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Livros sobre o tema "Cinéma – 2000-"

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Autor: Grafiati

Publicado: 1 de junho de 2024

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1

Le cinéma français depuis 2000: Un renouvellement incessant. Paris: Armand Colin, 2008.

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2

International, Inc Icon Group. The 2000-2005 world outlook for films and video. San Diego, Calif: Icon Group, 2002.

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3

Cinéguide 2000: 22000 films de A à Z : suivis d'un index des titres originaux et de 700 filmographies. [Paris]: Omnibus, 1999.

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4

Histoire du cinéma: Des origines aux années 2000 : abrégé pédagogique. Condé-sur-Noireau: Éditions Charles Corlet, 2012.

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5

B'béri, Boulou Ébanda de. Le verbe au cinéma: Essai sur l'épistémè de l'oralité dans les cinémas d'Afrique noire francophone (1950-2000). Douala IVè, Cameroun: Editions AfricAvenir / Exchange & Dialogue, 2013.

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6

Broussouloux, Claude. Cinéma et médecine, le médecin à l'écran: Les représentations du médecin et de la médecine au travers d'un demi-siècle de cinéma français, 1945-2000. Paris: Ellipses, 2001.

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7

Mike, Childs, e Screen International, eds. The Guinness book of box office hits. Enfield: Guinness, 1995.

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8

Canada. Dept. of Foreign Affairs and International Trade. Culture : exchange of notes constituting an agreement between the government of Canada and government of the French Republic amending the agreement concerning cinematographic relations done in Ottawa on May 30 1983, as amended by exchanges of notes done in Ottawa on February 8, 1989, on April 11, 1991, on September 8, 1992 and on October 25, 1997 (with annex), Ottawa, January 21 and March 22, 2000, in force March 22, 2000 =: Culture : échange de notes constituant un accord entre le gouvernement du Canada et le gouvernement de la République Française modifiant l'accord sur les relations cinématographiques fait à Ottawa le 30 mai 1983, tel que modifié par des échanges de notes faits à Ottawa le 8 février 1989, le 11 avril 1991, le 8 septembre 1992 et le 25 octobre 1997 (avec annexe), Ottawa, le 21 janvier et le 22 mars 2000, en vigueur le 22 mars 2000. Ottawa, Ont: Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 1998.

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9

Canada, Canada Foreign Affairs. Culture : agreement between the Government of Canada and the Government of the Republic of Senegal on audio-visual co-production, Santorini Island, 27 September 2000, in force 7 October 2003 =: Culture : accord entre le gouvernement du Canada et le gouvernement de la République du Sénégal sur la coproduction audiovisuelle, Ile de Santorini, le 27 septembre 2000, en vigueur le 7 octobre 2003. Ottawa, Ont: Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 2004.

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10

Jean-Pierre, Bertin-Maghit, ed. Discours audiovisuels et mutations culturelles: Actes du colloque organisé par l'AFECCAV, Bordeaux, 28, 29, 30 septembre 2000. Paris: L'Harmattan, 2002.

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11

Mostra internazionale del nuovo cinema. (20th : 2006 : Pesaro, Italy), ed. La meglio gioventù: Nuovo cinema italiano 2000-2006. Venezia: Marsilio, 2006.

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12

Serrault, Michel. Les pieds dans le plat: Journal 2003-2004. [Paris]: Oh! éd., 2004.

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13

Samuel, Douhaire, ed. Cinéma. Paris: Gründ, 2009.

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14

Brion, Patrick. Cinéma français: 1895-2005. Paris: Adpf = Association pour la diffusion de la pensée française, 2005.

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15

Pasquale, Iaccio, ed. Napoli e cinema: 1896-2000. Napoli: Edizioni scientifiche italiane, 2000.

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16

Oeuvres de cinéma: 1951-2007. Paris: Paris expérimental, 2007.

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17

Film-Jahrbuch 2005. München: W. Heyne, 2005.

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18

Pereira, Beatriz Pacheco. Pre-textos de cinema, 1998/2000. Porto: Granito Editores e Livreiros, 2000.

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19

Robyn, Karney, ed. Cinema year by year, 1894-2000. London: Dorling Kindersley, 2000.

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20

Natola, Marco. Il cinema orientale degli anni 2000. Rende (CS): Rossini editore, 2022.

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21

aut, Berriatúa Wiro, ed. Cine español 2004 =: Spanish cinema 2004. Madrid: Ministerio de Cultura, 2005.

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22

aut, Berriatúa Wiro, ed. Cine español 2005 =: Spanish cinema 2005. Madrid: Ministerio de Cultura, Instituto de la Cinematografía y de las Artes Audiovisuales, 2005.

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23

Mémoire du cinéma espagnol: 1975-2007. Condé-sur-Noireau: Corlet, 2009.

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24

Just, Jesper. Film works = Filmarbeiten = Filmwerken: 2001-2007. Rotterdam: Witte de With, 2006.

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25

Daria, Trafankowska, ed. Zagrajcie mi to pięknie: Pan Tadeusz według Andrzeja Wajdy. Warszawa: Prószyński i S-ka, 1999.

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26

J, Aumont, Collège d'histoire de l'art cinématographique (Paris, France) e Cinémathèque française, eds. Aventure et cinéma: Conférences du Collège d'histoire de l'art cinématographique 2000-2001. Paris: Cinémathèque française, 2001.

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27

Projecting history: German nonfiction cinema, 1967-2000. Ann Arbor: University of Michigan Press, 2002.

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28

Alter, Nora M. Projecting history: German nonfiction cinema, 1967-2000. Ann Arbor: University of Michigan Press, 2002.

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29

Lever, Yves. Chronologie du cinéma au Québec, 1894-2004. Montréal, Québec, Canada: 400 coups, 2006.

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30

Cinéma du Québec à Cannes, 1947-2007. Montréal: Éditions La Presse, 2008.

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31

Institut de sociocritique de Montpellier e Institut de recherche études culturelles, eds. Cinéma, littérature, adaptations: [colloque, Montpellier, octobre 2005]. Montpellier: Centre d'études et de recherches sociocritiques, 2009.

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32

Dellavalle, Renato. Il mio cinema, 1989-2001. [Italy?: s.n., 2002.

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33

Trieste nel cinema, 1895-2006. Trieste: Istituto giuliano di storia cultura e documentazione, 2008.

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34

Charles, Fenimore, Floyd Mary e National Institute of Standards and Technology (U.S.), eds. Digital Cinema 2001 Conference proceedings. Gaithersburg, MD: U.S. Dept. of Commerce, Technology Administration, National Institute of Standards and Technology, 2001.

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35

1958-, Binh N. T., Pilard Philippe, Centre Georges Pompidou e British Film Institute, eds. Typiquement British: Le cinéma britannique : ouvrage publié à l'occasion de la manifestation Typiquement British, 200 films anglais, au Centre Pompidou, conçue en collaboration avec le British Council et le British Film Institute et présentée au Centre Pompidou du 4 octobre 2000 au 5 mars 2001. Paris: Centre Pompidou, 2000.

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36

Burkina Faso) FESPACO (Festival) (20th 2007 Ouagadougou. FESPACO 2007: 20e édition, 24 février-03 mars : cinéma africain et diversité culturelle = African cinema and cultural diversity. Ouagadougou, Burkina Faso: FESPACO, 2007.

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37

Saranno famosi?: Atto terzo : gli esordi del cinema italiano nella stagione 2005- 2006. Torino: Lindau, 2007.

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38

Saranno famosi?: Atto secondo : gli esordi del cinema italiano nella stagione 2004- 2005. Torino: Lindau, 2005.

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39

Yee, Lau Hoi. Analyses of Hong King cinema between 1984 - 2000. London: LCP, 2001.

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40

Barlet, Olivier. Les cinémas d'Afrique des années 2000: Perspectives critiques. Paris: L'Harmattan, 2012.

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41

Esquenazi. Réseaux, cinéma et réception, 2000. Hermes Sciences Publicat., 2000.

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42

Dehée, Yannick. Mythologies politiques du cinéma français, 1960-2000. Presses Universitaires de France (PUF), 2000.

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43

Buache, Freddy. Le cinéma anglo-américain, de 1984 à 2000. Age d'homme, 2000.

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44

Schilt, Thibaut. The Fabric of Desire. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036002.003.0001.

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This chapter presents a commentary on François Ozon's entire film career to date. It suggests that despite tremendous diversity in terms of cinematic choices (on generic, formal, and thematic levels), Ozon's oeuvre is decidedly consistent in its desire to blur the traditional frontiers between the masculine and the feminine, gay and straight, reality and fantasy, auteur and commercial cinema. The moving fabrics mentioned above are a leitmotif that visually represents the permeability of those frontiers. The chapter begins by exploring the director's own path to filmmaking before considering the colorful cast of characters in the short films that Ozon wrote and directed between 1988 and 1998. It then moves on to an analysis of his feature films: Sitcom (1998), Les amants criminels (1999), 8 femmes (2002), Sous le sable (2000), Swimming Pool (2003), Le temps qui reste (2005), Gouttes d'eau sur pierres brûlantes (2000), 5x2 (2004), and Ricky (2009).

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45

Swern, Phil, e Mike Childs. Guinness Box Office Hits. Gullane Children's Books, 1995.

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46

Visionary Film: The American Avant-Garde, 1943-2000. Oxford University Press, USA, 2002.

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47

Sitney, P. Adams. Visionary Film: The American Avant-Garde, 1943-2000. Oxford University Press, 2002.

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48

Sitney, P. Adams. Visionary Film: The American Avant-Garde, 1943-2000. Oxford University Press, USA, 2002.

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49

Fisher, Jaimey. A Ghostly Archeology. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037986.003.0001.

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This chapter analyzes the films of Christian Petzold. Over the past twenty years and across eleven feature-length works, Petzold has established himself as the most critically acclaimed director in Germany. Five of his last eight films have won Best Film from the Association of German Film Critics (2001, 2005, 2007, 2008, and 2012). It is not only the critics, however, who admire Petzold's work: his breakthrough The State I Am In (Die innere Sicherheit; 2000) won the Federal Film Prize in Gold, the equivalent of a best-film prize for its year, an unusual recognition for an art-house film. His films consistently explore new and transformational modes of individualities, especially the compromised, even tainted, character of desire in the wake of economic adaptability, accommodation, and mobility. This kind of adaptability, productive desire, and subsequent movement are emphatically historicized in Petzold's cinema, in which history regularly intrudes upon individuals' dreams, fantasies, and desires as well as the spaces they inhabit.

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50

O'Sullivan, Sean. The Nature of Contrivance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036385.003.0001.

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This chapter presents a commentary on Mike Leigh's film career. It attempts to reclaim him from the kindly ghetto in which he has been placed by his well-meaning enthusiasts. Leigh is typically considered an unassuming crafter of little movies, who has written little or nothing that we would consider theory, or even criticism. However, it is shown that Leigh is a filmmaker deeply invested in cinema's formal, conceptual, and narrative dimensions. The recurrent simplifications of what his cinema is, and what his cinema does, result in part from the mode in which he works, or the mode in which he is said to work: realism. The films examined in this chapter include The Short and Curlies (1987), Naked (1993), Secrets and Lies (1996), Career Girls (1997), Topsy-Turvy (1999), All or Nothing (2002), Vera Drake (2004), Happy-Go-Lucky (2008), and Another Year (2010).

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