurence, Le cinéma du futur. Les enjeux des nouvelles technologies de l’image". Recherches sociologiques et anthropologiques 39, nr 2 (15.12.2008): 122–23. http://dx.doi.org/10.4000/rsa.359.
Pełny tekst źródłavan der Helm, Ruud. "Laurence ALFONSI, Le cinéma du futur : les enjeux des nouvelles technologies de l’image". Communication, Vol. 25/1 (15.11.2006): 269–72. http://dx.doi.org/10.4000/communication.538.
Pełny tekst źródłaLombard, Gaëlle. "Le territoire des ombres. Pour n’en jamais finir avec les hommes imaginaires du cinéma…". Hors dossier 25, nr 1 (5.05.2015): 157–75. http://dx.doi.org/10.7202/1030234ar.
Pełny tekst źródłaMarsit, Abir. "La danse et l’écriture calligraphique : Une nouvelle chorégraphie de fiction". Culture and Dialogue 9, nr 1 (19.10.2021): 63–78. http://dx.doi.org/10.1163/24683949-12340094.
Pełny tekst źródłaArchibald, Samuel. "Cinéma et littérature au Québec : rencontres médiatiques, and: Le cinéma du futur. Les enjeux des nouvelles technologies de l’image, and: Sang et lumière. La communauté du sacré dans le cinéma québécois (review)". University of Toronto Quarterly 78, nr 1 (2009): 567–73. http://dx.doi.org/10.1353/utq.0.0537.
Pełny tekst źródłaRopars-Wuilleumier, Marie-Claire. "La « pensée du dehors » dans L’image-temps (Deleuze et Blanchot)". Cinémas 16, nr 2-3 (22.03.2007): 12–31. http://dx.doi.org/10.7202/014613ar.
Pełny tekst źródłaSmith, Kirsten. "Questions of identity and global visibility: French funding in Latin American and Maghrebi cinema". Contemporary French Civilization 49, nr 1 (kwiecień 2024): 41–66. http://dx.doi.org/10.3828/cfc.2024.3.
Pełny tekst źródłaHeilig, Morton Leonard. "EL Cine del Futuro: The Cinema of the Future". Presence: Teleoperators and Virtual Environments 1, nr 3 (styczeń 1992): 279–94. http://dx.doi.org/10.1162/pres.1992.1.3.279.
Pełny tekst źródłaRozprawy doktorskie na temat "Futur au cinéma"
Nedyalkova, Maya. "Transnational Bulgarian cinema : pieces of the past, present and future". Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/388467/.
Pełny tekst źródłaCamargo, Júnior Ivo de. "A memória de futuro analisada pela linguagem cinematográfica: diálogos entre a teoria do cinema e Mikhail Bakhtin". Universidade Federal de São Carlos, 2009. https://repositorio.ufscar.br/handle/ufscar/5672.
Pełny tekst źródłaThe present study aims to analyze the representations of future in four science fiction movies launched at random during the past thirty years. Blade Runner,by Ridley Scott, Artificial Intelligence, by Steven Spilberg, Idiocracy, by Mike Judge and Children of Men by Alfonso Cuarón, compose our selected corpus for discussion and dialogue. For that purpose, we some concepts have been borrowed as Memory of Future, Dialogism and Intertextuality. The first science fiction film placed in the future we have ever seen was Terminator and the war between Humans and Machines. The child´s innocence made us count the days for the fatidic 1997, but there was no background to feel the film was reconstructing the present of that time, the Reagan era and his technological pyrotechnics war. If each era represents the future according to its own contradictions, in these movies the dialogues are marked above all by political, ideological and even existential ruptures. On the selected movies the world is always in transformation, reflecting the contexts of their times. Another goal of this thesis is to reflect upon the transposition process of literary tradition texts to the motion pictures language aiming the work production to the great audience via movie- theaters and television. At last there is an intent to contribute to the language and cultural studies, applied to the science fiction movies, and leave something relevant about the filmic representations of the future presented on movie-theaters screens.
O presente trabalho tem como objetivo analisar as representações de futuro contidas em quatro filmes de ficção cientifica lançados aleatoriamente nos últimos 30 anos. Blade Runner: o caçador de andróides , de Ridley Scott, Inteligencia Artificial, de Steven Spielberg, Idiocracia, de Mike Judge e Filhos da Esperança, de Alfonso Cuarón,compõem nosso corpus selecionado para discussão e diálogo. Para isso trabalhamos alguns conceitos como Memória de Futuro, Dialogismo e Intertextualidade. Se tentamos puxar pela memória o primeiro filme de ficção ambientado no futuro que assistimos, logo nos vem os robôs assassinos de O exterminador do Futuro e a guerra entre Humanos e Máquinas. A inocência da criança nos fez contar os dias para o 1997 fatídico, mas não havia embasamento para sentir que aquele filme reconstruía o presente de então, a era Reagan e suas pirotecnias tecnológicas de guerra. Se cada época representa o futuro de acordo com suas próprias contradições, nestes filmes os diálogos são marcados, sobretudo pela ruptura: política, ideológica e até existencial. Nos filmes selecionados o mundo está sempre em transformação, refletindo os contextos de sua época de realização. Um outro objetivo desta dissertação é refletir sobre o processo de transposição de textos da tradição literária para a linguagem cinematográfica, com vistas à produção de obras destinadas ao grande público de veículos como o cinema e a televisão. Por fim pretendemos contribuir para os estudos de linguagem e cultura, aplicados ao cinema de ficção científica, e dizer algo de relevante sobre as representações cinematográficas dos futuros apresentados nas telas do cinema.
Konstantinidou, Eirini. "Mnemophrenia : a science fiction film-essay on the future of cinema and artificial memories". Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/7968.
Pełny tekst źródłaCunha, Andre Luiz Fernandes. "Representações cinematográficas do futuro em 1968 : os casos 2001 e Planeta dos Macacos". reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/1348.
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O presente trabalho tem como objetivo analisar as representações de futuro contidas em dois filmes de ficção científica lançados no ano de 1968: 2001 – Uma Odisséia no Espaço e Planeta dos Macacos. Para isso, trabalho com alguns conceitos, tais como Horizonte de Expectativa, universo diegético, representação, entre outros. Além de analisar cada um dos filmes no contexto cultural e sócio-político, em fins da década de 60, do século XX, buscando compreender significados e sentidos nos elementos que constituem a narrativa fílmica, esta pesquisa também se deteve sobre as formas de apropriação, ou seja, as formas como foram lidas, interpretadas na imprensa tais narrativas, particularmente a crítica carioca. Se cada época representa o futuro de acordo com as suas próprias contradições, em 1968 essa projeção é, sobretudo, marcada pela ruptura: política, ideológica, existencial. Tanto em 2001 quanto em Planeta dos Macacos, o mundo está em transformação, refletindo o contexto da época. Por fim, pretende contribuir para os estudos culturais voltados para o cinema de ficção científica e dizer algo de relevante sobre as representações cinematográficas do futuro em 1968. ______________________________________________________________________________________ ABSTRACT
The following study pretends to analyze the representations of future within two science fiction movies released in the year of 1968: 2001 - A Space Odissey, and Planet of the Apes. To do so, presents some concepts, such as Expectation Horizon, diegetic universe, representation, and others. Beyond analyzing each of the films in the cultural and socio-politic context, in the late 60`s, seeking to comprehend meanings and directions within the cinematic narrative, this research also lingers on the ways of appropriation; witch means the ways that where seen, in the press, their release, particularly in Rio de Janeiro’s criticism. If each epoch represents the future in accordance with its own contradictions, in 1968 this projection is mainly marked by breakage: social, ideological, existential. In both 2001 and Planet of the Apes the world is changing, reflecting its own epoch context. Finally, I pretend to contribute to the cultural studies related to the science fiction cinema and say something weighty about the representations of future at the movies in 1968.
Wise, Ramsay. "University of the future : Sight and Sound 1932-1942, a discourse in cinema and propaganda /". free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p1418077.
Pełny tekst źródłaUnkovski, Georgi. "THE IMMERSIVE WORLD OF VIDEO GAMES AND THE GAMING CONCEPTS IN THE FUTURE OF CINEMA". Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-251444.
Pełny tekst źródłaHales, Christopher. "Rethinking the interactive movie : a practical investigation demonstrating original and engaging ways of creating and combining 'live action' video segments under audience and/or computer control". Thesis, University of East London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532628.
Pełny tekst źródłaMarzano, Erica. "Festival Cinematografici Covid-Edition: verso un nuovo modello festivaliero". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Znajdź pełny tekst źródłaToker, Gulen. "Understanding And Demonstrating The Contribution Of Objects To The Construction Of The Idea Of Future In Science Fiction Films". Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609519/index.pdf.
Pełny tekst źródłas mind and supports a currently existing ideology at the same time. The science fiction genre extrapolates and speculates about future which results in a new world: Aliens, androids or clones become participants of this world, intergalactic federations regulate diplomatic relationships or natural disasters endanger the whole humankind. The indispensable factor in every case is that new objects surround the future. They are extrapolated or speculated as well from the objects of today in order to fit to and satisfy the needs of the future world of the science fiction film. The ideas about the future presented in the film are supported by the material existence of these future objects. This study demonstrates the ideas and ideologies in respect to future in the science fiction cinema and investigates how the future objects contribute to constructing them.
Belintani, Júlia Ramiro. "Projecionistas de cinema na transição película / digital: diálogos entre um futuro desapegado e um passado que resiste". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21689.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The research has emerged from the concern about technologies that fascinate people due to their eases and possibilities and that also frighten because of the overlooked practices and knowledge that preceded them. Does the novelty replace what comes previously or simply overlap it? What does one gain and what does one lose in this process? Among several examples, I focused on a technological transition and a professional category that symbolized this lack of communication between the new and what precedes it; they mirrored each other. The film-to-digital transition in the cinema was also the projectionist - IT technician transition. What other transitions exist within this one? From film to digital. From the 35mm projector to the digital projector. From the projectionist to the IT technician. From the analog to the digital. From the photochemical film to the computer. From the touch to the virtual. From the physics and chemistry to the mathematics. The research has aimed to understand the film-to-digital transition from the point of view of the cinema projectionist. For that, semi-structured interviews were conducted with three professionals in the city of São Paulo, with similar years of experience and involvement with cinema, similar belonging and affection feelings. In addition, the narratives of two other professionals who worked in the 1950s have been added. These interviews were transcribed in full, sequentially organized in order to identify the themes and later analyzed through thematic maps. The results of the analysis were presented in a narrative form, composed by the direct inscription of the interviews, historical passages about the cinema and testimonies of other professionals of the area, as well as of intellectuals who dialogue with the research proposal. These different points of view have been structured in a narrative form in this dissertation, as a conversation. The research has been anchored in the constructivist approach of discursive practices and production of meanings in everyday life. The analysis pointed out to the intrinsic relationship between death and life in technology and in professional relationships, with emphasis on the importance of registration and of cultural memory
A pesquisa surgiu da inquietação diante de tecnologias que fascinam por suas facilidades e possibilidades e assustam pelo descaso com práticas e saberes que as precederam. O novo substitui o anterior ou apenas se sobrepõe a ele? O que se ganha, o que se perde nesse processo? Entre diversos exemplos, focalizei uma transição tecnológica e uma categoria profissional que simbolizavam essa falta de comunicação entre o novo e o precedente; espelhavam uma à outra. A transição película / digital no cinema era também a transição projecionista / técnico de TI. Quais outras transições existem dentro dessas? Da película para o digital. Do projetor 35mm para o projetor digital. Do projecionista para o técnico de TI. Do analógico para o digital. Do filme fotoquímico para o computador. Do tato ao virtual. Da física e da química para a matemática. A pesquisa teve por objetivo entender a transição película / digital do ponto de vista do projecionista de cinema. Para tanto, foram realizadas entrevistas semiestruturadas com três profissionais na cidade de São Paulo, com tempo de ofício e envolvimento semelhantes com o cinema, de pertencimento e afeto. Além disso, somaram-se às narrativas destes as de outros dois profissionais que atuaram nos anos 1950. As entrevistas foram transcritas na íntegra, organizadas sequencialmente para identificação dos temas e posteriormente analisadas por meio de mapas temáticos. Os resultados da análise foram apresentados de forma narrativa, compostos com a inscrição direta das entrevistas, passagens históricas sobre o cinema e depoimentos de outros profissionais da área, bem como de intelectuais que dialogam com a proposta da pesquisa. Esses diversos pontos de vista foram estruturados em narrativa nesta dissertação, como uma conversa. A pesquisa foi ancorada na abordagem construcionista de práticas discursivas e produção de sentidos no cotidiano. A análise apontou para a relação intrínseca entre morte e vida na tecnologia e nas relações profissionais, com ênfase na importância do registro e da memória cultural
Książki na temat "Futur au cinéma"
Alfonsi, Laurence. Le cinéma du futur: Les enjeux des nouvelles technologies de l'image. [Québec]: Presses de l'Université Laval, 2005.
Znajdź pełny tekst źródłaJ, Fox Michael. Quelque chose d'étrange s'est produit en route vers le futur--: Tournants, revirements et leçons apprises. Varennes, Québec: AdA, 2011.
Znajdź pełny tekst źródłaAzarian, Viviane, i Aminata C. Mbaye. L'archéologie du futur: Cinémas Africains et utopies = Archeology of the future : African cinemas and utopias. München: AVM.edition, 2018.
Znajdź pełny tekst źródłaFilmoteca de Catalunya, passat i futur del cinema: Filmoteca de Catalunya, the past and future of the cinema. Barcelona: Filmoteca de Catalunya, 2014.
Znajdź pełny tekst źródłaMedia, Kagan World. The future of digital cinema. Carmel, CA: Kagan World Media, 2002.
Znajdź pełny tekst źródłaIsaacs, Bruce. Orientation of future cinema: Technology, aesthetics, spectacle. New York: Bloomsbury, 2014.
Znajdź pełny tekst źródłaJeffrey, Shaw, Weibel Peter i Zentrum für Kunst und Medientechnologie Karlsruhe., red. Future cinema: The cinematic imaginary after film. Cambridge, Mass: MIT Press, 2003.
Znajdź pełny tekst źródłaNagib, Lúcia. Realist Cinema as World Cinema. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987517.
Pełny tekst źródłaDabashi, Hamid. Close up: Iranian cinema, past, present, and future. London: Verso, 2001.
Znajdź pełny tekst źródłaDabashi, Hamid. Close up: Iranian cinema, past, present, and future. London: Verso, 2001.
Znajdź pełny tekst źródłaCzęści książek na temat "Futur au cinéma"
Fuchs, Esther. "Women Survivors in Cinema". W Remembering for the Future, 2631–42. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1007/978-1-349-66019-3_187.
Pełny tekst źródłaReinhartz, Adele. "“In that future day”". W Bible and Cinema, 310–32. Wyd. 2. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429285585-11.
Pełny tekst źródłaLipton, Lenny. "William Fox Hears the Future". W The Cinema in Flux, 285–91. New York, NY: Springer US, 2021. http://dx.doi.org/10.1007/978-1-0716-0951-4_33.
Pełny tekst źródłaÇağlayan, Emre. "Epilogue: The Future of Slow Cinema". W Poetics of Slow Cinema, 221–30. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96872-8_5.
Pełny tekst źródłaWomack, Ytasha L. "Future Rhythms in Afrofuturist Films". W Black Cinema & Visual Culture, 152–60. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003079682-12.
Pełny tekst źródłaHjort, Mette. "Eyes on the future". W The Routledge Companion to World Cinema, 482–96. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-41.
Pełny tekst źródłaBeugnet, Martine. "An Invention with a Future". W A Companion to Contemporary French Cinema, 570–89. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118585405.ch26.
Pełny tekst źródłaRehling, Nicola. "Fleshing Out Virtual Bodies: White Heterosexual Masculinity in Contemporary Cyberfantasy Cinema". W The Future of Flesh, 181–98. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230620858_10.
Pełny tekst źródłaCameron, Allan. "Projecting the Future: Order, Chaos and Modularity". W Modular Narratives in Contemporary Cinema, 48–78. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230594197_3.
Pełny tekst źródłaSargsyan, Karine. "Future of Entertainment". W Future of Business and Finance, 225–31. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-36382-5_18.
Pełny tekst źródłaStreszczenia konferencji na temat "Futur au cinéma"
Hsien Tsai, Yi, Ching I Chen i Meng-Cong Zheng. "Usability Evaluation of Self-Service Ticketing Kiosks in Cinemas". W 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003204.
Pełny tekst źródła"Opening remarks to the IEE". W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030127.
Pełny tekst źródłavon Sychowski, P. "Digital cinema - an overview". W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030128.
Pełny tekst źródłaDavies, G. "Digital advertising - is it worth it?" W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030129.
Pełny tekst źródłaSieretta, P. "Making money from digital today". W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030130.
Pełny tekst źródłaTeixeira, M. "An African digital journey from advertising to feature exhibition". W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030131.
Pełny tekst źródłaWester, P. "Europe's first digital cinema circuit launched in Sweden". W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030132.
Pełny tekst źródłaMan Nang Chong. "Safeguarding the investment in d-cinema". W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030133.
Pełny tekst źródłaHoegh, T. "The blue chip of the avant garde". W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030134.
Pełny tekst źródłaWilson, P. "Compression mastering for digital cinema". W Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030135.
Pełny tekst źródłaRaporty organizacyjne na temat "Futur au cinéma"
Vargas-Herrera, Hernando, Juan Jose Ospina-Tejeiro, Carlos Alfonso Huertas-Campos, Adolfo León Cobo-Serna, Edgar Caicedo-García, Juan Pablo Cote-Barón, Nicolás Martínez-Cortés i in. Monetary Policy Report - April de 2021. Banco de la República de Colombia, lipiec 2021. http://dx.doi.org/10.32468/inf-pol-mont-eng.tr2-2021.
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