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Дисертації з теми "190201 Cinema Studies"
McWilliam, Kelly. "Girl Meets Girl: Lesbian Romantic Comedies." Thesis, University of Queensland, 2006. https://eprints.qut.edu.au/12503/1/12503.pdf.
Повний текст джерелаFerrero-Regis, Tiziana. "Public history, private memories: Historical imagination in the new Italian cinema 1988-1999." Thesis, Griffith Univeristy, 2003. https://eprints.qut.edu.au/92669/1/My%20PhD.pdf.
Повний текст джерелаMoussaoui, Nedjma. "Max Ophuls et l’œuvre de Goethe : matériau génétique et substrat esthétique." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20106.
Повний текст джерелаMax Ophuls remains a neglected film maker. Several movies he directed (such as Liebelei, Lettre d'une inconnue, La Ronde) have linked his name with fin de siècle Vienna and Austrian literature, overshadowing his relationship with Goethe and with Germany, his native country. Our thesis proposes a new approach to Ophuls, based on a study of his relationship with the German writer : we examine the way in which the Goethean sources both operate in the works directly inspired by Goethe and influence the aesthetic tenets of the director. The first part of our work deals with Goethe as a source of inspiration. It is mostly based on the analysis of the 1938 movie Le Roman de Werther, and of the 1954 radio drama Novelle. This new approach to works considered of lesser importance reveals the development of Ophuls's relationship with Goethe and highlights his connection with Germany and German culture in the turbulent context of twentieth century. The second part, on a more theoretical level, traces the paths linking Ophuls's conception of art and Goethean aesthetics. Our analysis of Thoughts on Film (Gedanken über den Film), a 1956 radio drama, highlights the importance of Goethe as a theoretical frame of reference: other texts of different nature allow us to describe an implicit poetics of cinema, based on Goethean organic aesthetics
Rescigno, Anthony. "Les films allemands en Moselle annexée par l’Allemagne nazie (1940-1945) : histoire d’un plaisir oublié." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0368/document.
Повний текст джерелаThis study describes the German film market in Moselle during the annexation of the department to Nazi Germany. It analyses the local politics of cinema put in place by the new authorities (part 1), the programming of films (part 2), their circulation and their consumption by the spectators (part 3). Focusing on an anthropological approach to the cinema, it attempts to question the effectiveness of the mechanisms of cultural hegemony that are not reduced to political manipulation, nor to the implicit presentation of a worldview. The focus is on pleasure as the driving force of aesthetic behaviour and the expression of a shared sensibility.From July 1940, the cinema is completely "Germanized": the organisation of the film industry is placed under the control of the NSDAP and the films (Deutsche Wochenschau, Kulturfilm and feature films) are all screened in German. However, the cinema remains the core activity of the annexation. Cinema attendance is significant, particularly because of the quality of films that were the best in Europe before the advent of Nazism. Market analysis also shows how few propaganda films, of the kind most readily associated with Nazi cinema were shown and that Germanic cultural entertainment focused predominantly on the most successful genres (such as musicals, melodramas, historical films) and on the reputation and beauty of famous celebrities (Viktor de Kowa, Marika Rökk, Viktor Staal, Viktor Rökk, etc.)The study of German films in annexed Moselle is essentially a study of the experience of the viewers, especially the youngest of them, whose memories we have been able to revive through oral surveys. The films are a way to have fun, of escaping a coercive and repressive daily life, and the social tensions inherent in society at the time. This appropriation of film is aimed at neutralising the more dangerous ideological ideas, and the profound attachment of viewers to the German cinema in general. The gratification continues because it is the subject of exchanges, discussions, sharing. However, the systematic assimilation of all these films to Nazi ideology made it impossible to show them after the fall of the Third Reich and the end of the Second World War.Deliberately conceived as an important tool in the Germanisation of the peoples of eastern France (who were expected to become fully-fledged Germans) and to be used as a propaganda tool for Nazi ideology and a cultural showcase for Germany in annexed Moselle, cinema was a free-spirited leisure activity. The popularity of German cinema is what allowed the authorities to politically manipulate leisure-time, moreover, it was made possible through cultural play or 'homo lumens' and by caring for oneself and the esteem of others. This paradoxical ambivalence is characteristic of a cultural hegemony
Coutel, Évelyne. "Les stars et la cinéphilie dans la culture cinématographique espagnole du début du XXe siècle : le cas Greta Garbo." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040255.
Повний текст джерелаThe purpose of this doctoral thesis entitled « Stars and cinephilia in the early XXth century Spanish cinematographic culture: the example of Greta Garbo » is to analyse the influence that this star may have produced in the Spanish society at that time, taking into account that this society was going through some debates related to the renegociation of the relations between sexes and to sexual differentiation issues. The main sources used in this respect consist of the journals published in Spainthroughout the late twenties and the first half of the thirties. First of all, this research focuses on the reception of the first silent Garbo movies that implies the appearance of a new female image. By doing so, one can see that the cinematographic culture of the late twenties introduces Garbo as a real artist with a great creative power. Then, in the thirties, the Spanish film journals reveals a change ofdirection which is in part due to the evolution of cinephilic discourse, a gendered discourse which develops at the expense of women and stars. From then on, the Garbo image is questioned by a legion of journalists pretending to defend the prestige of an “auteur”: the film director. In this study, this reversal is interpreted in the light of the tensions that Garbo provoked as she embodied a transgressive female image. The end of this research also shows that the Garbo image was still alive through the first years of Francoism, the cinematographic culture of this period including similarities and continuities with the twenties and thirties’ one
Книги з теми "190201 Cinema Studies"
Greiner, Sandra. Lokale Agenda für globale Probleme? Zur Entwicklung und Umsetzung von Nachhaltigkeitsstrategien aus institutionenökonomischer Sicht. Hamburg: Hamburg University Press, 2002.
Знайти повний текст джерелаBanda, Osiris Alejandro Valdez. Proceedings of the International Seminar on Safety and Security of Autonomous Vessels (ISSAV) and European STAMP Workshop and Conference (ESWC) 2019. Warsaw: De Gruyter, 2020.
Знайти повний текст джерелаChemistry Class 1st Year Book. National Book Foundation Islamabad, 2014.
Знайти повний текст джерелаQueering the Color Line: Race and the Invention of Homosexuality in American Culture (Series Q). Duke University Press, 2000.
Знайти повний текст джерелаSomerville, Siobhan B. Queering the Color Line: Race and the Invention of Homosexuality in American Culture. Duke University Press, 2000.
Знайти повний текст джерелаSomerville, Siobhan B. Queering the Color Line: Race and the Invention of Homosexuality in American Culture. Duke University Press, 2012.
Знайти повний текст джерелаQueering the color line : race and the invention of homosexuality in American culture. Duke University Press, 2000.
Знайти повний текст джерелаQueering the Color Line: Race and the Invention of Homosexuality in American Culture (Series Q). Duke University Press, 2000.
Знайти повний текст джерелаPhillips, James. Sternberg and Dietrich. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190915247.001.0001.
Повний текст джерелаHirdaris, Spyros, Sunil Basnet, Pentti Kujala, and Osiris Alejandro Valdez Banda. Proceedings of the International Seminar on Safety and Security of Autonomous Vessels (ISSAV) and European STAMP Workshop and Conference (ESWC) 2019. de Gruyter GmbH, Walter, 2020.
Знайти повний текст джерелаЧастини книг з теми "190201 Cinema Studies"
Diesen, Jan Anders. "The Changing Polar Films: Silent Films from Arctic Exploration 1900–30." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0021.
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