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Artykuły w czasopismach na temat "RAI Cinema (Firm)"
Rahman, M. Sadiqur. "Early ‘Glocalization’ in Indian Cinema: An Analysis of Films of Dada Saheb Phalke and Himanshu Rai". Asiatische Studien - Études Asiatiques 73, nr 3 (26.03.2020): 521–44. http://dx.doi.org/10.1515/asia-2019-0047.
Pełny tekst źródłaPugsley, Peter C., i Saira Ali. "Activating Bollywood buzz: Promoting Indian film superstars in supporting roles". Studies in South Asian Film & Media 13, nr 1 (1.01.2022): 19–37. http://dx.doi.org/10.1386/safm_00046_1.
Pełny tekst źródłaBermúdez de Castro, Juan José. "Classrooms Without Closets: LGBTIQ+ Cinema in University Education". Revista Alicantina de Estudios Ingleses, nr 33 (23.12.2020): 151. http://dx.doi.org/10.14198/raei.2020.33.04.
Pełny tekst źródłaMichel Modenessi, Alfredo. "Looking for Mr GoodWill in “Rancho Grande” and Beyond: The ‘Ghostly’ Presence of Shakespeare in Mexican Cinema". Revista Alicantina de Estudios Ingleses, nr 25 (15.11.2012): 97. http://dx.doi.org/10.14198/raei.2012.25.08.
Pełny tekst źródłaRizwan, Snobra. "Multimodal signs in (non)heteronormative discourse of transnational Hindi cinema: the case study of Hindi film Dostana". Revista Alicantina de Estudios Ingleses, nr 27 (15.11.2014): 179. http://dx.doi.org/10.14198/raei.2014.27.11.
Pełny tekst źródłaGardener, Ryan. "Storming off the tracks: Zombies, high speed rail and South Korean identity in Train to Busan". Asian Cinema 32, nr 1 (1.04.2021): 37–53. http://dx.doi.org/10.1386/ac_00032_1.
Pełny tekst źródłaSinger, Elyse. "Strike a Pose". Feminist Media Histories 7, nr 1 (1.01.2021): 147–71. http://dx.doi.org/10.1525/fmh.2021.7.1.147.
Pełny tekst źródłaKhiun, Liew Kai. "Cosmopolitan Intimacies: Malay Film Music of the Independence Years by Adil Johan, and: Celluloid Singapore: Cinema, Performance and the National by Edna Lim". Journal of the Malaysian Branch of the Royal Asiatic Society 92, nr 1 (2019): 118–19. http://dx.doi.org/10.1353/ras.2019.0010.
Pełny tekst źródłaRabai, Carlo Maria. "Sembra mio figlio (Just Like My Son), Costanza Quatriglio (dir.) (2018), Italy, Belgium, Croatia and Iran: Ascent Film, Caviar Films, Antitalent Produkcija and Rai Cinema". Journal of Italian Cinema & Media Studies 9, nr 2 (1.03.2021): 306–8. http://dx.doi.org/10.1386/jicms_00072_4.
Pełny tekst źródłaKızıler Emer, Funda, i Esma Şen. "Thematic comparasion Hermann Hesse’s novel names Beneath The Wheel (Unterm Rad) and Michael Haneke’s film names The White Ribbon (Das Weiße Band) Hermann Hesse’nin Çarklar Arasında (Unterm Rad) adlı romanı ile Michael Haneke’nin Beyaz Bant (Das Weiße Band) adlı filminin tematik açıdan karşılaştırılması". Journal of Human Sciences 16, nr 2 (7.05.2019): 543–60. http://dx.doi.org/10.14687/jhs.v16i2.5733.
Pełny tekst źródłaRozprawy doktorskie na temat "RAI Cinema (Firm)"
Lessa, Rodrigo Oliveira. "Da passividade à luta política: as imagens da classe trabalhadora no cinema documentário brasileiro". Faculdade de Filosofia e Ciências Humanas, 2015. http://repositorio.ufba.br/ri/handle/ri/19015.
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Neste estudo buscamos compreender as representações da classe trabalhadora no cinema documentário brasileiro, sobretudo as que foram desenvolvidas entre meados dos anos 1960 e início dos anos 1980, um período de desenvolvimento estético muito singular para este gênero do cinema nacional. Para realizar este objetivo, reunimos um conjunto de quatro filmes documentários que abordaram temas como movimentos grevistas, migração e modo de vida das populações urbanas, questões que levaram os filmes a capturar aspectos das condições sociais de frações do proletariado. São eles: Viramundo (1965), de Geraldo Sarno, A opinião pública (1968), de Arnaldo Jabor, ABC da greve (1979/1990), de Leon Hirszman, e Cabra marcado para morrer (1984), de Eduardo Coutinho. A investigação toma como ponto de partida os próprios filmes, pois, sob a perspectiva dialética aqui empregada, os conhecimentos presentes na obra de arte são parte de uma representação que é a síntese das determinações resultantes da relação reciprocamente mediada entre o sujeito e a realidade social. Esta síntese, por sua vez, compreende a própria representação, exteriorizada no modo como conteúdo e forma estão articulados na obra de arte, acionada através de um exercício de decomposição e recomposição da linguagem cinematográfica. Mediante o estudo aqui realizado, destaca-se o modo pelo qual as imagens do cotidiano, das lutas e do modo de vida da classe trabalhadora acompanharam as principais transformações no âmbito do desenvolvimento estético do cinema documentário no país, sendo a classe o principal sujeito histórico de um momento no qual o cinema documentário revisou seus modos de representar e reportar-se à realidade social. This study aims to understand the representations of the working class in the Brazilian documentary filmmaking, especially those that have been developed between the mid 1960s and early 1980s – an aesthetic development period very unique for this genre of national cinema. To accomplish this goal, we have compiled a set of four documentary films that covered topics such as strike movements, migration and way of life of urban populations, issues that led the film to capture aspects of the social conditions of the proletariat fractions. They are: Viramundo (1965), by Geraldo Sarno, A opinião pública (1968), from Arnaldo Jabor, ABC da greve (1979/1990), realized by Leon Hirszman, and Cabra marcado para morrer (1984), maked by Eduardo Coutinho. The research takes as its starting point the films themselves because, in the dialectical perspective employed here, the knowledge present in the work of art are part of a representation which is the synthesis of the determinations resulting from mutually mediated relationship between the subject and the social reality. This synthesis, in turn, comprises the representation itself, externalized in how content and form are articulated in the artwork, triggered by an exercise of decomposition and recomposition of film language. Through the study held here, there is the way in which the images of everyday life, the struggles and the way of life of the working class followed the main changes under the aesthetic development of documentary filmmaking in the country. Class that consists in the main historical subject in which the documentary film revised its ways of representing and refer to the social reality.
Jesus, Guilherme Maia de. "Elementos para uma poética da música do cinema: ferramentas conceituais e metodológicas aplicadas na análise da música dos filmes Ajuste final e O homem que não estava lá". Programa de Pós-Graduação em Comunicação e Cultura Contemporâneas da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/11305.
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Neste trabalho é examinada a hipótese de que os estudos fílmicos brasileiros pagam tributos altos demais a um determinado esquema conceitual de atribuição de valor à música dos filmes, esculpido no âmbito das grandes teorias gerais do cinema, com raízes mais profundas na declaração assinada por Eisenstein, Pudovkin e Alexandrov sobre o futuro do cinema sonoro, de 1929, e em um artigo escrito pelo compositor francês Maurice Jaubert, em 1937. Flagrando fragilidades conceituais e empíricas importantes no paradigma em questão, a pesquisa questiona a rentabilidade analítica deste modelo e propõe, como alternativa, uma base epistêmica construída a partir de um conjunto de pressupostos do campo da Estética, da Musicologia e dos estudos internacionais contemporâneos sobre a música do cinema, articulados no interior da matriz metodológica que orienta os trabalhos do Laboratório de Análise Fílmica – a ‘Poética do Filme’. O teste da metodologia, realizado nos filmes Ajuste final e O homem que não estava lá, sugere que a dimensão pragmática da análise torna-se acentuadamente mais dinâmica com a aplicação da matriz de raiz aristotélica aqui proposta - análise imanente com foco nos efeitos sensoriais, sentimentais e cognitivos que a obra produz sobre o apreciador -, do que com os esquemas conceituais dominantes no contexto dos estudos fílmicos brasileiros. Tudo indica que esta ‘poética da música dos filmes’, aplicada a uma determinada obra, constrói um território conceitual e analítico mais seguro e fecundo para ajudar a compreender por que algumas estratégias musicais têm grande potência de impressionar o gosto e a memória, enquanto outras são esquecidas ou guardadas nas subpastas das coisas corriqueiras e banais.
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Guazzetti, Fabio. "Produrre il reale - analisi della produzione e distribuzione del cinema documentario italiano contemporaneo (2000 - 2019)". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25139/.
Pełny tekst źródłaCerisuelo, Marc. "L'Instauration du cinéma : Poétique des films et interprétation : L'exemple des métafilms hollywoodiens". Paris 3, 1998. http://www.theses.fr/1998PA030188.
Pełny tekst źródłaThe object of this study is to establish the relationships between poetics of film, film history and the claim of an interpretation based upon a literary background and a philosophical point of view. A "metafilm" is not just one more "movie-about-themovies". This study will attempt to show how, from show people to fedora, the hollywood tradition provides a real discourse of the film
Chen, Yannleon. "The laws of terrorism| Representations of terrorism in German literature and film". Thesis, University of Oregon, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1542689.
Pełny tekst źródłaRepresentations of the reasons and actions of terrorists have appeared in German literature tracing back to the age of Sturm und Drang of the 18th century, most notably in Heinrich von Kleist's Michael Kohlhaas and Friedrich Schiller's Die Räuber, and more recently since the radical actions of the Red Army Faction during the late 1960s and early 1970s, such as in Uli Edel's film, The Baader Meinhof Complex. By referring to Walter Benjamin's system of natural law and positive law, which provides definitions of differing codes of ethics with relation to state laws and personal ethics, one should be able to understand that Michael Kohlhaas, Karl Moor, and the members of the RAF are indeed represented as terrorists. However, their actions and motives are not without an internal ethics, which conflicts with that of their respective state-sanctioned authorities. This thesis reveals the similarities and differences in motives, methods, and use of violence in Schiller, Kleist, and representations of the RAF and explores how the turn to terrorism can arise from a logical realization that ideologies of state law do not align with the personal sense of justice and law of the individual.
Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.
Pełny tekst źródła"Towards a National Cinema: An Analysis of Caliwood Films by Luis Ospina and Carlos Mayolo and Their Fundamental Contribution to Colombian Film". Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63097.
Pełny tekst źródłaDissertation/Thesis
Doctoral Dissertation Spanish 2020
"Pólvora, sangre y sexo: dialogismos contemporáneos entre la literatura y el cine en América Latina". Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.8906.
Pełny tekst źródłaDissertation/Thesis
Ph.D. Spanish 2011
"Negociaciones transnacionales en el cine del (in)migrante: acercamientos dialógicas al (in)migrante Otro dentro de España y Argentina". Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14846.
Pełny tekst źródłaDissertation/Thesis
Ph.D. Spanish 2012
"SARA GARCÍA: ICONO CINEMATOGRÁFICO NACIONAL, ABUELA Y LESBIANA". Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.24961.
Pełny tekst źródłaDissertation/Thesis
Ph.D. Spanish 2014
Książki na temat "RAI Cinema (Firm)"
Frascella, Larry. Live fast, die young: The wild ride of making Rebel without a cause. New York: Simon&Schuster, 2005.
Znajdź pełny tekst źródłaGreen, Adolph, i Betty Comden. Singin' in the Rain (Classic Film Scripts). Continuum International Publishing Group, 1986.
Znajdź pełny tekst źródłaAhmed, Omar. Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.001.0001.
Pełny tekst źródłaSawhney, Rashmi. Revising the Colonial Past, Undoing “National” Histories. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0012.
Pełny tekst źródłaRajadhyaksha, Ashish. 3. Partition and the ‘all-India’ film. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723097.003.0003.
Pełny tekst źródłaMayer, Geoff. Guide to British Cinema. Greenwood, 2003. http://dx.doi.org/10.5040/9798400660023.
Pełny tekst źródłaWilliams, James S. Xala. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839026010.
Pełny tekst źródłaThe screening of America: Movies and values from Rocky to Rain Man. New York: Continuum, 1990.
Znajdź pełny tekst źródłaThomson, C. Claire. Citizens of the Future: Informational Film and the Welfare State. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0008.
Pełny tekst źródłaWillis, Andy. From Killer Snakes to Taxi Hunters: Hong Kong Horror in an Exploitation Context. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0004.
Pełny tekst źródłaCzęści książek na temat "RAI Cinema (Firm)"
Lenehan, Fergal. "Singing in the Rain: The Irish-Themed Film Musical and Schlager’s Hibernian Moment". W Ireland and Cinema, 149–57. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137496362_14.
Pełny tekst źródłaCardullo, R. J. "Thought, Feeling, and The Cinema of Francis Ford Coppola: The Rain People As Exemplum". W Teaching Sound Film, 125–34. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_12.
Pełny tekst źródła"21. Film Festivals". W Satyajit Ray on Cinema, 126–29. Columbia University Press, 2013. http://dx.doi.org/10.7312/ray-16494-022.
Pełny tekst źródła"3. Should a Film-Maker Be Original?" W Satyajit Ray on Cinema, 13–18. Columbia University Press, 2013. http://dx.doi.org/10.7312/ray-16494-004.
Pełny tekst źródła"9. A Film Must Achieve its Objective". W Satyajit Ray on Cinema, 43–50. Columbia University Press, 2013. http://dx.doi.org/10.7312/ray-16494-010.
Pełny tekst źródłaViart, Christophe. "The Happy Failure". W Post-cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463727235_ch16.
Pełny tekst źródłaAndrew, Dudley. "Postwar renewal and retrenchment". W French Cinema: A Very Short Introduction, 49—C4P11. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/actrade/9780198718611.003.0004.
Pełny tekst źródłaAhmed, Omar. "Feminist Concerns". W Studying Indian Cinema, 87–106. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0006.
Pełny tekst źródłaMissero, Dalila. "Searching for Gender in the Audience: Cultural Discourses and Opinion Surveys". W Women, Feminism and Italian Cinema, 17–26. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.003.0002.
Pełny tekst źródłaNarula, Brahmneet Kaur. "Indian Cinema: Indian Diaspora’s Culture Export to the Middle East". W Diaspora in MENA Region and Beyond, 299–317. UJ Press, 2024. http://dx.doi.org/10.36615/9781776489312-13.
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