Gotowe bibliografie tematyczne / Guerrilla film

Gotowa bibliografia na temat „Guerrilla film”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 19 lutego 2023

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Artykuły w czasopismach na temat "Guerrilla film"

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Matt Applegate. "Urban Guerrillas on Film: Mediatization, Guerrilla Filmmaking, and Guerrilla Seeing in Emile de Antonio's Underground". Cultural Critique 93 (2016): 59. http://dx.doi.org/10.5749/culturalcritique.93.2016.0059.

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Rosenthal, Alan, i Pamela Yates. ""When the Mountains Tremble": An Interview with Pamela Yates". Film Quarterly 39, nr 1 (1985): 2–10. http://dx.doi.org/10.2307/1212275.

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Reeck, Laura. "Gender and Genre in Banlieue Film, and the Guerrilla Film Brooklyn". Romance Studies 36, nr 1-2 (3.04.2018): 76–90. http://dx.doi.org/10.1080/02639904.2018.1457829.

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Williams, James S. "The Time Is Now: Pressure, Guerrilla, and the (Re)invention of Black British Cinema and History". Film Quarterly 72, nr 1 (2018): 26–38. http://dx.doi.org/10.1525/fq.2018.72.1.26.

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James Williams considers how and why John Ridley's acclaimed 2017 television series Guerrilla (Sky Atlantic/Showtime) 'reradicalizes' early black British radical cinema, specifically Horace Ové's 1975 film, Pressure, the first feature-length work by a black British director. For Guerrilla's fictional narrative about a Black Power terrorist cell in London in 1972 pursues an option that Pressure, about the gradual radicalization of a young black British teenager in West London, resolutely avoids, namely militant violence. A close comparative study of both works in terms of characterization, cinematic style, the depiction of urban space, and the representation of violence highlights the originality and overlooked significance of Ové's pioneering film. It also suggests that Ridley reinvents the story of Black Power in early 1970s Britain in order to intervene in more contemporary debates taking place in the US about diversity and the function of revolutionary violence to effect social change.
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Betancourt, Manuel. "Alejandro Landes's Monos and the Once and Future Colombian War Film". Film Quarterly 73, nr 1 (2019): 26–32. http://dx.doi.org/10.1525/fq.2019.73.1.26.

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The guerrillero towers over the history of Colombian cinema for their glaring absence. Despite the country's decades-long civil war, the rank-and-file members of the armed militias that have dominated the local cultural imaginary in daily newscasts about massacres, kidnappings, and rural confrontations have been mostly absent from the canon of Colombian film. Using Alejandro Landes's 2019 film, Monos, as his case study, Manuel Betancourt offers a cursory history of the guerrilla film in the Latin American country (and the attendant conversation it's sparked within Colombia's own film critic community), arguing that a new wave of Colombian filmmakers are marrying nonfiction and novelistic techniques to finally grapple with a figure that's long been a punchline at best and a nebulous ‘Other’ at worst.
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Moran, James M. "Gregg Araki: Guerrilla Film-Maker for a Queer Generation". Film Quarterly 50, nr 1 (1996): 18–26. http://dx.doi.org/10.2307/1213324.

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Moran, James M. "Gregg Araki: Guerrilla Film-Maker for a Queer Generation". Film Quarterly 50, nr 1 (październik 1996): 18–26. http://dx.doi.org/10.1525/fq.1996.50.1.04a00040.

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Grassilli, Mariagiulia. "Migrant Cinema: Transnational and Guerrilla Practices of Film Production and Representation". Journal of Ethnic and Migration Studies 34, nr 8 (9.09.2008): 1237–55. http://dx.doi.org/10.1080/13691830802364825.

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Budiman, Hary Ganjar, i Kunto Sofianto. "REPRESENTASI SIPIL-MILITER DAN KONSTRUKSI MASKULINITAS PADA FILM JENDERAL SOEDIRMAN (2015)". Paradigma, Jurnal Kajian Budaya 8, nr 2 (19.12.2018): 155. http://dx.doi.org/10.17510/paradigma.v8i2.220.

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<p><em>Jenderal Soedirman</em> (2015) is a historical film that reveals the story of General Soedirman during the guerrilla war to maintain the Indonesia’s independence. The film was sponsored directly by the army (Kartika Eka Paksi Foundation and TNI) and involved the army in its making process. Therefore, the historical representation of this film is a history from the army’s point of view. Referring to Gramsci, a film can be seen as a hegemonic apparatus that contributes to the process of negotiating the interests of dominant groups. This study attempted to elaborate such representations of civil-military relationships and masculinity construction contained in<em> Jenderal Soedirman</em>. It used a qualitative approach and employed the encoding/decoding paradigm proposed by Stuart Hall. The results showed that the civil-military relationships in this film were mostly dominated by military roles. Masculinity in this film was formed by combining the concept of “Kiai” (Muslim clerics) and military patriotism wrapped in Islamic expressions.</p>
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Briefel, Aviva. "Mickey Horror". Film Quarterly 68, nr 4 (2015): 36–43. http://dx.doi.org/10.1525/fq.2015.68.4.36.

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Randy Moore's horror film Escape from Tomorrow (2013) was shot at Disneyland, Epcot, and Disney World, without either the authorization or knowledge of the Disney corporation. The result is a fascinating example of guerrilla filmmaking that makes use of gothic conventions to craft a new narrative of corporate horror. Both the film and its promotional materials narrate the vicissitudes of countering a mass-culture corporation that has become synonymous with American fantasies and imaginaries. And yet, however revolutionary his methods and overall narrative, Moore relies on long-familiar images of monstrous femininity to convey the circumstances of mass-culture seduction. The end result is less an attack on the institution of Disney itself than a gothic account of the parks' co-option by a dangerous female consumerism that nullifies male resistance or escape.
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Rozprawy doktorskie na temat "Guerrilla film"

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Sheets, Jake TMT. "Guerrilla". Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/285.

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Arnau, Roselló Roberto [Verfasser]. "La guerrilla de celuloide: resistencia estética y militancia política en el cine español (1967-1981) / Roberto Arnau Roselló". München : GRIN Verlag, 2011. http://d-nb.info/1179660129/34.

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Treglia, Laura. "Guerrilla girls : rebellious women of the Japanese 1960s-1970s 'pinky violence' films". Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702934.

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Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Książki na temat "Guerrilla film"

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Film, memory and the legacy of the Spanish Civil War: Resistance and guerrilla, 1936-2010. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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Guerrilla guide to great graphics with the GIMP. Rocklin, Calif: Prima Tech, 2000.

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Santucci, Walter. The guerrilla guide to animation: Making animated films outside the mainstream. New York, NY: Continuum International Pub. Group, 2009.

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Digital guerrilla video: A grassroots guide to the revolution. San Francisco: Miller Freeman Books, 1999.

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Loznit︠s︡a, Sergeĭ, i Heino Deckert. V tumane: In the fog. [Culver City, Calif.]: Strand Releasing, 2013.

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Scherbakov, Boris. Sapery. [Rossii︠a︡]: Odesskai︠a︡ kinostudii︠a︡, 2007.

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Il leone del deserto: La guerriglia libica di Omar Muktar contro i fascisti italiani : la storia, la realtà e i dialoghi del film di Moustapha Akkad. Roma: Casa editrice R. Napoleone, 1985.

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Barnwell, Robert G. Guerrilla Film Marketing. Redaktor Robert G. Barnwell. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470.

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Guerrilla Film Making Tactics. Independently Published, 2020.

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Davis, Ashley, Sheena Johnson, JaBray Barksdale i Trae Dungy. Guerrilla Film Making Tactics. Independently Published, 2020.

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Części książek na temat "Guerrilla film"

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"Key Film, Television, and Video Cited". W Guerrilla Networks, 351–52. Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9789048527533-012.

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"Guerrilla Branding, Marketing & Promotion". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 1–13. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-1.

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"Social Media & Video Marketing Platforms". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 122–43. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-10.

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"Dedicated Film & Filmmaker Websites". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 144–68. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-11.

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"Electronic Press Kits (Epks) & Press Books". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 169–80. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-12.

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"Media Relations & Public Releases". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 181–96. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-13.

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"Event Marketing: Screenings, Festivals, Film Markets & Other Events". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 197–223. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-14.

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"High-Impact Low-Cost Advertising & Promotion". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 224–40. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-15.

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"Distribution". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 241–56. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-16.

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"Creating an Irresistible Brand Identity". W Guerrilla Film Marketing, redaktor Robert G. Barnwell, 14–22. Routledge, 2018. http://dx.doi.org/10.4324/9781138916470-2.

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