Gotowe bibliografie tematyczne / Motion pictures – argentina – history

Gotowa bibliografia na temat „Motion pictures – argentina – history”

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Data publikacji: 25 lipca 2024

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Artykuły w czasopismach na temat "Motion pictures – argentina – history"

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Jennifer Tebbe-Grossman. "Medicine’s Motion Pictures". Film & History: An Interdisciplinary Journal of Film and Television Studies 39, nr 1 (2009): 98–99. http://dx.doi.org/10.1353/flm.0.0076.

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Heinemann, Julia. "Motion Pictures of the Royal Family". French Historical Studies 44, nr 2 (1.04.2021): 191–216. http://dx.doi.org/10.1215/00161071-8806426.

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Abstract This article explores the role of letter writing in the political practice of the French royal family. By focusing on the use of letters exchanged by Henri III, François d'Anjou, and Catherine de’ Medici between 1574 and 1584, it analyzes how both kinship relations and notions of royal authority were negotiated and intertwined by letter. In a dynamic communication process, the correspondents discussed and framed familial relationships and political concepts. The letters were read, seen, and heard by a broader audience at court, thus transcending modern categories such as public and private, formal and informal, or intimate and official. The article argues that the correspondence produced specific, sometimes opposing pictures of the royal family that were supposed to be visible. This use of letters shaped social relations and political processes during the Wars of Religion in early modern France. Cet article traite du rôle de la correspondance dans les pratiques politiques de la famille royale française. En me concentrant sur l'usage des lettres par Henri III, François d'Anjou et leur mère Catherine de Médicis dans les années 1574–84, j'analyse comment les correspondants négocient ensemble les relations de parenté et les concepts politiques. La discussion et la modélisation de cette conception familiale de l'autorité royale par les lettres sont partie prenante d'un processus de communication dynamique. La fonction de ces lettres est d’être lues, vues et entendues à la cour. Ce faisant, cette communication outrepasse les divisions « modernes » entre le privé et le public, le formel et l'informel ou encore l'intime et l'officiel. Cet usage de l’écrit est spécifique aux relations sociales et aux processus politiques pendant les guerres de Religion à l’époque moderne.
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Swartz, Mark E. "Motion Pictures on the Move". Journal of American Culture 9, nr 4 (grudzień 1986): 1–7. http://dx.doi.org/10.1111/j.1542-734x.1986.0904_1.x.

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Amor, Monica. "Displaced Boundaries: Geometric Abstraction from Pictures to Objects". ARTMargins 3, nr 2 (czerwiec 2014): 101–17. http://dx.doi.org/10.1162/artm_r_00083.

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This review concerns Osbel Suarez, Cold America: Geometric Abstraction in Latin America (1934–1973), an exhibition presented by the Fundación Juan March in Madrid, Feb 11–May 15, 2011 and Alejandro Crispiani's book Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970] (Buenos Aires: Universidad Nacional de Quilmes, 2011). The review briefly assesses the state of the literature on Latin American Geometric Abstractio and analyzes these two publications from 2011, which stand precisely for traditional approaches and new developments in the field.
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Oliver, Willard M. "Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures". Journal of Criminal Justice Education 22, nr 3 (wrzesień 2011): 420–39. http://dx.doi.org/10.1080/10511253.2010.519892.

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Ayers, Lee. "Book Review: Crime, history, and Hollywood: Learning criminal justice history throughmajor motion pictures". Criminal Justice Review 39, nr 4 (25.06.2014): 459–61. http://dx.doi.org/10.1177/0734016814540302.

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Eckardt, Michael. "South African film history vs the history of motion pictures in South Africa". South African Theatre Journal 25, nr 1 (marzec 2011): 72–77. http://dx.doi.org/10.1080/10137548.2011.626961.

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Dym, Jeffrey A. "Benshi and the Introduction of Motion Pictures to Japan". Monumenta Nipponica 55, nr 4 (2000): 509. http://dx.doi.org/10.2307/2668250.

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Martin L. Johnson. "Motion Pictures: A Problem to Be Co-operatively Solved". Film History 29, nr 4 (2017): 157. http://dx.doi.org/10.2979/filmhistory.29.4.07.

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ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory". British Journal for the History of Science 50, nr 3 (wrzesień 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.
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Rozprawy doktorskie na temat "Motion pictures – argentina – history"

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Giordano, Maria Graciela. "Más allá del trauma colectivo : represión y exilio en la narrativa de mujeres y el cine argentino". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100610.

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Argentine literature at the close of the twentieth century is characterized by a marked interest in the themes of dictatorship, marginality, and exile. Given the shifting of public and private spaces in the country's recent history, a "sinister" space has appeared in the collective subconscious, where all that was negated, prohibited and repressed is now (re)surfacing with tremendous energy in a constant probing into the collective memory effectuated from still present traumas without closure.
The purpose of this dissertation is to analyse the "social tics" which flourish in various art forms, as well as in the underpinnings of Argentine society, and come from the fact that collective suffering has created a defined present which controls the past, and, inevitably, influences the future. In turn, certain themes thus emerge from subjective and fragmented spaces of enunciation where memory plays a crucial role.
In order to do this, I concentrate here on alternative cultural productions to the official propaganda produced during and after the period of dictatorship, paying special attention to women's narratives and testimonies or memoirs of repression. Finally, I undertake an analysis of certain selected cinematographic productions which, like the contemporary literature analysed here, also form part of the movement that demonstrates the need to question Argentine reality---present and past---by foregrounding collective and individual memory in opposition to the generalized trend of amnesia/anaesthesia to point up the very real danger inherent in such "historic amnesia." Taken together, these works reveal the existence of a past that must be recaptured and redeemed, but which, given the existence of the negated and silenced "sinister" space in contemporary reality, forms only a small part of Argentine history still under construction.
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Juz, Breno de Souza. "Representações cinematográficas da Argentina em crise (1999-2004)". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278677.

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Orientador: José Alves de Freitas Neto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-17T03:34:33Z (GMT). No. of bitstreams: 1 Juz_BrenodeSouza_M.pdf: 1163692 bytes, checksum: 6c0b8fbf38ea1c317a16fc9a53be04d2 (MD5) Previous issue date: 2010
Resumo: No final dos anos 1990 e início do século XXI, o cinema argentino viveu uma vigorosa retomada na produção nacional com o surgimento de novos realizadores, conquistando diversos prêmios em festivais e ampla repercussão internacional. Este cinema atraiu o interesse da crítica e do público devido a uma série de fatores, entre os quais cabe destacar uma exemplar e instigante renovação da linguagem. A isso se soma a viabilização de produção independente calcada no baixo orçamento. A retomada da produção vivida pelo cinema argentino na virada de século XXI foi simultânea à crise social, econômica e institucional ocorrida a partir de dezembro de 2001. Este fato potencializou as significações do nuevo cine argentino devido à capacidade de diálogo que certas obras apresentaram em relação ao momento histórico vivido pelo país. Este trabalho tem como objetivo analisar, a partir de obras referenciais, as representações da Argentina no cinema argentino contemporâneo, investigando quais as estruturas narrativas e estilos cinematográficos foram utilizados na construção dessas obras e da crise por elas representadas. Busca-se também perceber os sujeitos, tramas, relações com os espaços e instituições escolhidos no constructo da Argentina contemporânea e sua crise. Com isso, é possível analisar a historicidade dessa cinematografia, e os desdobramentos implicados nas representações construídas pela escrita cinematográfica
Abstract: In the late 1990s and early twenty-first century, the Argentine cinema has experienced a vigorous recovery in its national production in which there was the emergence of new filmmakers who won several awards at festivals and got a wide world repercussions and notoriety. This cinema has attracted the interest from critics and audiences for a variety of factors, among which we highlight an exemplary and exciting renewal of its language. In addition, the viability of independent production grounded on low costs. This resumption of production experienced by the Argentine cinema at the turn of the century was simultaneously a social, economic and institutional crisis occurred in December 2001. This fact has enhanced the meanings of Argentine nuevo cine because of the capacity of dialoguing that certain works presented in relation to the historical moment experienced by the country. Thus, this dissertation aims to analyze, using reference works, the representations of contemporary Argentine cinema in Argentina, investigating which narrative structures and cinematographic styles were used in the construction of these works and the crisis that they represent. The aim is also to understand the subjects, plots, spaces and relations with the institutions selected in the construct of contemporary Argentina and its crisis. Thus, it is possible to analyze the historicity of this cinema, and the ramifications involved in the representations constructed by cinematographic writing
Mestrado
Historia Cultural
Mestre em História
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Triquell, Ximena. "Projecting history : a socio-semiotic approach to the representations of the military dictatorship (1976-1983) in the cinematic discourses of Argentine democracy". Thesis, University of Nottingham, 2000. http://eprints.nottingham.ac.uk/11710/.

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This thesis analyzes a series of films that, in different ways, seek to represent the last Argentine dictatorship. The possibility of interpreting the thematic and formal recurrences of the films as a defining characteristic of a specific genre is posed as a first hypothesis. The second hypothesis postulates the possibility of relating certain aesthetic and rhetorical changes of the series to certain socio-political processes. After presenting a general overview of some of the various forms in which the relationship between cinema and society has been theorized before, the work proposes the instance of enunciation as a principle of articulation between textual and social systems, analysing the subjects involved in each of these levels and the relationship that can be established between them. The apparatus of enunciation (between textual figures), which can be related to the reading contract (between social subjects) can also be associated with the notion of genre. In this context, the thesis explores the possibility of a redefinition of cinematographic genres from the perspective of the Semiotics of Passions. Having established in the previous chapters the theoretical and methodological basis, the second part of the work consists of the analysis of the enunciation in the films of the corpus, in order to establish the main characteristics of the reading contract proposed to the spectator. The analysis starts with the consideration of the genre known in television as "docudrama", paying particular attention to the relationship between what is filmed and the "real", that this genre seeks to establish. This is followed by the partial conclusions of the analysis of the totality of films included in the corpus. A first systematisation of the general characteristics of the films considered allows for a definition of a new genre which we termed "documelodrama".
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Older, Aguilar Sarah Michelle. "Witnessing media the reproduction and transmission of history in Southern Cone post-dictatorship fiction /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1872211281&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Nogueira, Julia C. "Film and Video Festivals in South America:A Contemporary Analysis of Flourishing Cultural Phenomena". Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1230612139.

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Falicov, Tamara Leah. "The contemporary Argentine film industry, 1983-1998 : state cultural policy within a global market /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956448.

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Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /". [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

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Williams, Danielle E. Winn J. Emmett. "Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /". Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.

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Haywood, Keene McDonald. "Beyond Words: The Use of the Non-Verbal Genre in Natural History Filmmaking". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/haywood/HaywoodK0807.pdf.

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Natural history filmmaking has a history that begins with the advent of cinematography as a form of artistic and documentary expression. Natural history filmmaking has increasingly used techniques of fiction, drama and anthropomorphizing to represent the natural world in storytelling. This paper will examine the use of the nonverbal form of filmmaking as an alternative style that can be used to effectively document natural history using a more lyrical, poetic and often more thoughtful style. This work examines previous works in the non-verbal genre and discusses how this style compares with historically more traditional natural history films and why this alternative style is used for the thesis film. Additionally, works from the disciplines of geography and natural history writing are examined for relevance to the non-verbal natural history filmmaking genre.
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Pang, Lai Kwan. "China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /". online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.

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Książki na temat "Motion pictures – argentina – history"

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The film industry in Argentina: An illustrated cultural history. Jefferson, N.C: McFarland, 2004.

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El cine argentino en la historia Argentina, 1958-1998. Rosario, Argentina: Ediciones del Arca Editorial, 1999.

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Curubeto, Diego. Babilonia gaucha: Hollywood en la Argentina, la Argentina en Hollywood. Buenos Aires: Planeta, 1993.

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Riva, Lucía Rodríguez. Diálogos cinematográficos entre España y Argentina. España: Asociación Shangrila Textos Aparte, 2019.

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Iribarren, María. La imagen argentina: Episodios cinematográficos de la historia nacional. CABA [Buenos Aires]: Cultura Argentina, Ministerio de Cultura, Presidencia de la Nación Argentina, 2017.

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Thompson, Currie Kerr. Picturing Argentina: Myths, movies, and the Peronist vision. Amherst, New York: Cambria Press, 2014.

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Aguilar, Gonzalo. New Argentine film: Other worlds. Basingstoke: Palgrave Macmillan, 2011.

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Elner, David A. Bibliografía sobre cine y teatro en Argentina. Buenos Aires: Ediciones S.J.L., 1987.

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Elner, David A. Bibliografía sobre cine y teatro en Argentina. Buenos Aires: Ediciones S.J.L., 1987.

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Elner, David A. Bibliografía sobre cine y teatro en Argentina. Buenos Aires: Ediciones S.J.L., 1987.

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Części książek na temat "Motion pictures – argentina – history"

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Czitrom, Daniel. "Early Motion Pictures". W Communication in History, 158–66. Wyd. 8. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250463-26.

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Czitrom, Daniel. "Early Motion Pictures". W Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.

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Molenda, Michael H. "History and Development of Instructional Design and Technology". W Handbook of Open, Distance and Digital Education, 1–18. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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Molenda, Michael H. "History and Development of Instructional Design and Technology". W Handbook of Open, Distance and Digital Education, 57–74. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visual and, later, audiovisual resources where verbal presentations previously dominated. As radio broadcasting grew in the 1930s and then television in the 1950s, these mass media were perceived as ways to reach audiences, in and out of school, with educative audiovisual programs. In the 1960s, the wave of interest in teaching machines incorporating behaviorist psychological technology engendered a shift in identity from audiovisual technologies to all technologies, including psychological ones. As computers became ubiquitous in the 1990s, they became the dominant delivery system, due to their interactive capabilities. With the global spread of the World Wide Web after 1995, networked computers took on communication functions as well as storage and processing functions, giving new momentum to distance education. Meanwhile, research during and after World War II prompted a technology of planning – systems analysis. In the 1960s, educators adapted the systems approach to instructional planning, starting the development of instructional systems design (ISD). Since the 1980s, ISD has been the reigning paradigm for instructional design, while instructional design has become the central activity of instructional technology professionals.
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"Early Motion Pictures, Daniel Czitrom". W Communication in History, 175–82. Routledge, 2015. http://dx.doi.org/10.4324/9781315664538-32.

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Lethem, Jonathan. "1888 The introduction of motion pictures". W A New Literary History of America, 406–10. Harvard University Press, 2012. http://dx.doi.org/10.4159/9780674054219-087.

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Abel, Richard, i Amy Rodgers. "Early Motion Pictures and Popular Print Culture". W The Oxford History of Popular Print Culture, 191–210. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:osobl/9780199234066.003.0010.

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Powers, Stephen, David J. Rothman i Stanley Rothman. "Hollywood's History and the Politics of Motion Pictures". W Hollywood's America, 14–39. Routledge, 2018. http://dx.doi.org/10.4324/9780429493720-2.

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"A History Long Overdue: The Public Library and Motion Pictures". W Useful Cinema, 149–77. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822394167-009.

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Costanzo, William V. "Comedy, History, and Culture". W When the World Laughs, 69–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0005.

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How has comedy evolved around the globe from earliest times to today? Chapter 4 offers a chronology of comedy. Distinguishing among laughter, comedy, and humor, it finds evidence of humor in ancient texts and imagery, tracing the evolution of comic genres through classical Greek drama, Sanskrit poetry, early China, medieval Europe, and feudal Japan. The chronology continues with an account of popular festivals of laughter, comedic stage performances, and precursors of the comic novel, showing how they led to modern literary and cinematic forms as well as televised sitcoms and live standup. Motion pictures borrowed silent gags and witty wordplay from vaudeville, channeled the freewheeling energy of picaresque stories into episodic road movies, adapted the amatory impulses of Shakespeare’s romantic comedies to the screen, and turned the Carnivalesque spirit into scenes of cinematic mischief and mayhem.
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Streszczenia konferencji na temat "Motion pictures – argentina – history"

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Mathias, Yehoshua. "USING MOTION PICTURES TO FOSTER HISTORICAL THINKING: A PROPOSAL FOR HISTORY TEACHERS' EDUCATION". W 15th annual International Conference of Education, Research and Innovation. IATED, 2022. http://dx.doi.org/10.21125/iceri.2022.1817.

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