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Artykuły w czasopismach na temat "Voix au cinéma"
Arnoldy, Édouard, i Laurent Le Forestier. "Alain Boillat, Du bonimenteur à la voix-over, Voix-attraction et voix-narration au cinéma". 1895, nr 55 (1.06.2008): 224–29. http://dx.doi.org/10.4000/1895.4133.
Pełny tekst źródłaWarren, Paul. "La voix off dans Sunset Boulevard". Cinémas 5, nr 3 (28.02.2011): 65–75. http://dx.doi.org/10.7202/1001147ar.
Pełny tekst źródłaAlberdi Urquizu, Carmen. "Between Missed and Denied, a Word in Search of Voice". L’Entre-deux et l’Imaginaire, nr 37 (30.06.2016): 151–63. http://dx.doi.org/10.35562/iris.1477.
Pełny tekst źródłaAlberdi Urquizu, Carmen. "Between Missed and Denied, a Word in Search of Voice". L’Entre-deux et l’Imaginaire, nr 37 (30.06.2016): 151–63. http://dx.doi.org/10.35562/iris.1477.
Pełny tekst źródłaLagny, Michèle. "Avec ou sans voix : la femme défaite". Cinémas 16, nr 1 (12.06.2006): 117–37. http://dx.doi.org/10.7202/013053ar.
Pełny tekst źródłaSanaker, John Kristian. "La voix over documentariste en fiction : entre factuel et fictionnel". Cinémas 9, nr 2-3 (26.10.2007): 203–18. http://dx.doi.org/10.7202/024794ar.
Pełny tekst źródłaBarnier, Martin. "La voix qui présente". Cinémas 20, nr 1 (17.02.2010): 91–111. http://dx.doi.org/10.7202/039270ar.
Pełny tekst źródłade Chalonge, Florence. "Le corps dans la voix. De L’amour à L’homme assis dans le couloir de Marguerite Duras". Tangence, nr 103 (2.05.2014): 93–105. http://dx.doi.org/10.7202/1024973ar.
Pełny tekst źródłaOdin, Roger. "Alain Boillat, Du bonimenteur à la voix-over. Voix-attraction et voix-narration au cinéma, Lausanne, Antipodes, 2007, 539 p." Cinémas: Revue d'études cinématographiques 20, nr 2-3 (2010): 225. http://dx.doi.org/10.7202/045151ar.
Pełny tekst źródłaRoy, Lucie. "Entre réalité et idéalité : les tracés de la voix au cinéma". Articles divers 1, nr 3 (2.03.2011): 128–44. http://dx.doi.org/10.7202/1001070ar.
Pełny tekst źródłaRozprawy doktorskie na temat "Voix au cinéma"
Barnier, Martin. "Les Voix de la liberté : La généralisation du cinéma parlant". Paris 3, 1996. http://www.theses.fr/1996PA03A002.
Pełny tekst źródłaBetween 1926 and 1934, the talking moving picture took the place of the silent film in the United states and in Europe. It was the generalization and not the birth of the talkies, a decisive change in film history, characterized by intense heterogeneity and a great freedom of choice. Between 1896 and 1934, a large diversity of sound systems was proposed. Sound technology was multiple, because it was inspired by radio, telephone, electric record player and public address system. The european film economy was set free from american domination, between 1926 and 1934, thanks to restrictive laws and the problems of exporting sound films. The increase in number of production companies in Europe, especially in France, helped promote a varied and unrestrained creation. Examples of mass appeal productions examples, in france and the United states, and of Renoir and Duvivier films, give the proof that filming styles were developed in numerous ways, and that sound was quickly mastered. Looking at the first portuguese and colombian sound films, we can remak that principal characteristics of sound film generalization are the same in all countries. This period of film history is like a rhizome where technology, economy and esthetics are totally interwoven, giving a large freedom to the authors, before the coming of classicism and censures
Seguin, Jean-Claude. "Joselito : la voix inhumaine : du genre au corpus : du corpus à l'acteur". Bordeaux 3, 1990. http://www.theses.fr/1990BOR30044.
Pełny tekst źródłaThe spanish cinema has always granted a significant place to the child: before the spanish civil war (alexia ventura, alfredo hurtado "pitusin" etc. ) and especially during francoism when he became a leading figure within a few years (particulary pablito calvo). This prominence goes along with a progressive change of this image: firstly a franco era child, then a child as an object, the character plays a central part in the narratives thanks to neo-realism and the church. Joselito "the child with a golden voice", the first singer-boy of the spanish after-civil war era appeared in this context. Starring in fourteen films between 1956 and 1968 he became an international glory before falling into oblivion. A gradual decline, his voice breaking and the emergence of new children singers were to get the better of the star. Both a narratological and semiotic approach enables to bring out the main structures of a homogeneous and evolutive corpus. From a first transition-work which owes a lot to post-civil war cinema, we move towards films which make ample use of joselito's vocal skills, then towards other films which try to turn the child into an actor. This evolution will give prominence to the extreme tensions between the star, the singer and the actor and thus the films were an opportunity for an attempt to
Anaclerio, Gabriele. ""L'immagine evocata" : modelli di narrazione "verbale/iconica" nel cinema francese". Paris 10, 2007. http://www.theses.fr/2007PA100041.
Pełny tekst źródłaThis dissertation treats the spoken word in sound film. In chapter 1, I present an historical excursus of the theories of the spoken word in film: I identify a separatist model (classical theories) and a combinatorial model (modem theories). In chapter 2 I explore the "verbal/iconic" text, connoted by "discursive" word (out of screen voice", referring to the space of production in the film). In chapter 3, I verify the verbal/iconic model through the textual (narratological) analysis of 9 works of French cinematography , from Jean Cocteau to Alain Resnais. In the conclusion (chapter 4), I design a model of the verbal/iconic "filmic/diegetic" narrator, coming from films with the "out of screen voice"
Loublier, Maguelone. "Variations et métamorphoses, une voix allemande : Alexander Kluge". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080052.
Pełny tekst źródłaThe cinematic voice asks questions: where does it come from and what temporality does it deploy? What does it tell us about the images it sometimes competes with? The analysis of voice in Alexander Kluge’s films leads to an investigation of the sonic world around us: the Klugian voices, obstinately persisting in speaking, resisting the brutality of the modern world, inviting the spectator to listen attentively and patiently. The fragmentary aesthetics of Kluge’s work do not aim for an impossible totality. Rather, against the tyrannical voices of the Nazi past, and against the dogmatic voices of the present that try to reduce the other to silence and demand uniformity of thought, a plurality of voices is raised in resistance to the impoverishment of language. For Kluge, the entangling of spontaneous and literary voices is thought of in terms of authenticity (Authentizität). Not as something original – not as something unique, or without precedent – not as that which creates authority, or as that with an unquestionable provenance – but as something that escapes its original context, constantly changing and being reappropriated by others – by the filmmaker, as well as by the spectator. The Klugean voice diffracts itself into a multiplicity of voices whose spatial and temporal anchoring is never certain. A witness-voice that intertwines history and stories with feelings, it is also a undogmatic and plural politics-voice that opens up a cinematic counter-public sphere where voices speak across each other; it is also fundamentally a music-voice, creating a soundscape in which the phonè – the vocality of music and the musicality of voices – questions the philosophical logos
Vassé, Claire. "La parole dans le cinéma français : un enjeu de la modernité". Paris 3, 2002. http://www.theses.fr/2002PA030033.
Pełny tekst źródłaWe will start observing that speaking is very important when French cinema questions itself. That's why we propose here to study the postulate that modernity in French cinema stands above all by the speach's direction. First we will ask ourselves why modernity and speach go so well together in French cinema. That's because speach is directly concerned by the destruction of classical representation, in particular by the swaying of certitudes, meaning's notion, truth and subject. After having settling down those general questions we will study one key moment in the building of modernity : the New Wave. In the second part the studies by authors show issues directly connected or inherited from modernity as it tried to conceptualize itself during the New Wave. We will talk about movement and subject's crisis, about the swing of representation towards presentation and about the way modern subject invents an art of stuttering. This requirement to invent words and speaches still is very alive today and we will end this work on contemporary perspectives. .
Loublier, Maguelone. "Variations et métamorphoses, une voix allemande : Alexander Kluge". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080052.
Pełny tekst źródłaThe cinematic voice asks questions: where does it come from and what temporality does it deploy? What does it tell us about the images it sometimes competes with? The analysis of voice in Alexander Kluge’s films leads to an investigation of the sonic world around us: the Klugian voices, obstinately persisting in speaking, resisting the brutality of the modern world, inviting the spectator to listen attentively and patiently. The fragmentary aesthetics of Kluge’s work do not aim for an impossible totality. Rather, against the tyrannical voices of the Nazi past, and against the dogmatic voices of the present that try to reduce the other to silence and demand uniformity of thought, a plurality of voices is raised in resistance to the impoverishment of language. For Kluge, the entangling of spontaneous and literary voices is thought of in terms of authenticity (Authentizität). Not as something original – not as something unique, or without precedent – not as that which creates authority, or as that with an unquestionable provenance – but as something that escapes its original context, constantly changing and being reappropriated by others – by the filmmaker, as well as by the spectator. The Klugean voice diffracts itself into a multiplicity of voices whose spatial and temporal anchoring is never certain. A witness-voice that intertwines history and stories with feelings, it is also a undogmatic and plural politics-voice that opens up a cinematic counter-public sphere where voices speak across each other; it is also fundamentally a music-voice, creating a soundscape in which the phonè – the vocality of music and the musicality of voices – questions the philosophical logos
Robillard, Guillaume. "Le «Cinéma antillais» (Guadeloupe, Martinique) : de la détermination à l'extinction de sa voix ?" Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H321.
Pełny tekst źródłaIs there a French Caribbean cinema? Focusing our analysis on the fictional feature films made by French Caribbean filmmakers or directors of French Caribbean origin (for diasporas), whatever they are mostly set in the West Indies (“cinéma antillais-péyi”), in mainland France (“cinéma antillais-lòtbòdlo”) or abroad (“cinéma antillo-toutbò”), we question the paths taken by those French-produced films. Considering the significance of orality in Caribbean societies, we analyze the expressed voices of this cinema that would inhabit it with a "Caribbeaness": a dialogue established between, on the one hand, "French Caribbean cinema" and, on the other hand, French Caribbean literature and French Caribbean music; representation of diglossic situations between Creole and French; typical characters (carrying Caribbean "voices”); voices given to the time-space of the French West Indies (based on the concept of chronotope defined by Mikhail Bakhtine) through a "historicization" of landscapes that give them depth. In particular, which strategies do these directors put in place in order to respond, from an "insider's view", to the exotic and touristic vision of their realities? Listening to the authors of Caribbean literature, in particular Edouard Glissant, as well as theorists of literature, film studies and aesthetics, we observe how those different proposed voices, since they have emerged, have faded in favor of an aesthetic tending more and more toward that of the postcard, to which this cinema has tried to resist at its beginning
Tourneur, Cécile. "Le régime de la voix dans les films de Jonas Mekas (1966-2009)". Paris 8, 2014. http://www.theses.fr/2014PA084075.
Pełny tekst źródłaBased on the autobiographical cinematographic form initiated by Jonas Mekas from the mid 1960s, the “diary film”, this research explores the status, importance and quality of the voice in his films up to 2009, considering the change of format (from 16mm to video) and the exhibition of his work in different spaces: not only theaters, but also museums or dematerialized spaces (the Internet). The progress of this work is chronological: four periods are identified, highlighting the different steps of Jonas Mekas’ cinematographic direction, and – with regard to our subject – the vocal expressions and their articulation to the images in which we note the singularities. A detailed body of work on the perception of the voice in his films – by authors coming mainly from the experimental cinema tradition in France and in the United States – helps us to define at what time and for which “diary films” in particular the voice seems to be a key element in his cinematographic practice. The voice approach that we propose is based on the study of interdisciplinary experiences, scientific and artistic, in order to investigate this element first as manifestation of sound through its relation to the body and space, and then as speech. To consider its advent in cinema history encourages a theoretical discussion on this subject – examining the terms used to qualify the voice according to its place and function into the cinematographic system, as well as their potential limits
Morales, Hernandez Mauricio. "Médiatisation technologique et voix du réel. : une anthropologie historique du regard — de la trace à l'écran". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0041.
Pełny tekst źródłaWe begin by observing the importance of the image in the anthropogenesis’ process because the fixed image reveals temporal mediation, namely, the creation of reported time, mediatizing our relation to the real and thus, transgressing our fields of the perceptual. On this basis, the image’s history appears as a development of various static eidetic models that are going to be in a negotiation and permanent relationship with dynamic eidetic models: language, gestures, equipment, music, dance, the habitat; models that, in return, are mediations enabling us to invest the space and divide it up. The intermingling of the dynamic and static models would constitute the character defining man as a political animal, in the myriad and diversity of the elements that are components for each culture. That is how we are able to detect an ontological difference at the time when the photographic trace appears, a trace not resulting from a formal, symbolic idealization but from an idealization of distance, from which the screen materializes by articulating the eye from a new operative scale. The image’s essential contribution would thus have entered a new phase that would have transformed man into a media animal after almost two centuries. That is where the history of the new trace becomes the core of all political issues in its most consistent manifestation, under the surge of digital technology, that of cinematographic expression.In doing so, we have addressed and favoured one of cinema’s histories at a time when there was a development of specific issues in relation to the real, notably using the work of a Mexican filmmaker, Téo Hernández, mainly done in Europe between 1968 and 1992 as an example. Its powerful phenomenological dimensions — the importance of the body while filming — and also the deep reflexion on the medium and its relation to the real, have provided us with a keystone that enables us to understand the major changes in media that happened during the 1980s and determined the political outlook of the world today
Hanaï, Brahim. "Les marques de théâtralité dans l'écriture filmique de Marguerite Duras". Paris 8, 1993. http://www.theses.fr/1993PA080878.
Pełny tekst źródłaThe durasian writing can be inscribed as a practice of deviation. In fact, by mouving from a genre to another- from the novel to theatre and from theatre to film before returning back to the novelmarguerite duras confirms the converting vocation of writing that operates by shifting from one genre to another, from one genre into the other. On this basis, our approoch of the theatricality marks would be tran sverse : to seize the outburst of theatricality in the film, where its emergence timely through the spacio-temporal contrivance, the actors evolution, the working out of voice, the framing and the camera movements. In films like india song, le camion and les enfants, the theatre designates itself and constantly destabilising the comon line of the genres thus, inscribing the durasian cinema as a cinema apart that is to say "a cinema of literature"
Książki na temat "Voix au cinéma"
Châteauvert, Jean. Des mots à l'image: La voix over au cinéma. Québec: Nuit blanche, 1996.
Znajdź pełny tekst źródłaBolter, Trudy. Figures de l'écrivain dans le cinéma américain: Itinéraires de la "voix baladeuse". Rennes: Presses universitaires de Rennes, 2001.
Znajdź pełny tekst źródłaComité d'examen des mandats SRC, ONF, Téléfilm (Canada). Faire entendre nos voix: Le cinéma et la télévision du Canada au 21e siècle. Ottawa, Ont: Patrimoine canadien, 1996.
Znajdź pełny tekst źródłaZabunyan, Dork. Gilles Deleuze: Voir, parler, penser au risque du cinéma. Paris: Presses Sorbonne nouvelle, 2006.
Znajdź pełny tekst źródłaGoldfarb, Rebecca. Deux réalités, deux façons de voir: Analyse comparative de l'industrie cinématographique au Canada et aux États-Unis. Ottawa, Ont: Ministère des affaires étrangères et du commerce international, 1999.
Znajdź pełny tekst źródłaBreton, Emile. Nous avons tant à voir ensemble: Cinéma et mouvement social. Paris: VO, 2000.
Znajdź pełny tekst źródłaEsquerre, Arnaud. Interdire de voir: Sexe, violence et liberté d'expression au cinéma. Paris]: Fayard, 2019.
Znajdź pełny tekst źródłaPaci, Viva. La machine à voir: À propos de cinéma, attraction, exhibition. Villeneuve-d'Ascq: Presses universitaires du Septentrion, 2012.
Znajdź pełny tekst źródłaDandrieu, Laurent. Dictionnaire passionné du cinéma: 6000 films à voir ou à fuir. Paris: Éditions de l'Homme nouveau, 2013.
Znajdź pełny tekst źródłaKabalek, Kobi, Julia Köhne i Michael Elm. The horrors of trauma in cinema: Violence void visualization. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2014.
Znajdź pełny tekst źródłaCzęści książek na temat "Voix au cinéma"
Jaudon, Raphaël. "III. Voix, corps, peuples". W Cinémas politiques, lecture esthétique, 115–30. Grenoble: UGA Éditions, 2024. http://dx.doi.org/10.4000/11y45.
Pełny tekst źródła"Trois sons : musiques, bruits, voix". W Le cinéma de Hou Hsiao-hsien, 113–15. Presses universitaires de Rennes, 2013. http://dx.doi.org/10.4000/books.pur.76076.
Pełny tekst źródłaBOUYAIN, Sarah. "Comment dit-on « chemin de traverse » en dioula ?" W Voix africaines, voies émergentes, 19–24. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.5578.
Pełny tekst źródłaTrudy Bolter. "Conclusion. La voix baladeuse, l’œil baladeur". W Figures de l'écrivain dans le cinéma américain, 257–70. Presses universitaires de Rennes, 2001. http://dx.doi.org/10.4000/books.pur.1814.
Pełny tekst źródłaFrazik, Hélène. "Le retrait des voix dans Three Times". W Le cinéma de Hou Hsiao-hsien, 155–64. Presses universitaires de Rennes, 2013. http://dx.doi.org/10.4000/books.pur.76103.
Pełny tekst źródłaKatz, Stéphanie. "XXII. Autour du film Annonces de Nurith Aviv : « La voix, comme une fleur »". W Psychanalyse et cinéma, 271–78. Hermann, 2019. http://dx.doi.org/10.3917/herm.heurg.2019.02.0269.
Pełny tekst źródłaTrudy Bolter. "Théorie et pratique de la « voix baladeuse »". W Figures de l'écrivain dans le cinéma américain, 192–256. Presses universitaires de Rennes, 2001. http://dx.doi.org/10.4000/books.pur.1813.
Pełny tekst źródłaVicea, Maribel Peñalver. "XI. De la psychanalyse au cinéma : comment donner la voix aux morts du fond des images ?" W Psychanalyse et cinéma, 125–38. Hermann, 2019. http://dx.doi.org/10.3917/herm.heurg.2019.02.0125.
Pełny tekst źródłaAguado, Fabienne. "Cinéma et éducation, la voix-off de la citoyenneté". W La Bataille de l'imaginaire, 116–24. Éditions de l'Attribut, 2009. http://dx.doi.org/10.3917/attri.guita.2009.01.0118.
Pełny tekst źródłaBaqué, Zachary. "Témoignage, engagement et documentaire : la voix des vétérans dans Interviews with My Lai Veterans et Winter Soldier". W La culture de l'engagement au cinéma, 181–201. Presses universitaires de Rennes, 2015. http://dx.doi.org/10.4000/books.pur.55491.
Pełny tekst źródłaStreszczenia konferencji na temat "Voix au cinéma"
Ghazaryan, Madlena. "Religiosité d’intonation et régimes conversationnels au cinéma. Sokourov et ses dialogues avec Soljénitsine". W Actes du congrès de l’Association Française de Sémiotique. Limoges: Université de Limoges, 2024. http://dx.doi.org/10.25965/as.8576.
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