Готові списки джерел за темами / Dardennes Brothers

Добірка наукової літератури з теми "Dardennes Brothers"

Автор: Grafiati
Опубліковано: 22 червня 2024

Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями

Оберіть тип джерела:

Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Dardennes Brothers".

Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.

Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.

Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг

Статті в журналах з теми "Dardennes Brothers":

1

Wheatley, Catherine. "The Third City: The Post Secular Space of the Dardenne Brothers' Seraing." Film-Philosophy 23, no. 3 (October 2019): 264–81. http://dx.doi.org/10.3366/film.2019.0116.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
Set principally in or around Seraing, an industrial region in decline just outside of Liège, in Belgium, the films of Jean-Luc and Pierre Dardenne marry geographical and historical-social realism with a series of ethical inquiries into such topics as immigration, unemployment, black market trading and petty crime. To date, critical commentary on the films has tended mainly to read the work of the Dardennes along two lines. The dominant approach uses the work of Emmanuel Levinas as a philosophical touchpoint in order to illuminate the ethical dimension of the Dardenne brothers' films. The second considers the political dimensions of their films. However a third, related body of writing has emerged in later years, one which understands in terms of their relation to what Jürgen Habermas (2006) , amongst others, has dubbed the postsecular age. This article locates the Dardennes' films at the intersection between the ethical, the political, and the postsecular, looking to the theologically-inflected philosophy of Gillian Rose to make the case that Seraing serves as the model of what Rose refers to as “the third city” – a postsecular site which challenges easy divisions between politics and ethics. As such Seraing is not, I shall argue, a mere staging post for the moral, political and spiritual problems posed by the films, but its cradle. Paying particular attention to the Dardennes' film Two Days, One Night (Deux Jours, Une Nuit, 2014) I demonstrate what an engagement that turns on existence with and within the city – an engagement that is both political and ethical – might look like.
2

Yang, Hyunjin. "Moral Imagination through Dilemma Narrative of Forgiveness: Centering on Dardenne Brothers’ “Le fils”." Korean Association for Literacy 14, no. 1 (February 28, 2023): 473–89. http://dx.doi.org/10.37736/kjlr.2023.02.14.1.473.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
Normally, in many situations, life demands pardon and being forgiven. But, in some situation forgiveness is impossible and is considered as being contrary to justice. Forgiveness is moral dilemma. Many questions why immoral and brutal victimizer should be forgiven, how to forgive and when to forgive etc. follow forgiveness. Arguments in favor of and against forgiveness conflict sharply. There is no one exact meaning of forgiveness. Whenever forgiveness is needed there should be different thinking and action accordingly. The major stem of the way Dardenne Brothers understand problems of forgiveness is the belief in the universal human rationality. So, dutiful feature of forgiveness and impossibility of forgiveness clash more vehemently. Victims are urged by universal rationality to forgive and victimizers’ unlucky environments work as excuses for their wrongdoings and the excuses hider them from seeking forgiveness to lessen the burden of misdeed. Therefore, in Dardenne Brothers’ films, forgiveness is not related with the practical usefulness of mending victims and securing victims’ welfare and the background of forgiveness is not made through immature resonance with and compassion for victimizers. For victims to proceed to forgive, moral anger is needed which enables victims look straightly the injustice and unfairness of affliction and confront objective interpretation of their injury. Moral anger does not aim self-eliminating forgiveness which feeble and forceless victims inevitably are forced to choose but aims forgiveness of humanity companionship and recovery. Dardenne Brothers’ films have challenging dilemma narrative of forgiveness which has well-plotted plausibility, correct unilateral and naïve understanding of forgiveness and renew our understanding of human values and social justice. These features make Dardenne Brothers’ films valuable.
3

Cho, Chang-Yeol. "Film Acting Method of Dardenne Brothers." Journal of the Korea Entertainment Industry Association 16, no. 3 (April 30, 2022): 77–90. http://dx.doi.org/10.21184/jkeia.2022.4.16.3.77.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
4

Jungbum Shin. "A Study of the Dardenne Brothers’ Cinema Space." journal of the moving image technology associon of korea 1, no. 21 (December 2014): 153–67. http://dx.doi.org/10.34269/mitak.2014.1.21.008.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
5

Cooper, Sarah. "Mortal Ethics: Reading Levinas with the Dardenne Brothers." Film-Philosophy 11, no. 2 (June 2007): 66–87. http://dx.doi.org/10.3366/film.2007.0011.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
6

Ahn, Soong-Beum. "Meaning of 'Labor' and Aesthetic in Dardenne Brothers' Films." Journal of the Korea Contents Association 12, no. 9 (September 28, 2012): 93–105. http://dx.doi.org/10.5392/jkca.2012.12.09.093.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
7

Dillet, Benoit, and Tara Puri. "Left-over Spaces: The Cinema of the Dardenne Brothers." Film-Philosophy 17, no. 1 (December 2013): 367–82. http://dx.doi.org/10.3366/film.2013.0021.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
8

Rushton, R. "Empathic projection in the films of the Dardenne brothers." Screen 55, no. 3 (September 1, 2014): 303–16. http://dx.doi.org/10.1093/screen/hju027.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
9

Oh, Bobae. "The Language-Image of the Dardenne Brothers Representing Solidarity: Focusing on Their Film, Deux jours, une nuit." Hankuk University of Foreign Studies Literature Studies 90 (May 31, 2023): 85–104. http://dx.doi.org/10.22344/fls.2023.90.85.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
The film by Jean-Pierre et Luc Dardenne, Deux jours, une nuit (2014), shows the dilemma experienced by workers and their solidarity within an inhuman game based on the logic of capitalism. This film is characterized by the active use of language-image as well as words, language-text, which concretely describe the marginalization of the weak in contemporary society, the isolation of workers, and the hostility to each other reinforced by the capitalist system. The frames partitioned by the lines, colors or materials aroud the characters describe also the solidaristic landscapes, quietly deployed, despite everything. The purpose of this research is to find the language-images of the Dardenne brothers and to understand their social message, using the analysis of the images of the background and the movements of the characters which complete the plot of the film.
10

Park, Eun-Jee. "The politics of friendship and paternity: The Dardenne brothers’ Rosetta." Studies in French Cinema 12, no. 2 (May 8, 2012): 137–49. http://dx.doi.org/10.1386/sfc.12.2.137_1.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Більше джерел
Також вас можуть зацікавити розширені добірки на тему "Dardennes Brothers" для конкретних типів джерел:
Статті в журналах

Дисертації з теми "Dardennes Brothers":

1

Couturier, Louise. "Motifs esthétiques et imaginaires ancestraux : le cinéma des frères Dardenne et l'imaginaire social de Cornelius Castoriadis." Electronic Thesis or Diss., Paris 10, 2022. http://www.theses.fr/2022PA100013.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
La filmographie des frères Dardenne s’enracine dans une société en mutation : à la crise économique, la fin du modèle industriel, l’avènement de l’ère post-industrielle, répond une perte de repères. Comme en contrepoint à cette perte de significations sociétales, nous repérons dans ces films des motifs esthétiques chargés de valeurs imaginaires ancestrales. L’étude de ces motifs les raccorde à des significations sociales qui les précèdent. Ils constituent ainsi des passerelles vers leurs occurrences antérieures : contes, mythes des origines, rites, traditions archaïques, récits de fondation. Ils peuvent alors être envisagés comme une réserve d’imagination constituante opposée au mal de représentations imaginaires qui affecte la société considérée. Il apparaît alors à l’analyse que l’œuvre des frères Dardenne comporte de manière formelle, dans sa matière filmique, les préoccupations socio-philosophiques qui animent Cornélius Castoriadis, à savoir : l’institution imaginaire des sociétés. La pensée du philosophe grec du XXème siècle surgit comme une ligne de force qui structure le champ de la représentation. La mise en images se trouve stratifiée d’un fond fictionnel qui renvoie à autant d’imaginaires fondateurs, structurels, et fédérateurs pour constituer les individus en société. Les films des frères Dardenne réactivent des imaginaires ancestraux qui participent de la mémoire collective. En convoquant cette mémoire, ils tendent vers la consolidation d’un sentiment d’appartenance à une même communauté humaine. Ainsi les motifs esthétiques dont ils se saisissent, par l’action imaginaire qu’ils engagent, viennent étayer le point d’aboutissement de la narration de l’ensemble de cette filmographie : la socialisation de leurs protagonistes qui passe par la reconnaissance de l’humanité de l’Autre
The Dardenne Brothers’ cinematography takes place in a very changing society. The economic crisis, the fading of industrial template, the beginning of the postindustrial area drive to a lake of landmarks. The Dardenne’s fiction films react against this loss of social significations. We can find in aesthetic patterns filled with ancient imaginary values. Those patterns are bound to a network of social and ancestral meanings. Those meaning values exceed their functional dimension. They carry meanings and uses coming from yore. They act like bridges toward their previous occurrences, which are myths, tales, holy scriptures, etc. We assume that those patterns are a way to resist disillusioning. Ancestral imagination comes in order to overcome the vanishing of social imagination. At this point, we can say that the Dardenne’s filmography deals with Cornelius Castoriadis’ socio-philosophy. The Greek philosopher of the twentieth century’s work is about social imagination and how societies exist thanks to a structural imagination. This preoccupation seems to reemerge in the Dardenne’s aesthesis as a guideline. Their images carry fictions bound to foundation stories. Which are able to federate people as a community. This cinematography revives ancestral imaginary. This collective memory strengthens the feeling of membership to the human community. The aesthesis pattern engages the imagination process. It joins the narration. As a matter of fact, those stories lead to the main characters’ consciousness as other people are human too
2

Steele, Jamie Nicholas. "The 'transnational regional' in Francophone Belgian cinema." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15434.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
This thesis explores the films produced in the francophone Belgian region of Wallonia as a case study for the configuration of what will be termed a ‘transnational regional’ cinema. The first section of this dynamic is considered in relation to film and cultural policy, which problematizes the possible formation of a clearly delineated regional or ‘national’ cinema. This presupposes a reconfiguring of the transnational along the lines of the regional and the linguistic communities of Belgium, which, in essence, pertains to how production, distribution and exhibition mechanisms function within the devolved region of Wallonia. This section therefore focuses on film policy as well as a macro- and micro- economic analysis of the industry in order to consider the perceived imbalance between Belgian and French cinema. In the second half, the thesis develops a textual analysis of a series of case study films to consider how cultural film policy and francophone Belgian identity is imagined and then imaged on screen. The interplay between the transnational and the regional is then nuanced by the approaches to the ‘transnational regional’ aesthetic. This aesthetic includes the visualization of the rural and urban Walloon landscape in Eldorado (Bouli Lanners, 2008) and Ultranova (Lanners, 2006) and the ‘marked’ regional landscape in Cages (Olivier Masset-Depasse, 2006). The shift in location across the conterminous border with France due to the logic of film funding engenders the approach to the ‘marked’ regional space in Masset-Depasse’s film. The final chapter tracks this aesthetic through to the works of the Dardenne brothers and in particular Le gamin au vélo (Dardenne brothers, 2011) in order to approach the construction of a peripheral spatial formation through corporeal movements. This therefore necessitates a consideration of how the Dardenne brothers’ film chimes with waves of European filmmaking, thereby revealing a regional space that is conceptualized as de-centred.
3

Chevigny, Pier-Philippe. "Furie, curiosité, solidarité : mise en scène de la tension dans le cinéma des frères Dardenne." Thèse, 2016. http://hdl.handle.net/1866/16140.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
Ce mémoire de recherche-création est accompagné du court métrage «Tala». Pour visionner en ligne : vimeo.com/ondemand/talapierphilippechevigny
Ce mémoire de recherche-création cherche à repérer trois figures de mise en scène dans le cinéma des frères Dardenne (la caméra portée à l'épaule, le cadrage restreint, le plan- séquence) et d’identifier en quoi celles-ci sont génératrices d’une tension transnarrative qui garde le spectateur en haleine, lui procure des affects, l'engage dans la narration, le choque ou le bouleverse : bref, lui fait vivre une expérience intense. Par une analyse de la scène d’ouverture de «Rosetta», nous décrirons comment la caméra mobile portée à l’épaule exprime l’affolement du personnage éponyme tout en proposant un pôle d’identification spectatoriel inédit. «Le Fils» sera ensuite étudié afin de cerner comment les frères Dardenne emploient le cadre comme un cache afin de générer une tension narrative dans une logique de réticence informationnelle. L’usage du plan-séquence, que nous suggérons d’interpréter comme une sorte de réalité virtuelle permettant de faire l’expérience de la solidarité sociale, fera également l’objet d’une analyse à partir de son usage dans «Deux jours une nuit». En guise de conclusion, nous verrons comment nous nous sommes inspirés de ces trois figures de mise en scène dans Tala, le court-métrage de fiction qui accompagne ce mémoire.
This research & creation thesis aims to identify three components of the Dardenne brothers' directing style (over-the-shoulder camera, tight framing and long take) and try to describe how they generate a transnarrative tension that captivates the audience, immerses it in the story, shock it or move it : in other words, these components make the viewer go through an intense experience. We will analyze the opening scene of "Rosetta" to describe how the over- the-shoulder camera visually translates the character's emotions whilst suggesting a new type of spectatorial identification. "Le Fils" will then be analyzed, hoping to demonstrate how the Dardennes' use of tight framing creates mystery and suspense by discarding narrative information. Finally, "Deux jours une nuit" will allow us to examine the brothers' use of the long take, which we choose to read as a type of virtual reality that allows the viewer to experience social solidarity. As a conclusion, we will explain how these three directing components have been recuperated in "Tala", the short fiction film that makes up the creation part of this thesis.

Книги з теми "Dardennes Brothers":

1

Lamberti, Edward. Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.001.0001.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
Emmanuel Levinas’s ethical philosophy has had a significant influence on film theory in recent years. This book proposes a relationship between Levinasian ethics and film style. It argues that films can convey Levinasian ethics not just through their subject matter but also through their use of style. The book brings this relationship between ethics and style into a productive dialogue with theories of performativity, such as J. L. Austin’s speech-act theory, Jacques Derrida’s notion of originary performativity and Judith Butler’s reconfiguration of performativity within the socio-political sphere. It explores Levinas’s influence on film through the study of three directorial bodies of work: those of the Dardenne brothers, Barbet Schroeder and Paul Schrader. The book focuses on a range of films, including the Dardennes’ Je Pense à Vous (1992), La Promesse (1996), Le Fils (2002) and The Kid with a Bike (2011), Schroeder’s Maîtresse (1975), Reversal of Fortune (1990), Terror’s Advocate (2007) and Our Lady of the Assassins (2000) and Schrader’s American Gigolo (1980), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Dominion: Prequel to the Exorcist (2005) and Adam Resurrected (2008). In doing so, it demonstrates how films can perform a Levinasian ethics through different styles.
2

Cinema Of The Dardenne Brothers Responsible Realism. Wallflower Press, 2012.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
3

Mosley, Philip. Cinema of the Dardenne Brothers: Responsible Realism. Columbia University Press, 2013.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
4

The Cinema Of The Dardenne Brothers Responsible Realism. Wallflower Press, 2012.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
5

Mayward, Joel. Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Taylor & Francis Group, 2022.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
6

Mayward, Joel. Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Taylor & Francis Group, 2022.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
7

Mayward, Joel. Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Routledge, Chapman & Hall, Incorporated, 2022.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
8

Mayward, Joel. Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Taylor & Francis Group, 2022.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
9

Mayward, Joel. Dardenne Brothers Cinematic Parables: Integrating Theology, Philosophy, and Film. Routledge, 2022.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
10

Dillet, Benoît, and Tara Puri. Political Space of Art: The Dardenne Brothers, Ai Weiwei, Burial and Arundhati Roy. Rowman & Littlefield Publishers, Incorporated, 2016.

Знайти повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.

Частини книг з теми "Dardennes Brothers":

1

Mayward, Joel. "Conclusion." In The Dardenne Brothers' Cinematic Parables, 233–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-9.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
2

Mayward, Joel. "Transcendent Realism." In The Dardenne Brothers' Cinematic Parables, 142–90. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-7.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
3

Mayward, Joel. "Traces of Hope." In The Dardenne Brothers' Cinematic Parables, 99–141. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-6.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
4

Mayward, Joel. "Integrating Theology, Philosophy, and Film Studies." In The Dardenne Brothers' Cinematic Parables, 13–56. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-3.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
5

Mayward, Joel. "Film and Parable." In The Dardenne Brothers' Cinematic Parables, 57–96. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-4.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
6

Mayward, Joel. "Guiding Images." In The Dardenne Brothers' Cinematic Parables, 191–232. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-8.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
7

Mayward, Joel. "Introduction." In The Dardenne Brothers' Cinematic Parables, 1–10. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306184-1.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
8

Lamberti, Edward. "Introduction." In Performing Ethics Through Film Style, 29–32. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.003.0002.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
This first part of the book looks at the work of the filmmakers Jean-Pierre and Luc Dardenne, the Dardenne brothers. It builds on the existing Levinasian ethical readings of their work – such as those by Sarah Cooper (2007), Joseph Mai (2010) and Philip Mosley (2013) – to show how a performativity-led approach to their work shines a new light on their films and their relationship to Levinas. It looks at Luc Dardenne’s own comments on the inspiration the Dardennes take from Levinas’s ethics and how this inspiration informs their film style. And it argues that it is fruitful to discuss their work in terms of performativity, as this will bring out how their uses of style enable their films to perform a Levinasian responsibility for the Other and a refusal to settle for easy solutions that would close down ethical engagement. Rather, their films invite the viewer to engage ethically with the characters through the directness and subjectivity of the film style. This introductory section sets up the discussions to follow on four Dardenne films: Je Pense à Vous (1992), La Promesse (1996), Le Fils (2002) and The Kid with a Bike (2011).
9

O'Shaughnessy, Martin. "The Dardennes’ unwitting gifts." In Looking Beyond Neoliberalism, 132–59. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474448628.003.0006.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.
Анотація:
This chapter observes that the ethical core of the Dardenne brothers’ films resides in an essentially static opposition between systemic murderousness and the Levinasian command not to kill the vulnerable Other. Across a series of close readings, it then argues that the films need a supplement, the gift, to open a future for their characters and mobilise more creative human capacities beyond the murder-vulnerability pairing. It draws its own theoretical impetus from figures such as Derrida, Bourdieu and Mauss, especially the latter. In its very impurity and conditionality, it suggests, the Maussian gift shows us how social connections can be built over time and how, rescued from commodity status, objects can be re-embedded in a dense web of human interconnection. The chapter argues that, with their close attention to bodies, gestures and objects, the Dardenne brothers’ films build just such a Maussian gift economy. The chapter is particularly interested in the recurrent gift of skills in the films and in how gestures that belong to no-one are given on in a way which calls for open-ended retransmission. Almost despite themselves, the films discover an essential plasticity in bodies, gestures and objects that makes them available for imagining alternative futures.
10

Mosley, Philip. "Responsible Realists." In The Cinema of the Dardenne Brothers, 1–25. Columbia University Press, 2013. http://dx.doi.org/10.7312/columbia/9780231163293.003.0001.

Повний текст джерела
Стилі APA, Harvard, Vancouver, ISO та ін.

До бібліографії