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Статті в журналах з теми "Clip / vidéoclip"
Hakeem, Hasheem. "College Boy (2013) de Xavier Dolan: pérenniser “le backward feeling”." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 337–50. http://dx.doi.org/10.3828/cfc.2020.20.
Повний текст джерелаДисертації з теми "Clip / vidéoclip"
Cauche, Robin. "Des lanternes magiques aux lyric videos : chansons lumineuses écrites (XIXè - XXIè)." Electronic Thesis or Diss., Lyon 2, 2024. http://www.theses.fr/2024LYO20007.
Повний текст джерелаThe main goal of this thesis is to examine a cultural series that we designate as “chansons lumineuses écrites” (“written luminous songs”), hence producing a diachronic study of the cultural practice of writing the lyrics of a song on screen, from the 19th to the 21st century. In doing so, our second goal – of a theoretical and methodological nature – is to put the concept of “cultural series,” created by André Gaudreault and refined with the help of Philippe Marion , to the test of a case study, while working with a set of relevant examples.Two sets of examples give this cultural series its chronological boundaries: the magic lantern slides produced and marketed by the French firm Lapierre, in the second half of the 19th century, and lyric videos, official textual music videos which appeared on YouTube around 2010.In the first section of this thesis, we will focus on the Lapierre “vues sur verre en bande” (“glass views in strips”), hand-painted glass slides intended for domestic projection which illustrate popular subjects, including songs. We will document the technical functioning of magic lanterns in general and the series of slides marketed by the Lapierre firm in particular, to propose a relevant method of aesthetic analysis of these slides. In turn, we will put this method to the test as we examine the corpus of the Lapierre illustrated songs.In the second section, we will show that the practice of writing song lyrics on screen did not disappear in the 20th century, and that a cultural series exists, from the 19th to the 21st century. We will then focus on three types of medium: magic lantern, film, and video. A fourth chapter will discuss the particular practice of the bouncing ball and, through this example, we will prove the permanence of our cultural series, over the long term, and beyond changes of medium.The third and final part of this work will examine the emergence of lyric videos, official music videos which started appearing around 2010 on YouTube, illustrating mostly pop songs. Two theoretical chapters will first discuss how lyric videos force us to reconsider the theory, history and aesthetics of music videos in the era of YouTube and digital platforms. Three chapters will then attempt to describe and understand the vast corpus of lyric videos, using comparative, generic and genetic approaches. André Gaudreault and Philippe Marion, « The Unfinished Business of History: Defense and Illustration of the Concept “Cultural Series” », in The Oxford Handbook of Silent Cinema, edited by Rob King and Charlie Keil (Oxford: Oxford University Press, 2024), 95‑115
Deville, Nicolas. "Essai sur les figures de dionysos dans le vidéoclip et leur incidence sur l'émergence de quatre images macluhaniennes." Paris 5, 1990. http://www.theses.fr/1990PA05H067.
Повний текст джерелаApplying Gilbert Durand's typology of images to the description of a new medium, the videoclip, the thesis suggests that the (functional) "mode" of the "anthropological structures" of seeing are undergoing a metamorphosis. The grammar shaping the images which determine the myths is being transformed by the audiovisual media into a new planetary typology. The first typology is the figurative realistic representation of the world we can witness in the Lascaux engravings, which describe the original activities of man. The second is best represented by ancient Egypt when its imaginary shifted from images to writing, which as man was now finding his identity in the elements of the world through the "luminous modes" of seeing. The third typology is exemplified in the (baroquisation) of the real as propounded by Pr. Maffesoli, where it is the audio-visual media of today which determine the psycho-physiology of seeing : the techniques through which we search the real are creating virtual images which theatricalize what we can't see into a new mythology of time and space which breaks completely from the ancient tales. The thesis describes this "chiaroscuro mode" of the imaginary with the help of four basic macluhanian
Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.
Повний текст джерелаThe present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
Книги з теми "Clip / vidéoclip"
Simon, Frith, Goodwin Andrew 1956-, and Grossberg Lawrence, eds. Sound and vision: The music video reader. London: Routledge, 1993.
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