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Livros sobre o tema "Naturalism in motion pictures"

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Autor: Grafiati

Publicado: 26 de julho de 2024

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1

Amit, Tami. Motion pictures. Blou: Monografik, 2008.

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2

Canada. Industry, Science and Technology Canada. Motion pictures. Ottawa, Ont: Industry, Science and Technology Canada, 1991.

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3

Conley, Robyn. Motion pictures. New York: Franklin Watts, 2004.

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4

Canada. Industry, Science and Technology Canada. Motion pictures. Ottawa, Ont: Industry, Science and Technology Canada, 1988.

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5

Iris, Newsom, e Library of Congress, eds. Performing arts: Motion pictures. Washington: Library of Congress, 1998.

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6

Andy, Warhol. Andy Warhol: Motion pictures. Berlin: KW Institute for Contemporary Art, 2004.

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7

Banks, Joanne Trautmann. Moving pictures. Baltimore, Md: Johns Hopkins University Press, 1998.

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8

Hollander, Anne. Moving pictures. London: Harvard University Press, 1991.

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9

Hollander, Anne. Moving pictures. New York: Knopf, 1989.

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10

Buitléar, Éamon De. A life in the wild. Dublin: Gill & Macmillan, 2004.

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11

Olson, Nancy B. Cataloging motion pictures and videorecordings. Lake Crystal, Minn: Soldier Creek Press, 1991.

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12

Carroll, Noël. The philosophy of motion pictures. Malden, MA: Blackwell Pub. Ltd, 2008.

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13

Olson, Nancy B. Cataloging motion pictures and videorecordings. Lake Crystal, Minn: Soldier Creek Press, 1991.

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14

Reed, David. David Reed paintings: Motion pictures. LaJolla, CA: Museum of Contemporary Art, San Diego, 1998.

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15

Olson, Nancy B. Cataloging motion pictures and videorecordings. Lake Crystal, Minn: Soldier Creek Press, 1991.

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16

Lazell, David. What's on at the pictures? Cheltenham: Evergreen, 1995.

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17

Loader, Jayne. Between pictures. New York: Grove Press, 1987.

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18

Alberto, Mira, ed. The cinema of Spain and Portugal. London: Wallflower, 2005.

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19

Congress, Library of, ed. Motion picture agreement. [Washington, D.C.?]: Library of Congress, 1985.

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20

Kam, Tan See. Chinese connections: Critical perspectives on film, identity and diaspora. Philadelphia PA: Temple University Press, 2008.

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21

Beyond auteurism: New directions in authorial film practices in France, Italy and Spain since the 1980s. Bristol, UK: Intellect, 2008.

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22

Baskett, Michael. The attractive empire: Transnational film culture in Imperial Japan. Honolulu: University of Hawai'i Press, 2008.

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23

Harris, Mark. Pictures at a Revolution. New York: Penguin Group USA, Inc., 2008.

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24

McIlroy, Brian. Irish cinema: An illustrated history. Dublin: Anna Livia Press, 1988.

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25

Wu, Misen. Qi mao qiu le. 8^a ed. Taibei Shi: Xiao zhi tang wen hua shi ye you xian gong si, 2003.

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26

Dawar, Ramesh. Best from Bollywood. London: ibs Books, 2008.

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27

Cravenne, Robert. Le tour du monde du cinéma français: Histoire du cinéma français à l'étranger. Paris: Dixit, 1995.

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28

Lee, Vivian P. Y. Hong Kong cinema since 1997: The post-nostalgic imagination. Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009.

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29

Braun, Brigitte, Andrzej Gwóźdź e Andrzej Dębski. Unterwegs zum Nachbarn: Deutsch-polnische Filmbegegnungen. Trier: WVT, Wissenschaftlicher Verlag Trier, 2015.

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30

E, Helt Marie, ed. West German cinema since 1945: A reference handbook. Metuchen, N.J: Scarecrow Press, 1987.

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31

McIlroy, Brian. World cinema. Trowbridge: Flicks Books, 1989.

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32

Wimal, Dissanayake, ed. Indian popular cinema: A narrative of cultural change. Stoke-on-Trent, UK: Trentham, 2004.

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33

Gokulsing, K. Indian popular cinema: A narrative of cultural change. New Delhi: Orient Longman, 1998.

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34

Madānāt, ʻAdnān. Taḥawwulāt al-sīnimā al-ʻArabīyah al-muʻāṣirah: Qaḍāyā wa aflām. 8^a ed. Dimashq: Dār Kanʻān, 2004.

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35

hÉireann, Bord Scannán na. [List of Irish films]. Galway: Bord Scannán na hÉireann, 1998.

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36

1946-, Talens Jenaro, e Zunzunegui Díez Santos, eds. Modes of representation in Spanish cinema. Minneapolis: University of Minnesota Press, 1998.

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37

Dawar, Ramesh. Best from Bollywood. London: ibs Books, 2008.

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38

Gugler, Josef. African film: Re-imagining a continent. Bloomington: Indiana University Press, 2003.

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39

Dvoeglazov, A. E. Kinopokhod: Krasnodar. Krasnodar: Tradit︠s︡ii︠a︡, 2016.

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40

Postler, Vicky. De Gaumont Italia à arte: La politique culturelle française en Europe. Paris: Connaissances et savoirs, 2005.

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41

Italian locations: Reinhabiting the past in postwar cinema. Minneapolis: University of Minnesota Press, 2008.

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42

Berry, Chris. Chinese cinema: Critical concepts in media and cultural studies. New York, NY: Routledge, 2012.

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43

Shaka, Femi Okiremuete. Modernity and the African cinema: A study in colonial discourse, post-coloniality, and modern African identities. Trenton, NJ: Africa World Press, 2003.

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44

Campbell, Donna M. Bitter Tastes: Literary Naturalism and Early Cinema in American Women's Writing. University of Georgia Press, 2016.

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45

Campbell, Donna M. Bitter Tastes: Literary Naturalism and Early Cinema in American Women's Writing. University of Georgia Press, 2018.

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46

Silent Film and US Naturalist Literature: Time, Narrative, and Modernity. Taylor & Francis Group, 2016.

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47

Donovan, Mike. Motion Pictures. Independently Published, 2019.

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48

Blackwood, Gemma, e Andrew McGregor, eds. Motion Pictures. Peter Lang CH, 2016. http://dx.doi.org/10.3726/978-3-0351-0951-1.

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49

McGregor, Andrew, e Gemma Blackwood. Motion Pictures. Lang AG International Academic Publishers, Peter, 2016.

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50

Godfrey, Donald G. Jenkins’ Motion Pictures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038280.003.0005.

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Resumo:

This chapter examines C. Francis Jenkins' photographic inventions that he used to demonstrate motion pictures in a variety of applications. Despite losing in the early battle with Thomas J. Armat, Jenkins declared himself the inventor of the motion-picture projector. With the Phantoscope, he ventured into home and educational use. He would travel west, filming a Hopi Snake Dance, teach photographic expression, and invent fireproof protections for the projector. This chapter first provides an overview of Jenkins' first Phantoscopes and the patents he obtained for them before turning to his demonstrations of the use of motion pictures at home and in science. It then recounts Jenkins' use of his motion-picture camera to film the Hopi tribe in northeastern Arizona performing the Snake Dance. It also discusses the Jenkins Phantoscope Company's manufacturing of Phantoscopes for educational household use, along with Jenkins' other inventions such as the Marveloscope and a high-speed camera. Finally, the chapter considers Jenkins' promotion of the use of photography in education by teaching photographic expression.

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