Literatura científica selecionada sobre o tema "Alain Cavalier"
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Artigos de revistas sobre o assunto "Alain Cavalier"
Sáez-González, Jesús Miguel. "Thérése (Alain Cavalier)". Vivat Academia, n.º 114 (15 de março de 2011): 322. http://dx.doi.org/10.15178/va.2011.114.322-323.
Texto completo da fonteGuyot-Bender, Martine. "Pater by Alain Cavalier". French Review 87, n.º 2 (2013): 207–8. http://dx.doi.org/10.1353/tfr.2013.0299.
Texto completo da fontePerron, Bernard. "Alain Cavalier: visage de style". Canadian Journal of Film Studies 5, n.º 1 (março de 1996): 23–34. http://dx.doi.org/10.3138/cjfs.5.1.23.
Texto completo da fonteJeannelle, Jean-Louis. "Alain Cavalier : le filmeur, la caméra et le spectateur". Itinéraires, n.º 2009-4 (1 de dezembro de 2009): 175–91. http://dx.doi.org/10.4000/itineraires.1282.
Texto completo da fonteGuyot-Bender, Martine. "Alain Cavalier, cinéaste et filmeur éd. par Robin Dereux, Serge Lepéron". French Review 89, n.º 2 (2015): 197–98. http://dx.doi.org/10.1353/tfr.2015.0039.
Texto completo da fonteKoch, Jana. "Erinnernd, grabend. Alain Cavaliers Irène". Maske und Kothurn 60, n.º 3-4 (1 de outubro de 2014): 196–203. http://dx.doi.org/10.7767/muk-2014-603-414.
Texto completo da fonteKoch, Jana. "Erinnernd, grabend. Alain Cavaliers Irène". Maske und Kothurn 63, n.º 3-4 (1 de outubro de 2014): 196–203. http://dx.doi.org/10.7767/muk-2014-633-414.
Texto completo da fonteTweedie, James. "The Afterlife of Art and Objects: Alain Cavalier's "Therese"". SubStance 33, n.º 3 (2004): 52. http://dx.doi.org/10.2307/3685545.
Texto completo da fonteTweedie, J., e D. F. Bell. "The Afterlife of Art and Objects: Alain Cavalier's Therese". SubStance 33, n.º 3 (1 de janeiro de 2004): 52–79. http://dx.doi.org/10.1353/sub.2004.0047.
Texto completo da fonteSeror, R., G. Baron, M. Camus, D. Cornec, E. Perrodeau, S. J. Bowman, M. Bombardieri et al. "OP0286 DEVELOPMENT AND PRELIMINARY VALIDATION OF THE SJÖGREN’S TOOL FOR ASSESSING RESPONSE (STAR): A CONSENSUAL COMPOSITE SCORE FOR ASSESSING TREATMENT EFFECT IN PRIMARY SJÖGREN’S SYNDROME". Annals of the Rheumatic Diseases 81, Suppl 1 (23 de maio de 2022): 189.2–190. http://dx.doi.org/10.1136/annrheumdis-2022-eular.2583.
Texto completo da fonteTeses / dissertações sobre o assunto "Alain Cavalier"
Robles, Amanda. "Le cinéma d'Alain Cavalier : le contact et la preuve". Toulouse 2, 2007. http://www.theses.fr/2007TOU20067.
Texto completo da fonteHow does one define the emotional impact of such singular shots in which a film-maker literally reaches his hand into the frame to touch what he's filming? In my research, I have decided to label this cinematic gesture a "contact-shot". Alain Cavalier's films offer a wide variety of such "contact-shots": are they not shots that emblematize his vision of the cinema? His films are “contact-films”: he puts his entire self into his works and strives to get to the heart of matters, to create a direct link with what he's filming and foster an exchange at times verging on fusion. But his films may also be qualified as “proof films” in the sense that assertions are based on documents, events of all kinds, eye-witness accounts, “root-images” and true-life experiences. “Contact and proof”: Alain Cavalier only films what he can touch. Spanning the author's entire works from Un Américain (1958) right through to Filmeur (2005) I have focused on the evolution of the “contact-shot” concept in its various stages (nascent forms, first attempts, experimentations, its emergence and progressive dissolution) and thus witnessed the author's transformation from film director into “filmer” (filmeur)
Rèbre, Isabelle. "Figures du deuil et du photographique. Formes du film-essai chez Naomi Kawase, Alain Cavalier et David Perlov". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080044.
Texto completo da fonteThis dissertation is a consideration of the photographic in its relation to memory and mourning in both their personal and historical forms. It demonstrates how photography is a figure of mourning; how it is at once a means of connecting and a means of cutting off. Figures of mourning and filmmakers’ unique formal gestures are analyzed through a pared-down corpus of three essay films. In Letter From a Yellow Cherry Blossom (2002), Naomi Kawase is personally confronted with death. Her use of photographic stills provokes an interruption that reverses a seemingly fatal trajectory. Photography is a connecting figure that brings together the living and the dead. In Alain Cavalier’s This Answering Service Takes No Messages (1978), the filmmaker embodies a man in mourning. He uses a number of photographic stills from his personal archives, including newspaper clippings showing cadavers from the Second World War. This gesture of reuse brings out the historical dimension of the issues investigated in this dissertation. Photography becomes a figure of cutting off: the film deploys a number of figures through which rupture is insistent and participates in a process of mourning. In David Perlov’s Diary (1973-1982), a project bookended by two wars, these issues take on a political dimension. The Israeli filmmaker and photographer makes use of a number of photographic formats. Through reuse and repetition, the photographic allows for a transformation of the figure that breaks off from a traumatic past
Müller, Maria Ganem. "Found footage na era digital: especificidades da montagem nos filmes baseados em arquivos amadores e familiares". Doctoral thesis, 2020. http://hdl.handle.net/10451/48403.
Texto completo da fonteLa thèse Found Footage à l'ère numérique, le montage avec les films d'archives amateurs et familiaux a pour objectif étudier la pratique du found footage, en particulier la création de films réalisés avec des archives amateur et de famille à l'ère du numérique, en faisant attention aux particularités du montage dans de telles oeuvres audiovisuelles. L'étude approfondit les connaissances sur ce sous-genre du film de montage, le film créé à partir d'archives amateurs, remettant en question les archives et les documents historiques, les mémoires personnelles et les mémoires collectives, la représentation et l'évolution technologique, la sphère privée et la sphère publique et la dissolution de frontières entre cinéma amateur, cinéma expérimental et documentaire. Dans le cadre d`une recherche théorique et pratique, j’ai réalisé trois courts métrages qui ont servi de fil conducteur à cette étude, à savoir : Jacarepaguá (2017), Tabu, propriedade privada (2018) et À memória de Nilda (2019). Les films ont été créés à partir de vieilles images d’amateur et de familles, recueillies par moi ou bien provenantes de l`archives privé portugais Ideias no Escuro. Cette thèse théorico-pratique s'inscrit dans la continuité de ma recherche de maîtrise sur les films de montage d'archives, intitulée Found Footage, mouvement cinématographique contemporain. La thèse Found Footage à l'ère numérique, le montage avec les films d'archives amateurs et familiaux s'inscrit dans un mouvement académique en faveur de l'élargissement de la connaissance des archives amateurs et familiales au cinéma, en tenant compte la réalité contemporaine des technologies et des écosystèmes numériques, autrement dit de la disponibilité et de la circulation dans le réseau numérique des archives photographiques et audiovisuelles, ainsi que des oeuvres créées avec ce matériau en ligne.
Livros sobre o assunto "Alain Cavalier"
Michel, Estève, ed. Alain Cavalier. Paris: Minard, 1996.
Encontre o texto completo da fonteRobles, Amanda. Alain Cavalier, filmeur. [Le Havre]: De l'incidence, 2011.
Encontre o texto completo da fonteDereux, Robin, e Eugenie Zvonkine. Alain Cavalier, cinéaste et filmeur: Journée d'étude du 27 mars 2012. Paris: Harmattan, 2014.
Encontre o texto completo da fonteHenri, Agel, e OCIC (Organization), eds. Cinéma et spiritualité: Robert Bresson, Andreï Tarkovski, Ermanno Olmi, Krzyzstof Zanussi, Alain Cavalier. Bruxelles, Belgique: OCIC, 1988.
Encontre o texto completo da fonteVillain, Dominique. Le travail du cinéma: Rencontres avec André S Labarthe, Alain Cavalier, Claire Denis et Albert Serra. Saint-Denis: Presses universitaires de Vincennes, 2013.
Encontre o texto completo da fonteAleksandrovich, Kuznet︠s︡ov Vladimir. Les Alains: Cavaliers des steppes, seigneurs du Caucase. Paris: Errance, 1997.
Encontre o texto completo da fonteAleksandrovich, Kuznet︠s︡ov Vladimir. Les Alains: Cavaliers des steppes, seigneurs du Caucase : Ier-XVe siècles apr. J-C. Paris: Errance, 2005.
Encontre o texto completo da fonteAleksandrovich, Kuznetsov Vladimir. Les Alains: Cavaliers des steppes, seigneurs du Caucase : Ier-XVe siècles apr. J-C. Paris: Errance, 2005.
Encontre o texto completo da fonteTweedie, James. Moving Pictures, Still Lives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.001.0001.
Texto completo da fonteTweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.
Texto completo da fonteCapítulos de livros sobre o assunto "Alain Cavalier"
Villain, Dominique. "Alain Cavalier. Filmeur". In Le travail du cinéma II, 56–97. Presses universitaires de Vincennes, 2013. http://dx.doi.org/10.4000/books.puv.2715.
Texto completo da fonteSharpe, Mani. "Stardom, Atrocity and the Beauty of Violence". In Late-colonial French Cinema, 56–71. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474414227.003.0002.
Texto completo da fonteChaplin, Felicity. "Courtesan". In La Parisienne in Cinema. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526109538.003.0006.
Texto completo da fonte