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Artykuły w czasopismach na temat "Iranian Actor"
Sharifzadeh, Maryam, Gholam Zamani, Ezatollah Hossein Karami, Davar Khalili i Arthur Tatnall. "The Iranian Wheat Growers’ Climate Information Use". International Journal of Actor-Network Theory and Technological Innovation 4, nr 4 (październik 2012): 1–22. http://dx.doi.org/10.4018/jantti.2012100101.
Pełny tekst źródłaSalami, Ali, i Amir Ghajarieh. "The gendered discourse of ‘equal opportunities for men and women’ in Iranian EFL textbooks". Gender in Management: An International Journal 31, nr 2 (11.04.2016): 114–33. http://dx.doi.org/10.1108/gm-04-2015-0036.
Pełny tekst źródłaKobialka, Michal. "Tadeusz Kantor and Hamed Taheri: Of Political Theatre/Performance". TDR/The Drama Review 53, nr 4 (listopad 2009): 78–91. http://dx.doi.org/10.1162/dram.2009.53.4.78.
Pełny tekst źródłaAquino, Rowena Santos. "Necessary Fictions: From Cinéma vérité to Ciné, ma vérité(s)". CINEJ Cinema Journal 1, nr 2 (20.04.2012): 50–61. http://dx.doi.org/10.5195/cinej.2012.42.
Pełny tekst źródłaKhalid, Muhammad Munib, Uzma Naz i Sajida Begum. "‘EMPOWERED IRAN’ IN A COMPLEX REGION (MIDDLE EAST): TEHRAN’S FOREIGN POLICY CHALLENGES AND DIMENSIONS IN THE 21ST CENTURY". Global Political Review V, nr I (30.03.2020): 234–40. http://dx.doi.org/10.31703/gpr.2020(v-i).26.
Pełny tekst źródłaMelamed-Visbal, Janiel David, César Niño i María Eugenia Gómez-Arias. "Hezbollah as an Iranian proxy and its progressive expansion in Latin America". Revista Científica General José María Córdova 22, nr 45 (30.03.2024): 133–51. http://dx.doi.org/10.21830/19006586.1277.
Pełny tekst źródłaAli, Othman, i Zhirwan A. Ismail. "Impacts of Syrian Crisis on Turkish-Iranian Relations: (Rojava Factor)". Journal of University of Human Development 3, nr 3 (31.08.2017): 570. http://dx.doi.org/10.21928/juhd.v3n3y2017.pp570-577.
Pełny tekst źródłaRafatpanah, Houshang, Masoud Amin, Mohsen Ghasemshirazi, Mohammad Kazemiarababadi, Hossein Khorramdelazad, Hamid Abousaidi, Ziba Shabani, Ahmadreza Sayadi, Gholamhossein Hassanshahi i Jamile Samadi. "The SDF-1α3′A Genetic Variation Is Correlated with Susceptibility of Asthma in Iranian Patients". BioMed Research International 2013 (2013): 1–6. http://dx.doi.org/10.1155/2013/759361.
Pełny tekst źródłaRakel, Eva. "IX. Paradigms of Iranian Policy in Central Eurasia and Beyond". Perspectives on Global Development and Technology 2, nr 3 (2003): 549–71. http://dx.doi.org/10.1163/156915003322986398.
Pełny tekst źródłaVolkov, Denis. "Peculiarities of the USSR’s Foreign Policy Decision Making towards the Islamic Republic of Iran". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, nr 5 (2022): 110. http://dx.doi.org/10.31857/s086919080017099-5.
Pełny tekst źródłaRozprawy doktorskie na temat "Iranian Actor"
Plumer, Andrew G. "Iranian Sanctions An Actor-Centric Analysis". Thesis, Monterey, California. Naval Postgraduate School, 2012. http://hdl.handle.net/10945/6852.
Pełny tekst źródłaSarsangi, Majid. "A sacred house for creation : a study of theatrical environment & actor-audience relationship in religious drama : the case study of Iran". Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289474.
Pełny tekst źródłaMomeni, Mohammad. "A study of actor-audience relationship & theatrical environment in Western and Iranian dramatic activity". Thesis, Birmingham City University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404061.
Pełny tekst źródłaPessuto, Kelen. "O 'espelho mágico ' do cinema iraniano = uma análise das performances dos "não" atores nos filmes de arte". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284435.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T05:09:01Z (GMT). No. of bitstreams: 1 Pessuto_Kelen_M.pdf: 3175741 bytes, checksum: 12122eeb3b192b833dfc0faebb26d576 (MD5) Previous issue date: 2011
Resumo: Esta dissertação analisa as performances dos "não" atores no cinema de arte iraniano, a partir das obras Close-up (Nema-ye Nazdik, 1990, Abbas Kiarostami), Salve o cinema (Salam cinema, 1995, Mohsen Makhmalbaf), Tartarugas podem voar (Lakposhtha parvaz mikonand, 2004, Bahman Ghobadi) e O espelho (Ayneh, 1997, Jafar Panahi). Com base na antropologia da performance, busca-se responder às seguintes perguntas: Quem são os "não" atores? Por que são usados esse tipo de ator em vez de atores profissionais? Quais os métodos empregados em sua direção? Qual a relação que se estabelece entre o ator e o personagem? Para tanto, utiliza-se além da bibliografia pertinente a essa disciplina, ao teatro e ao cinema, o método comparativo, com filmes do mesmo diretor, assim como de outras cinematografias. Conclui-se que não há necessidade do ator ter uma técnica préestabelecida, sendo que a direção proposta por esses cineastas requer o mínimo de atuação. O ator-performer vivencia as situações que lhes são impostas e, a partir disso, cria personagens, algumas vezes baseados em sua própria experiência de vida, como em uma grande brincadeira de faz de conta
Abstract: This thesis analyzes the performance of the "non" actors in the Iranian art cinema, in movies Close-up (Nema-ye Nazdik, 1990, Abbas Kiarostami), Salam cinema (1995, Mohsen Makhmalbaf), Turtles can fly (Lakposhtha parvaz mikonand, 2004, Bahman Ghobadi) and The Mirror (Ayneh, 1997, Jafar Panahi). Based on the anthropology of performance, we seek to answer the following questions: Who are these "non" actors? Why they used that kind of actor instead of professional actors? What are the methods employed in its direction? and What is the relationship established between the actor and character? For this, we use the comparative method, with films from these directors, as well movies by other cinematographies. The conclusion reached is that there is no need for the actor to have a pre-established technique, because the direction proposed by these filmmakers requires minimal action. The actor-performer experience situations that are imposed for them and they create characters, sometimes based on their own experience of life, as in a grand game of make-believe
Mestrado
Artes Cenicas
Mestre em Artes
Książki na temat "Iranian Actor"
Momeni, Mohammad. A study of actor-audience relationship & theatrical environment inWestern and Iranian dramatic activity. Birmingham: University of Central England in Birmingham, 2004.
Znajdź pełny tekst źródłaSerasinghe, Irangani. Irangani: As told to Kumardesilva. Colombo: EWS Samaranayake Publishers, 2013.
Znajdź pełny tekst źródłaKhaṭībī, Parvīz. Khāṭirātī az hunarmandān. Lus Ānjilis: Bunyād-i Farhangī-i Parvīz Khaṭībī, 1994.
Znajdź pełny tekst źródłaKhaṭībī, Parvīz. Khāṭirātī az hunarmandān. Lus Ānjilis: Bunyād-i Farhangī-i Parvīz Khaṭībī, 1994.
Znajdź pełny tekst źródłaAsadʹzādah, Dāriyūsh. Sayrī dar tārīkh-i tiyātr-i Īrān qabl az Islām tā sāl-i 1357 shamsī: Survey in the history of Iranian theatre before advent Islam till 1939. Wyd. 8. Tihrān: Āvardgāh-i Hunar va Andīshah, 2010.
Znajdź pełny tekst źródłaKhaṭībī, Parvīz. Khāṭirātī az hunarmandān. Wyd. 8. Los Angeles, CA: Ketab Corp., 2007.
Znajdź pełny tekst źródłaKhaṭībī, Parvīz. Khāṭirātī az hunarmandān. Wyd. 8. Tihrān: Intishārāt-i Muʻīn, 2001.
Znajdź pełny tekst źródłaJavad Nazari (Shekarchi): جواد نظری. Iran Film, 2023.
Znajdź pełny tekst źródłaHunter, Shireen T. Iran’s Foreign Policy in the Post-Soviet Era. ABC-CLIO, LLC, 2010. http://dx.doi.org/10.5040/9798400672514.
Pełny tekst źródłaI'm not a terrorist, but I've played one on TV: Memoirs of a Middle Eastern funny man. 2015.
Znajdź pełny tekst źródłaCzęści książek na temat "Iranian Actor"
Labafi, Somayeh. "Iranian Data Protection Policy in Social Media; An Actor-Network Theory Approach". W Contemporary Applications of Actor Network Theory, 121–39. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7066-7_7.
Pełny tekst źródłaFreilich, Charles D., Matthew S. Cohen i Gabi Siboni. "The Iranian Cyber Threat". W Israel and the Cyber Threat, 107–38. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197677711.003.0006.
Pełny tekst źródłaPartovi, Pedram. "Filmfarsi as Counter-Memory". W Counter-Memories in Iranian Cinema, redaktorzy Matthias Wittmann i Ute Holl, 189–215. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479752.003.0011.
Pełny tekst źródłaKamrava, Mehran. "Iran in the World". W Triumph and Despair, 199–224. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197678411.003.0007.
Pełny tekst źródłaHarvey, Katherine. "Saudi Arabia Shuns Iraq". W A Self-Fulfilling Prophecy, 143–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197631324.003.0005.
Pełny tekst źródłaKoláček, Jakub. "The Khomeinists: Between Sedentarisation and Perpetual Revolution". W Revolutionaries and Global Politics, redaktorzy Ondrej Ditrych, Jan Daniel i Jakub Záhora, 145–62. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399505550.003.0009.
Pełny tekst źródłaHemmasi, Farzaneh. "Googoosh’s Voice". W Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0011.
Pełny tekst źródłaKile, Shannon N. "Final thoughts on Iran, the EU and the limits of conditionality". W Europe and Iran, 122–35. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199290871.003.0007.
Pełny tekst źródłaFinkelstein, Claire. "Fighting State Actors with the Tools of Hybridized Warfare". W Between Crime and War, 153—C6.N46. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197638798.003.0007.
Pełny tekst źródłaHollyfield, Jerod Ra'Del. "Epic Multitudes: Postcolonial Genre Politics in Shekhar Kapur’s The Four Feathers". W Framing Empire, 91–114. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429948.003.0006.
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