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Готові списки джерел за темами / Cinema

Добірка наукової літератури з теми "Cinema"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 6 липня 2024

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Статті в журналах з теми "Cinema":

1

Nazario, Luiz. "O outro cinema." Aletria: Revista de Estudos de Literatura 16, no. 2 (December 31, 2007): 94–109. http://dx.doi.org/10.17851/2317-2096.16.2.94-109.

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Resumo: Um breve panorama da trajetória percorrida pelo desejo homossexual no cinema, de seu tímido despertar no cinema mudo alemão, passando pelo seu mascaramento em Hollywood e sua estilização no “cinema de arte” europeu, até a constituição de um assumido “cinema gay” nos oásis de liberdade do capitalismo avançado.Palavras-chave: cinema; alteridade; capitalismo avançado.Résumé: Un bref panorama de la trajectoire parcourue par le désir homosexuel au cinéma, de son timide réveil au cinéma muet allemand, en passant par son déguisement à Hollywood et sa estilisation au “cinéma d’art” européen, jusqu’à la constitution d’un assumé “cinéma gay” dans les oasis de liberté du capitalisme avancé.Mots-clefs: cinema; altérité; capitalisme avancé.

2

Bellour, Raymond. "“Cinema, Alone”/Multiple “Cinemas”." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 116–43. http://dx.doi.org/10.33178/alpha.5.08.

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This lecture was presented as part of a series of twenty-five conferences on cinema and the arts held between 2001–2002 at the Collège d’Histoire de l’Art Cinématographique, Cinémathèque française. It was first published in French, as “Le Cinéma seul/Multiples ‘cinémas’”. Le Septième Art. Le cinéma parmi les arts. Ed. Jacques Aumont. Paris: Léo Scheer, 2003, 257–80. Print. Some elements of the essay have since been integrated in the introductory chapter of La Querelle des dispositifs. Cinéma – expositions, installations, coll. “Trafic”. Paris: P.O.L, 2012. Print.

3

Naficy, Hamid. "Multiplicity and multiplexing in today's cinemas: Diasporic cinema, art cinema, and mainstream cinema." Journal of Media Practice 11, no. 1 (January 1, 2010): 11–20. http://dx.doi.org/10.1386/jmpr.11.1.11/1.

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4

Guimarães de Oliveira, Luciene. "Opacité et Intermédialité chez le cinéma de Marguerite Duras." Revista FAMECOS 30, no. 1 (March 11, 2024): e45406. http://dx.doi.org/10.15448/1980-3729.2023.1.45406.

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Le cinéma de Marguerite Duras, notamment ses films des années 1970, s’oppose au cinéma grand public à travers plusieurs procédés, tel que celui de briser l’illusion réaliste et référentielle, ou le principe de transparence. Par exemple, l’apparition du matériel de tournage dans la mise en scène, ou la caméra, met en évidence l’opacité de son cinéma. Nous proposons donc d’interroger le cinéma durassien selon ses procédés dysnarratifs, ainsi que son rapport de nature intermédiale avec la littérature. Opacidade e intermedialidade no cinema de Marguerite Duras Resumo: O cinema de Marguerite Duras, especialmente seus filmes dos anos 1970, opõe-se ao cinema convencional por meio de vários processos, como a quebra da ilusão realista e referencial, ou o princípio da transparência. Por exemplo, a aparição de equipes de filmagem na mise-en-scène, ou a câmera, destaca a opacidade de seu cinema. Para tanto, propomos questionar o cinema durassiano segundo seus processos disnarrativos, bem como sua relação intermediária com a literatura. Palavras-chave: opacidade; intermedialidade; processos de disnarrativa.

5

Tessougue, Moussa dit Martin. "Loisirs Urbains: Essor et Déclin des Salles de Cinéma à Bamako au Mali de 1960 à 2022, Fréquentation en Baisse et Fermenture des Salles." European Scientific Journal, ESJ 19, no. 2 (January 31, 2023): 115. http://dx.doi.org/10.19044/esj.2023.v19n2p115.

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Les liens entre le cinéma, le tourisme et l’urbanisation sont bien évidents. L’urbanisation africaine est antérieure à la colonisation européenne. Néanmoins, ce sont les activités commerciales, industrielles, administratives et récréatives de la colonisation européenne qui ont favorisé, l’expansion de plusieurs villes en Afrique. La colonisation a aussi équipé, les villes africaines en salles de cinéma, d’où la naissance des loisirs urbains en Afrique pour l’épanouissement des activités touristiques. En adoptant, une méthodologie incluant des recherches bibliographiques et des enquêtes par interviews sur le terrain, cette étude a pour objectif de comprendre les motifs du désintérêt de la fréquentation des salles de cinéma à Bamako depuis environ 3 décennies. La question est : comment revigorer les loisirs cinématographiques, en abandon depuis environ 3 décennies, à Bamako, la principale ville du Mali L’hypothèse est que dans l’animation touristique de Bamako, les salles de cinéma ne sont pas du tout importantes actuellement. Les résultats révèlent que : Bamako, objet de cette étude a vu sa première salle de cinéma fonctionnelle en 1920. Si en 1980, il existait 15 salles de cinéma fonctionnelles à Bamako en 2022, on ne recense que 3 salles de cinéma fonctionnelles. La dissolution de l’office cinématographique du Mali intervenue en 1988 entraînera la fermeture des salles de cinéma à Bamako. Cette fermeture s’accentuera, par la promotion de la télévision puis la diffusion grandissante des films sur support DVD et CD Roms dès les années 1990, expliquent les jeunes. Voilà, les principaux motifs d’abandon actuellement des salles de cinéma à Bamako. Enfin, les jeunes de Bamako suggèrent à l’Etat de construire des salles de cinéma confortables dans chaque commune de Bamako, en vue de la relance des activités cinématographiques dans les loisirs urbains et l’animation touristique de Bamako. The links between cinema, tourism and urbanization are quite obvious. African urbanization predates European colonization. Nevertheless, it was the commercial, industrial, administrative and recreational activities of European colonization that favored the expansion of several cities in Africa. Colonization has also equipped African cities with cinemas, hence the birth of urban leisure in Africa for the development of tourist activities. By adopting a methodology including bibliographic research and field interview surveys, this study aims to understand the reasons for the lack of interest in cinema attendance in Bamako for about 3 decades. The question is: how to reinvigorate cinematic leisure, which has been abandoned for about 3 decades, in Bamako, the main city of Mali The hypothesis is that in the tourist animation of Bamako, the cinemas are not at all important at present. The results reveal that: Bamako, the subject of this study, saw its first functional cinema in 1920. If in 1980, there were 15 functional cinemas in Bamako in 2022, there are only 3 functional cinemas. The dissolution of the cinematographic office of Mali in 1988 will lead to the closing of cinemas in Bamako. This closure will be accentuated, by the promotion of television then the growing distribution of films on DVD and CD Roms from the 1990s, explain the young people. These are the main reasons for the current abandonment of cinemas in Bamako. Finally, the young people of Bamako suggest that the State build comfortable cinemas in each municipality of Bamako, with a view to reviving cinematographic activities in urban leisure and tourist activities in Bamako.

6

GOERG, ODILE. "VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA áFRICA COLONIAL: revivendo as primeiras cenas." Outros Tempos: Pesquisa em Foco - História 13, no. 22 (December 28, 2016): 89–102. http://dx.doi.org/10.18817/ot.v13i22.548.

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O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do inácio do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestágios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concessões ou hotéis, as sessões do cinema se fixam pouco a pouco. Enquanto o cinema ambulante anima, esporadicamente, as praças da aldeia, os cinemas são construádos nas grandes cidades. São eles que atraem a atenção dos administradores. O modelo dominante do entreguerras permanece, todavia, aquele dos espaços fechados, a céu aberto, protegidos por um toldo ao fundo. A diferenciação dos lugares corresponde aquela dos públicos: aos mais pobres, majoritariamente africanos, são destinados os lugares da frente. O ambiente das sessões e a experiência dos espectadores variam fortemente segundo o espaço frequentado. As sessões a céu aberto, onde são projetados, sobretudo, filmes de westerns e os filmes de ação, contrastam com aquelas do centro da cidade em que a atmosfera é mais ”civilizada”.Palavras-chave: Cinema. Colonialismo. áfrica. VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenesAbstract: The cinema had its peak during the 1950s-1970s, but what do we know about the modalities of its diffusion from the beginning of the twentieth century? This paper analyses the success of cinema, a pastime which followed European colonization, through various sources: travellers”™ accounts, newspapers, memoirs and recollections of audience members. Entrepreneurs, African or European, played a powerful role as conveyors of modernity by circulating moving images. They were photographers, engineers and merchants. At first, movie shows were sporadic events, taking place in compound yards or hotels; they gradually found permanent locations. While mobile shows sometimes animated village squares, cinemas were built in the main cities. The colonial administration focused its attention on them. But the main model between the two World Wars remained the open-air cinema, protected only at the rear by an awning. This differentiation of spaces was accompanied for the same process for the spectators. The poorest, mainly Africans, were located at the front. Therefore, atmosphere and audience experiences differed greatly. The Audience behavior at open-air shows, where Westerns and action movies dominated, contrasted with more polite behavior in downtown theaters.Keywords: Cinema. Colonialism. Africa. Visibilidad e invisibilidad de LOS cineS en áfrica colonial: reviviendo las primeras escenasRésumé: Le cinéma connait son apogée dans les années 1950-1970 mais que savons-nous des modalités de sa diffusion á partir du début du XXá¨me siá¨cle ? Cet article évoque le succá¨s précoce du cinéma, arrivé dans les bagages de la conquête coloniale, á travers les traces laissées par les récits de voyageurs, la presse ou des souvenirs de spectateurs. Des entrepreneurs, africains ou européens, jouá¨rent un formidable rôle de passeurs de modernité pour assurer la circulation des images animées. Ils sont photographes, ingénieurs, commerçants. D”™abord évá¨nements éphémá¨res, se déroulant dans les cours des concessions ou les hôtels, les séances du cinématographe se fixent peu á peu. Tandis que le cinéma ambulant anime, sporadiquement, les places de village, des cinémas sont construits dans les grandes villes. Ce sont eux qui attirent le regard des administrateurs. Le modá¨le dominant de l”™entre-deux-guerres reste toutefois celui de vastes enclos, á ciel ouvert, protégés par un auvent á l”™arriá¨re. A la différentiation des lieux répond celle des publics : aux plus pauvres, majoritairement africains, sont assignées les places á l”™avant. L”™ambiance des séances et l”™expérience des spectateurs varient donc fortement selon l”™espace fréquenté. Les séances en plein air, oá¹ sont projetés surtout des westerns et des films d”™action, contrastent avec celles du centre-ville á l”™atmosphá¨re plus policée.Mots-clés: Cinéma. Colonialisme. Afrique.

7

Chataignier, Gustavo. "Nouvelle Vague e Cinema Novo – paradigmas de cinema e suas relações." Panambí. Revista de Investigaciones Artísticas, no. 3 (January 9, 2017): 25. http://dx.doi.org/10.22370/panambi.2016.3.547.

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O artigo pretende explicitar um circuito de visibilidade que alçou o Cinema Novo brasileiro ao posto de cinema internacional de vanguarda. Para tanto, há que se compará-lo não só com a Nouvelle Vague francesa, mas, sobretudo, com o papel central desempenhado pela crítica especializada –notadamente os Cahiers du cinéma.

8

Lieandra, Hansen, and Suwardana Winata. "BIOSKOP SEBAGAI WADAH SOSIAL DENGAN PENDEKATAN ARSITEKTUR KESEHARIAN DI KAWASAN SENEN, JAKARTA PUSAT." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 4, no. 2 (January 23, 2023): 1203–12. http://dx.doi.org/10.24912/stupa.v4i2.21815.

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Young and old have been enjoying watching movies in the cinema for a long time. Along with the development of the times, a lot has also happened to the cinema and always follows the times. Seeing the development of cinemas, there are step-by-step cinemas that can be enjoyed outdoors, drive-in cinemas that can be watched from the car, and there are exclusive seats in cinemas such as 3d theaters, love seats, premieres, and others. Not only a place to watch, but cinemas can also be used multifunctionally which we may have encountered, for example, concerts at the cinema, meet and greets at the cinema, worship at the cinema, to performing at the cinema.The times have indeed affected cinemas and these changes continue to occur, especially now that there are streaming platforms that provide movie viewing via the internet that are easy to access now. Streaming that is easy to watch anywhere threatens the world of cinema, even though it is threatened, cinema and streaming still need each other. Like in Senen, the local community can also enjoy films, namely, at the Grand Theater Senen where there are many activities to watch and socialize at Senen. However, the activities and buildings of the Grand Theater of Senen undergo continuous changes and the lifestyle of the people in Senen also begins to change, this change makes the area around the cinema neglected. Keywords: attractor; cinema; everydayness architecture Abstrak Kalangan muda dan tua sudah lama menikmati tontonan di bioskop. Seiring berkembangnya zaman, banyak juga yang terjadi kepada bioskop dan selalu mengikuti perkembangan zaman. Melihat perkembangan bioskop, terdapat bioskop layar tancap yang bisa dinikmati outdoor, drive-in cinema yang bisa ditonton dari mobil, dan ada kursi yang eksklusif di bioskop seperti, teater 3d, love seat, premiere, dan lainnya. Tidak hanya tempat untuk menonton tetapi bioskop juga dapat digunakan secara multifungsi yang mungkin sudah pernah kita temui contohnya, konser di bioskop, meet and greet di bioskop, ibadah di bioskop, hingga melakukan pertunjukan di bioskop. Perkembangan zaman memang mempengaruhi bioskop dan perubahan itu terus terjadi, apalagi sekarang sudah ada platform streaming yang menyediakan tontonan film melalui internet yang mudah untuk diakses sekarang. Streaming yang mudah ditonton dimana saja mengancam dunia perfilman, meskipun terancam tetapi bioskop dan streaming ini masih saling membutuhkan, jadi ada persetujuan diantara keduanya untuk tetap menyediakan konten untuk menonton sehingga kita masih bisa menonton film. Seperti di Senen, film juga dapat dinikmati oleh masyarakat sekitar yaitu, di Grand Theater Senen dimana disana ditemukan banyak aktivitas untuk menonton dan bersosialisasi di Senen. Namun, aktivitas dan bangunan Grand Theater Senen mengalami perubahan yang terus terjadi dan gaya hidup masyarakat di Senen juga mulai berubah, perubahan ini menjadikan kawasan sekitar bioskop menjadi terbengkalai.

9

Dima, Vlad. "Waiting for (African) Cinema: Jean-Pierre Bekolo’s Quest." African Studies Review 62, no. 1 (June 28, 2018): 49–66. http://dx.doi.org/10.1017/asr.2017.153.

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Abstract:Throughout his career, Cameroonian director Jean-Pierre Bekolo has been searching for cinema; not African cinema, just Cinema. In order to explain properly this claim, the essay will first consider Bekolo’s work within the context of the ever-ongoing conversation regarding the framing and aesthetics of African and Third Cinemas. Second, for a closer perspective on what will be termed “neurotic cinema,” the essay will key on Bekolo’s latest effort, Naked Reality (2016), a purposely unfinished work that echoes absurdist theater, mimics frantic contemporary thought, and proposes that cinema should not yield finalized products because that may go against its very nature.

10

Hartanto, Denny Antyo. "HISTORY OF MARKETING COMMUNICATION OF CINEMA PRODUCTION IN THE EXHIBITION INDUSTRY IN JEMBER." JURNAL PAKARENA 8, no. 1 (July 4, 2023): 56. http://dx.doi.org/10.26858/p.v8i1.42032.

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This research aims to document the history of cinema product communication for the sake of archiving the history of cinema in the city of Jember. In addition, it also aims to identify and identify the background of the problems that have resulted in the cinema industry in Jember experiencing the closure of operations, so that the problems faced by the local exhibition industry in Jember can be identified. In addition to knowing the history of the development of cinema in the city of Jember.This research focuses on the study of documenting artifacts from the communication process of cinema production in Jember City. Before the industrialization of film exhibitions which was dominated by the Cinema 21 Group and modern cinemas with the Cineplex concept as it is today, the city of Jember once had several local cinema buildings as public spaces to be able to communicate film products to the audience as a fulfillment of the entertainment needs of the Jember people. However, in the 1990s some cinema buildings are now just history. The existence of the cinema building has disappeared from the circulation of the film industry in the city of Jember. The methods used are descriptive qualitative research methods and historical or historical methods. The results of the study are in the form of findings about historical facts and the problems that lie behind the local cinema industry in Jember experiencing operational closures and no trace so that historical documentation and historiography interests or historical writing of local cinema developments in Jember are needed. There are several factors that are indicated to be the cause of the closing of cinemas in Jember, namely: (1) Jember people have experienced boredom with hot films that are often screened in cinemas, (2) The emergence of private TV channels in the 1990s, (3) The ease of obtaining pirated film VCDs and the proliferation of VCD Players in people's homes, (4) The decline in the quality of Indonesian films, and (5) The ease with which people get new films in internet cafes (internet cafes) before the advent of the era of social media such as youtube.

Більше джерел

Дисертації з теми "Cinema":

1

Codó, Martínez Jordi. "El cinema com a espai intercultural. La influència asiàtica en el cinema d'Occident: contextos, conceptes i casos." Doctoral thesis, Universitat Ramon Llull, 2013. http://hdl.handle.net/10803/104535.

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En un món social cada cop més nodrit per les interconnexions culturals, el cinema - expressió artística que és filla inequívoca del seu temps- es conforma des dels seus inicis a través de la integració i la interacció de formes expressives diverses i allunyades. Els darrers tres lustres han vist un impuls en la referida tendència, promoguda per la globalització de la indústria fílmica i, en bona mesura també, pel creixement (i/o la voluntat exportadora) dels cinemes asiàtics. La influencia d'aquests cines en el mainstream internacional (ja sigui el de l'entreteniment o el d'art i assaig) és cada cop més patent, i s'aventuren noves formes d'expressió cinematogràfica i d’anàlisi. El present treball vol reflexionar sobre la naturalesa d'aquests intercanvis, tot observant quines idees i practiques es posen en joc en la producció de films de caràcter transnacional. Conceptes com 'interculturalitat', 'cinema nacional', 'autoria' o 'orientalisme' en són els protagonistes, juntament amb l'estudi d'un cas: la influencia del cinema japonès en !'obra de Jim Jarmusch.
En un mundo social cada vez más nutrido por las interconexiones culturales, el cine expresión artística que es hija inequívoca de su tiempo- se conforma desde sus inicios a través de la integración y la interacción de formas expresivas diversas y alejadas. Los últimos tres lustros han visto un impulso en la referida tendencia, promovida por la globalización de la industria fílmica y, en buena medida también, por el crecimiento (y/o la voluntad exportadora) de los cines asiáticos. La influencia de estos cines en el mainstream internacional (ya sea el del entretenimiento o el de arte y ensayo) es cada vez más patente, y se aventuran nuevas formas de expresión cinematográfica y de análisis. El presente trabajo quiere reflexionar sobre la naturaleza de estos intercambios, observando qué ideas y prácticas se ponen en juego en la producción de filmes de carácter transnacional. Conceptos como 'interculturalidad', 'cine nacional', 'autoría' u 'orientalismo' son los protagonistas, junto con el estudio de un caso: la influencia del cine japonés en la obra de Jim Jarmusch.
In a social world increasingly nourished by cultural interconnections, film -an artistic expression that is an unequivocal output of its time- has been shaped from its beginnings through the integration and interaction of various and distant forms of expression. The last fifteen years have seen a boost in the aforementioned trend, promoted by the globalization of the film industry and, to some extent also by the growth (and / or will to export) of Asian cinemas. The influence of these cinemas in the interntional mainstream (either for entertainment or arthouse) is increasingly evident, and puts forward new forms of cinematic expression and analysis. The present work reflects on the nature of these exchanges, by observing which ideas and practices come into play in producing films with a transnational personality. Concepts such as interculturality, national cinema, authorship or orientalism are the protagonists, along with a case study: the influence of Japanese cinema in the work of Jim Jarmusch.

2

Manzo, Liliana <1988&gt. "Il cinema indipendente in Cina." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3540.

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Questa tesi propone un’analisi dettagliata del rapporto tra i registi Zhang Yuan, Wang Xiaoshuai e Jia Zhangke, tre dei maggiori esponenti della generazione underground/indipendente della Cina moderna, con la censura cinese e i festival cinematografici internazionali. Prendendo in esame ogni singolo regista ho indagato il quadro generale della situazione che vede i registi indipendenti cinesi a cavallo tra il cinema mainstream e quello underground.

3

Carter, Sandra Gayle. "Moroccan cinema : what Moroccan cinema? /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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4

Turajlic, M. "Cinema Komunisto : cinema as a memory site." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/9qx73/cinema-komunisto-cinema-as-a-memory-site.

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Cinema Komunisto is a documentary film about the use of the cinematic image in the creation of the political narrative of socialist Yugoslavia, taking as its starting point an abandoned film studio that had once been the crown-jewel of the Yugoslav film industry. An intensive five-year research process resulted in a story told through a montage of clips from fiction films and exclusive documentary archive, interspersed with interviews with key filmmakers, actors and studio bosses, as well as President Tito’s personal projectionist. In the introduction, a brief historical overview establishes the central position of cinema in socialist Yugoslavia, its contribution to the ‘imagined community’ in it’s articulation of political myths and the narration of the common past. Transitioning over to the present-day, the commemorative function of cinema is discussed in the context of post-war and post-socialist public discourse. A theoretical analysis of the relationship between cinema and history follows. Beginning with the concerns over the use of cinema as historical document, it extends to challenges faced by filmmakers seeking to ‘revision’ the past (Rosenstone, 2006)through the making of historical films. Starting with the Annales historians, such as Marc Ferro, and their contribution to the liberation of film from the requirements of written historiography, the argument is made for separating visual historical discourse from historical evidence (Ernest, 1983) and the challenge of making films with cinematic language (de Baecque, 2008)) is taken on. The final theoretical section discusses the impact of the ‘memory turn’ on the meeting between cinema and history, and argues for adopting the key concepts of cultural memory, such as it’s present-day operation, instrumentality and mediality as useful tools for this inquiry. Pierre Nora’s concept of lieux de mémoire proves fundamental as an analytical tool of the analysis of films as ‘memory sites’. The memory turn is then situated within the context of postsocialist societies, such as Yugoslavia, where films become a useful means ofrepresenting the ‘transition of meanings’ taking place. Adopting the concepts of Robert Rosenstone, the next section responds to the challenge of developing ‘rules of engagement’ that would allow for a particular ‘historical understanding.’ By situating Cinema Komunisto within the tradition of refractive cinema (Corrigan, 2011), particularly the use of cinema as an expression of history (Godard’s Histoire(s) du cinéma) or of history written by decree (Marker’s The Last Bolshevik), I set out to assess and build on aesthetic and philosophical concepts developed by Marker and Godard. Closer to home, inspiration is drawn from filmmaker Dušan Makavejev and his approach of developing ‘theory in practice’ in Innocence Unprotected. The elaboration of rules of engagement involves re-working the visual material, including the free mixing of documentary archive and clips from feature films, decontextualising and interrogation of images. Use of concepts such as that of intentional disparity (Baron, 20014) allows the subversion of the intended use of images. Thesection on narrative voice questions the establishing of the right critical distance and subjective positioning of the author as narrator. Following the decisions to eschew an all-knowing voice-over, and to rely on character-narration, the editing approach becomes vital. Montage allows the elaboration of a philosophical approach, invoking Benjamin’s concept of the dialectic image land the rapprochement of historical fragments to provoke critical reflection. Finally, temporal disunity and spatial articulation are discussed as narrative strategies. Temporal non-linearity and parallels in the dramaturgy add the ability to chart transitioning historical meanings into the present-day, tying back to concepts of social memory as the traces of the past in the present. Spatial narration is discussed in light of situated testimonies in geographical lieux de memoire, and the narrative and symbolic meaning of ruins, as markers of social forgetting. Both strategies prove to be valuable as ‘rules of engagement’, in particular because of the political dimension of constructing memory texts. In conclusion it is argued that the historical understanding achieved by the adoption of the discussed ‘rules of engagement’ achieves a reconciliation of subjective truth and intimate lyricism, with the philosophical and pedagogical aim of a critical reflection on conventional historical narration. As a memory text, Cinema Komunisto positions memory before historical truth, and ultimately managing to find meaning in ruins.

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Silva, Iomana Rocha de Araújo. "Cinemas fluidos: análise das interrelações entre cinema independente experimental brasileiro e arte contemporânea no contexto pós-cinema." Universidade Federal de Pernambuco, 2014. https://repositorio.ufpe.br/handle/123456789/13154.

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A partir da observação do contexto atual da produção do cinema independente experimental brasileiro, notamos a interação estética e conceitual deste cinema com elementos da arte contemporânea. Esta produção nos remete a um contexto caracterizado pela expansão dos conceitos do que se entende por cinema, transbordando as características formais e estéticas do cinema tradicional. Numa primeira parte enfatiza-se alguns filmes dentro do que chamamos aqui de cinema independente experimental contemporâneo brasileiro, e a partir deles é feito uma analise associativa com segmentos da arte contemporânea, como a performance, arte processual, arte conceitual, criações em rede, minimalismo, entre outros. Em uma segunda parte, observase esta produção cinematográfica e essa interação com a arte contemporânea enfatizando a experiência estética. Foca-se na valorização da sensibilidade e subjetividade do espectador em sua relação com a obra, tendo por base teóricos como Didi-Huberman e Merleau-Ponty. Por fim, embasado pelo conceito de “efeito cinema” de Philippe Dubois, apontamos para um cenário de filmes fluidos, uma experiência imersiva que evoca a participação do espectador para preencher seus vazios, filmes em que o espectador se faz necessário para a obra se fazer completa, evocam uma experiência estética específica, à qual associamos o conceito de “efeito instalação”.

6

Xue, Fei <1993&gt. "Cinema cinese e società ——Traduzione e commento traduttologico di tre capitoli del libro Il cinema asiatico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15385.

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Abstract Chinese film has a history for more than a century. The Chinese film records the great changes in politics, economy, and culture within the hundreds of years of history. Chinese filmmakers, have spread the Chinese culture to all parts of the world. Nowadays Chinese movies have gradually become an indispensable part on the important international film festival, they are constantly updating people’s understanding of China all over the world. The first chapter of the thesis focuses on the social changes in China and its impact on the development of Chinese film, the role of Chinese drama and kung fu in Chinese movies, and the China’s sixth generation of film directors. In the second chapter of the thesis, I translated (from Italian to Chinese) the preface part, fourth chapter and sixth chapter of the book "IL cinema asiatico” (2011) by Dario Tomasi, an Italian film history researcher. This book introduces the Asian film in an objective way, from the perspective of foreign film researchers, it tells about general understanding and the detailed information regarding Asian movies (only the part of Chinese papers is selected in the thesis), what’s more it analyzed the social background reflected through the movies in different historical periods and the styles of the sixth generation of film directors professionally. The last part of the thesis is a translation commentary. In this part, I respectively analyze the original text and the translation, and explain the problems encountered in the process of translation. In the third chapter I illustrate the relevant translation strategies adopted with practical examples towards those problems.

7

Benoski, Diogo Albino. "Cinema." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/102239.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Gradução em História.
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O objetivo deste trabalho é analisar a figura do doente mental construída pelo cinema. Nesta perspectiva, o estudo responde a uma série de indagações: o que é loucura, o que é cinema, e como se estabelecem as relações entre história e cinema. Pelo lado da loucura, podemos dizer que ela é definida de acordo com sua etiologia. A psiquiatria, medicina especializada no ramo, busca responder a esta questão ao englobar dois métodos principais: o orgânico, que considera as causas fisiológicas; e o psicológico, que considera os sentimentos reprimidos como causa da doença. Pelo lado do cinema, destacam-se os aspectos técnicos e o estilo de narrativa como suas principais características. Unindo estes dois elementos, o cinema e a loucura, o trabalho encontra subsídios para estudar os seguintes aspectos: as representações do louco de causa psicológica e do louco de causa orgânica. Ainda analisam-se os meios que a psiquiatria utilizou, nos filmes, para controlar essa loucura.

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Ozdil, Yilmaz. "La construction visuelle des identités kurdes : cinema turc, cinéma kurde." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030165.

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Dans les quatre pays dominant le Kurdistan, (Turquie, Iran, Irak et Syrie), la question kurde se traduit avant tout sous forme de visibilité/ invisibilité, autour de la question de la reconnaissance des Kurdes en tant que Nation déniée. Notamment en Turquie, le premier des pays à avoir imposé aux Kurdes son modèle d'Etat-Nation, cette question renvoie aux politiques négationnistes étatiques menées contre la culture et l'identité kurdes, considérées dès 1924, comme des obstacles au processus de création d'une identité nationale turque. Dans ce rapport conflictuel entre le nationalisme turc et le nationalisme kurde, également fruit d'une mémorisation traumatique et d'une longue histoire de résistance kurde dans chaque partie du Kurdistan, l'imaginaire des Kurdes renvoie а une dimension historique devenue spontanément une référence essentielle du traitement cinématographique de la « kurdicité », sous forme d’interaction construite par les Kurdes eux-mêmes ou créée par leurs adversaires politiques.Notre thèse s'efforce de montrer cette influence durable du nationalisme sur le traitement cinématographique de la « kurdicité », principalement dans le cinéma turc traitant les Kurdes sans les designer en tant que Kurdes, puis dans le cinéma kurde au service de la « cause kurde » après les années 1990
In the four countries dominating Kurdistan (Turkey, Iran, Iraq and Syria) the Kurdish question translates first and foremost under the concept of visibility/invisibility, around the problem of the recognition of the Kurds as a denied nation. This is especially apparent in the case of Turkey, the first of the countries which imposed its own nation-state on the Kurds : this question is associated with the negationist state policies on Kurdish culture and identity,which, since 1924, have been considered as obstacles on the path to the creation of a nationalTurkish identity. In this conflictual relation between Kurdish and Turkish nationalisms – the fruit, among others, of a traumatic memory and a long history of Kurdish resistance inrespective sections of Kurdistan – the imagery of the Kurds refers to a historical dimensionwhich has spontaneously become an essential reference of cinematographic treatment of« Kurdishness » under the form of interactions constructed by themselves or by their own political opponents. The present thesis aims at describing that permanent influence of nationalism on the cinematographic treatment of « Kurdishness » in the Turkish cinema which principally treats the Kurds without designating them as Kurds, then in the Kurdish cinema in the service of « Kurdish cause » following the 1990s

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Gontijo, Rodrigo Corrêa 1974. "Live Cinema : práticas expandidas do cinema experimental." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284494.

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Orientador: Francisco Elinaldo Teixeira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Com mais de dez anos de existência, as performances de Live Cinema apontam para diversos caminhos com o surgimento de novas ideias e experimentações que foram impulsionadas pelo resgate de propostas desenvolvidas ao longo da história do audiovisual. A primeira parte desta pesquisa propõe um retorno às origens do cinema para mapear as produções que se aproximaram do campo de outras artes e desenvolveram narrativas desviantes, herdadas pelo Live Cinema. A segunda parte realiza um levantamento das características das manipulações de imagem em tempo real. Partindo de um foco nos processos fílmicos, aponta os traços recorrentes e padrões repetitivos que procedem de genealogias distintas, oriundas de pensamentos anteriormente experimentados nos campos das artes visuais, artes performáticas, cinema experimental, música e redes telemáticas que, ao se juntar com o Live Cinema, geraram três tendências: Cinema do Banco de Dados, Cinema em Circuito Fechado e Cinema Generativo
Abstract: With over ten years of existence, the performances of Live Cinema indicate different ways with the emergence of new ideas and experiments that were driven by the recurrence of proposals developed over the history of audiovisual. The first part of this research returns to the origins of cinema to bring up the productions that approached to the field of arts, and developed different kinds of narratives, inherited by Live Cinema. The second part conducts a research about the characteristics of image manipulations in real time, and starting from a filmic focus on processes, points out the recurrent and repetitive patterns, that come from different genealogies, thoughts coming from previously experienced in the fields of visual arts, performing arts, experimental film, music and telematic networks. All of them, together with Live Cinema, developed three trends: Database Cinema, Close Circuit Cinema and Generative Cinema
Mestrado
Multimeios
Mestre em Multimeios

10

Francisco, Maria Patrícia. "Um outro cinema - cinema documentário e memória." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29052009-152808/.

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A dissertação tem como proposta uma reflexão sobre o processo de realização de um documentário, a partir de minhas reflexões como realizadora. O trabalho tem como marco teórico e prático a memória na proposição de uma forma documental. Parto de conceitos literários sobre a memória subsidiada com referências fotográficas na invenção do conteúdo do documentário. Assim, entre filme e texto, tenho como propósito a apresentação de um pequeno panorama da história do cinema, focando alguns pontos referenciais que resultaram em mudanças para a linguagem do documentário contemporâneo. Na finalização do processo de um filme, estabeleço relações entre o ato de montar e uma possibilidade de montagem apontada por Jean-Luc Godard.
The dissertation has as proposal a reflection on the process of to do a film documentary, starting from my reflections as director. The text has as theoretical and practical mark the memory in the proposition in a form documental. I leave of literary concepts about the memory subsidized with photographic references in the creation of the content of the documentary. Like this, between film and text, I have as purpose the presentation of a small panorama of the history of the movies, showing some primordial points that resulted in changes for the language of the contemporary documentary. In the finalization of the process of a film, I establish relationships among the action of editing and an edition possibility seen by Jean-Luc Godard.

Більше джерел

Книги з теми "Cinema":

1

Jordan, Pierre-L. Cinéma =: Cinema. [Marseille]: Musées de Marseille, 1992.

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2

Marianne, Thys, and Cinémathèque royale de Belgique, eds. Belgian cinema =: Le cinéma belge. Gent: Ludion, 1999.

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3

Chakraborty, Swati, and Emmanuel Grimaud. Indian cinema: Le cinéma indian. Lyon, France: Asiexpo Edition, 2008.

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4

Gormley, Kirstie, Michelle Bloom, and Corrado Neri. Taiwan cinema = Le cinéma taiwanais. Lyon, France: Asiexpo, 2009.

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5

Guglielmi, Angelo. Cinema, televisione, cinema. Milano: Bompiani, 2013.

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6

Invernizzi, Franca Santi. Cinema, oh cinema! [Lenno, Italy]: Fuoridallerotte, 2007.

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7

Vîjeu, Titus. Cinema, cinema, cinema: Dialoguri cu Dan Pița. București: Noi Media Print, 2014.

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8

Penzi, Marco, and Raffaele Cavalluzzi. Cinema e storia: Cinéma et histoire. Lecce: Pensa multimedia, 2012.

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9

Italy) Altri sguardi (Film festival) (4th 2002 Cesena. Cinema Kazakho: Kazakh cinema. Cesena: Società Editrice "Il Ponte Vecchio,", 2002.

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10

Yan, Sogiru. Shinema, shinema, shinema =: Cinema, cinema, cinema / Yan Sogiru. 8th ed. Tōkyō: Kōbunsha, 2006.

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Більше джерел

Частини книг з теми "Cinema":

1

Hill, John. "Cinema." In The Media in Britain, 74–87. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27556-4_5.

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2

Thies, Sebastian. "Cinema." In The Routledge Handbook to the Culture and Media of the Americas, 285–97. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351064705-25.

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3

Marguet, Damien. "Cinema." In Arts, Ecologies, Transitions, 49–52. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-12.

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4

Marks, Peter. "Cinema." In The Palgrave Handbook of Utopian and Dystopian Literatures, 231–42. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-88654-7_18.

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5

Rizov, Vladimir. "Cinema." In Palgrave Studies in Crime, Media and Culture, 15–44. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12978-0_2.

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6

Jin, Dal Yong. "Korean Cinema and Hallyu Cinema." In Understanding the Korean Wave, 135–50. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003393016-11.

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7

Nagib, Lúcia. "Realist cinema as World Cinema 1." In The Routledge Companion to World Cinema, 310–22. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-26.

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8

Medeiros, Paulo de. "Lusophone African cinema as world cinema." In Contemporary Lusophone African Film, 15–31. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Remapping world cinema: regional tensions and global transformations: Routledge, 2020. http://dx.doi.org/10.4324/9780429026836-1.

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9

Kablamacı, Ahsen Deniz Morva, and interviewed by Kıvanç Sezer. "Turkish Cinema." In Authoritarianism and Resistance in Turkey, 269–77. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76705-5_26.

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10

Griffiths, Kate. "Spectral Cinema." In A Companion to Luis Buñuel, 399–413. Oxford, UK: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118324882.ch19.

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Тези доповідей конференцій з теми "Cinema":

1

Tóthová, Barbora, and Miriam Šebová. "Community cinemas in urban regeneration: a case study of cinema Úsmev in Košice." In XXIII. mezinárodní kolokvium o regionálních vědách / 23rd International Colloquium on Regional Sciences. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9610-2020-59.

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The paper is focused on the role of cinemas in culture-led urban regeneration, their potential in the process of place-making and community building. Existing research has shown that there is a link between social and spatial identities based on small town cinemas and that community needs to be at the centre of the regeneration process for it to be sustainable. The paper follows the debate with its objective being to explore this link using a mixed method approach based on a case study. The case study deals with a local community cinema project located in the centre of Košice, Slovakia. It started the process of cinema restoration in 2015 and reflected the collective aspirations of urban inhabitants for the cinema’s survival. The findings conclude that the cinema is an active social actor and cultural asset in the neighbourhood and contributes to the development of a vital and inclusive community. On the other hand, it opens up the debate on the Slovak Audiovisual policies and cinema situation across Slovak districts as potential for further research.

2

Li, Hui, Sourav S. Bhowmick, and Aixin Sun. "CINEMA." In the 16th International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2452376.2452415.

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3

Purvis, Martin K., and Andrew L. S. Long. "Software cinema." In Proceeding of the 24th ACM SIGPLAN conference companion. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1639950.1640079.

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4

Healy, Kevin J. "CINEMA tutorial." In the 17th conference. New York, New York, USA: ACM Press, 1985. http://dx.doi.org/10.1145/21850.253084.

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5

Healy, Kevin J. "CINEMA tutorial." In the 18th conference. New York, New York, USA: ACM Press, 1986. http://dx.doi.org/10.1145/318242.318299.

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6

Lew, Michael. "Live cinema." In ACM SIGGRAPH 2004 Sketches. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1186223.1186369.

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7

Kelliher, Aisling. "Everyday cinema." In the 1st ACM workshop. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1026633.1026647.

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8

Hsien Tsai, Yi, Ching I Chen, and Meng-Cong Zheng. "Usability Evaluation of Self-Service Ticketing Kiosks in Cinemas." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003204.

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Self-service systems have flourished in recent years; to make it easier for consumers to purchase tickets, cinema operators introduced self-service ticketing kiosks. The performance of the operator interface and the amount of time spent affect the user's propensity to utilize the self-service ticketing kiosk at the Cinema. In the initial observation, most individuals prefer to purchase tickets at the traditional counter rather than the self-service option. This study used an experimental task, SUS, QUIS, and participant's feedback questionnaire, to determine why self-service ticketing kiosks are not meeting users' needs. The study identified cognitive disparities in the ticketing process of the existing self-service kiosks in Cinema and a lack of substantial status presentation and transparent organization in the ticketing interface. It leads inexperienced users to misunderstandings and operational blunders. This study's conclusions can serve as a foundation for the future optimization of self-service ticketing kiosks in cinemas. The results showed that the participants had problems with the faulty operation of the interface of all three cinemas. (1) When purchasing tickets, two cinemas popped up with a "confirm membership status" prompt, which made many participants hesitant and confused. (2)Order corrections problems, including the lack of a "back to the previous step" function, causing the participants to be unable to correct wrong purchases and need to cancel the entire order to purchase again. (3) All three cinemas had unclear information on the seat selection page. 73.3% of the participants felt that the presentation was not straightforward. Includes no seat numbers, alphabetical presentation of row numbers, and no indication of seat status. (4) 43.33% of participants stated that the existing self-service ticketing kiosks at the three cinemas are less convenient and time-efficient than purchasing tickets at the counter, so they prefer to buy tickets at the counter. Moreover, the SUS scale of the kiosk in the three cinemas were 62.5 (D level),56 (F level), and 54.5 (F level), respectively; neither of them could meet the operational requirements. The results of this study provide us with an understanding of the current user behavior and evaluation of the self-service ticketing interface at the Cinema, which could be used to improve the user experience in the future, allowing users to have a better experience during the ticketing process.

9

Maia, Paulo. "Imaginário no cinema curto no Brasil: democracia, cinema, periferia." In Encontro de História da Arte. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/eha.vi14.3417.

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10

Ilicic, M. "Digital cinema projectors." In 47th International Symposium ELMAR, 2005. IEEE, 2005. http://dx.doi.org/10.1109/elmar.2005.193647.

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Звіти організацій з теми "Cinema":

1

Berres, Anne Sabine, and James Paul Ahrens. Compression of the cinema database. Office of Scientific and Technical Information (OSTI), September 2015. http://dx.doi.org/10.2172/1215816.

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2

Fenimore, Charles, and Mary Floyd. Digital cinema 2001 conference proceedings:. Gaithersburg, MD: National Institute of Standards and Technology, 2001. http://dx.doi.org/10.6028/nist.ir.6591.

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3

Fenimore, Charles, and Alexei Nikolaev. Software for viewing and converting digital cinema materials. Gaithersburg, MD: National Institute of Standards and Technology, 2001. http://dx.doi.org/10.6028/nist.ir.6814.

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4

Ruiz-Moreno, Sandra. Representations of the armed conflict in Colombian cinema. Revista Latina de Comunicación Social, 2010. http://dx.doi.org/10.4185/rlcs-65-2010-915-503-515-en.

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5

Kares, Robert John. In-Situ Visualization Experiments with ParaView Cinema in RAGE. Office of Scientific and Technical Information (OSTI), October 2015. http://dx.doi.org/10.2172/1223763.

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6

Girardi, Gherardo. Extended Case Study: Teaching and learning economics through cinema. Bristol, UK: The Economics Network, February 2008. http://dx.doi.org/10.53593/n178a.

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7

Gelfeld, Vicki. What Boomers Want: Insights into Cinema Experience Preferences and Behaviors. AARP Research, April 2018. http://dx.doi.org/10.26419/res.00223.001.

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8

Ledo Andión, M., AM López Gómez, and M. Pérez Pereiro. European cinema in the languages of stateless and small nations. Revista Latina de Comunicación Social, March 2016. http://dx.doi.org/10.4185/rlcs-2016-1097en.

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9

Gil Gascón, Fátima, and Salvador Gómez García. Women, engagement and censorship in the Spanish Cinema. 1939-1959. Revista Latina de Comunicación Social, 2010. http://dx.doi.org/10.4185/rlcs-65-2010-912-460-471-en.

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10

Bauer, Andrew, Jennifer Abras, and Nathan Hariharan. In situ and post-processing volume rendering with with Cinema. Engineer Research and Development Center (U.S.), May 2021. http://dx.doi.org/10.21079/11681/40502.

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Анотація:

We present a new batch volume rendering technique which alleviates the time and expertise needed by the domain scientist in order to produce quality volume rendered results. This process can be done both in situ and as a post-processing step. The advantage of performing this as an in situ process is that the user is not required to have a priori knowledge of the exact physics and how best to create a transfer function to volume render that physics during the in situ run. For the post-processing use case, the user has the ability to easily examine a wide variety of transfer functions without the tedious work of manually generating each one.