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Добірка наукової літератури з теми "DORMA (Firm)"

Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 27 липня 2024

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Статті в журналах з теми "DORMA (Firm)"

1

Whitehead, Peter. "Dora, Film Treatment." Framework: The Journal of Cinema and Media 52, no. 2 (2011): 578–83. http://dx.doi.org/10.1353/frm.2011.0111.

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2

Hanifah, Anisa, Mahi M. Hkikmat, and Nurholis Nurholis. "RELIGIOUS DOGMA IN SEBASTIÁN LELIO’S THE WONDER (2022)." Saksama 2, no. 1 (July 14, 2023): 55–63. http://dx.doi.org/10.15575/sksm.v2i1.26975.

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Анотація:
Religious issues that are no longer relevant to modern living are represented in The Wonder (2022) film by Sebastián Lelio. This research aims to unravel the Religious Dogma in the film by focusing on examining the religious situation of Irish society in the nineteenth century. Tracing the religious life of the Irish community in the nineteenth century, where the majority adhered to Roman Catholicism, this research uses the sociology of literature method. In more detail, this research applies Max Weber's theory of the sociology of religion approach. The Wonder film entirely is the research data, but specifically, the writer takes the socio-religious context, screenshots from several scenes, and film dialogues as the secondary data. So it can be said that data collection in this research used documentation and literature study techniques. Analysis of the sociology of religion in The Wonder (2022) film by Sebastián Lelio is still rare to find, so this research is essential so that it can add to criticism resources of the sociology of literature. Aside from that, the results of this research are that the modernization and logicalization of religion can occur along with times of development and the relevance of public interest.
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3

Germann, Peter F. "HESS Opinions: Unsaturated infiltration – the need for a reconsideration of historical misconceptions." Hydrology and Earth System Sciences 25, no. 2 (March 2, 2021): 1097–101. http://dx.doi.org/10.5194/hess-25-1097-2021.

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Abstract. Briggs (1897) deduced capillary flow from deviation of the equilibrium between capillarity and gravity. Richards (1931) raised capillary flow to an unproven soil hydrological dogma. Attempts to correct the dogma led to concepts of non-equilibrium flow, macropore flow, and preferential flow during infiltration. Viscous film flow is proposed as an alternative approach to capillarity-driven flow during unsaturated infiltration.
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4

Wheatley, Grayson H. "Breaking dogma: Fire, brimstone, and aortic arch surgery." Journal of Thoracic and Cardiovascular Surgery 149, no. 5 (May 2015): 1284–85. http://dx.doi.org/10.1016/j.jtcvs.2014.12.048.

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5

Morhssey, Kim. "Dora: A Case of Hysteria." Canadian Theatre Review 65 (December 1990): 31–45. http://dx.doi.org/10.3138/ctr.65.007.

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Caution: © Kim Morrissey 1991. This play is protected under the copyright laws of Canada and all other countries of the Copyright Union and all performances are subject to royalty. Change to the script is expressly forbidden without written consent of the author. Rights to produce, film or record, in whole or in part, in any language, by any group, amateur or professional, are retained by the author. Interested persons are requested to apply for permission and terms to: Kim Morrissey, c/o Playwrights Union of Canada, 54 Wolseley St. 2nd Floor, Toronto, Ontario, Canada, M5T 1A5.
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6

Moritz, Joshua M. "Doubt, Deception, and Dogma: Science and Religion in Film." Theology and Science 7, no. 3 (August 2009): 207–12. http://dx.doi.org/10.1080/14746700903035066.

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7

Abdul Ghani, Dahlan, Nurul Mirza Syazwina Binti Rohizat, and Luqman Bin Mohd Razali. "Exploring Colors Inside the Dogma of 3D Malaysian Animated Film." Journal of Engineering and Applied Sciences 14, no. 21 (October 10, 2019): 7809–20. http://dx.doi.org/10.36478/jeasci.2019.7809.7820.

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8

White, Sam. "The Real Little Ice Age." Journal of Interdisciplinary History 44, no. 3 (November 2013): 327–52. http://dx.doi.org/10.1162/jinh_a_00574.

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The Little Ice Age is not a dogma. It is an increasingly firm consensus backed by considerable evidence across a variety of sources. To disprove it, or even to call it into question, would mean finding systematic errors in several types of proxy data. Kelly and Ó Gráda have not cleared any of these hurdles, or even come close. The refutation of their arguments demonstrates just how strong the evidence for the Little Ice Age has become and just how important it is for historians to take it seriously.
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Dolgin, Elie. "Trial puts niacin—and cholesterol dogma—in the line of fire." Nature Medicine 17, no. 7 (July 2011): 756. http://dx.doi.org/10.1038/nm0711-756.

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10

KENNEDY, TIM. "Wedding in Galilee (Urs al-jalil)." Film Quarterly 59, no. 4 (2006): 40–46. http://dx.doi.org/10.1525/fq.2006.59.4.40.

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ABSTRACT Michel Khleifi's Wedding in Galilee continues to astound, nearly 20 years after release, with its clear-sighted analysis of the forces constraining the development of Palestinian society. Transcending dogma, the film calls for internal change and for space in which the people may advance their rights for self-determination and the creation of a Palestinian state.
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Дисертації з теми "DORMA (Firm)"

1

Scharf, Monika. "Lars von Triers "Dogma 95" und die Folgen." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675826.

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2

Frilund, Jesper, and Marcus Fernstad. "Verkligt Alltförverkligt : -En studie av ”The sickest film ever made”." Thesis, Linköping University, Culture, Society, Media Production, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-54796.

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August Underground is one of the sickest series of movies that ever been made. We try to understand what makes them so chocking to its audience. Critics says that the August Underground movies imitates Snuff, and we ask the question; How do people know what Snuff looks like.

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3

Ibertsberger, Sabina. "Das Dogmakonzept und seine Folgen : zur Herausbildung einer ästhetischen Kategorie." Hamburg Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-2990-8.htm.

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4

Alberts, Johan. "Adapting a Dogma 95 film set design for the stage production of Festen in South Africa." 2013. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001315.

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M. Tech. Entertainment Technology
Adapting popular motion pictures to theatre stage productions has been very popular in recent years. Some of the best examples are the motion picture productions The Lord of the Rings, Billy Elliot and The Colour Purple that were adapted to stage musical productions. This was the case with the original Danish film Festen or The Celebration that was adapted and staged as a theatre play with English text in London in 2004. Pertaining to Festen, the film was originally produced according to the Dogma 95 Principles - a set of principles that were specifically aimed at the film industry and totally differed from any known and applied film practices of the time. The main problem that scenic designers of later stage productions had to deal with when the film was adapted to a stage production was that these principles had a very specific influence on the stage designs for this specific production. For the staging of the play Festen by the Drama Department of Tshwane University in Pretoria the director and the designer not only decided to oppose the Dogma 95 Principles totally, they also decided to design a set in a Film Noir style. They further decided to stage the play with a Caucasian cast using the English text and a black cast using a Zulu text. This resulted in having a major influence on the final outcome of the production. The research question that has to be answered in this research project is "whether it is possible to adapt the design of a very specific type of film production that was originally governed by a set of specific principles for a stage production of the same play".
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Книги з теми "DORMA (Firm)"

1

Dogma: 11 projects. London: AA Publications, 2013.

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2

Etō, Shigehiro. Eiga, terebi dorama, gensaku bungei dēta bukku. Tōkyō: Bensei Shuppan, 2005.

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3

Guenoun, Elias. Pavillon Seroussi: Biothing, DORA (Design Office for Research and Architecture), EZCT Architecture & Design Research, Gramazio & Kohler, IJP - George L. Legendre, Xefirotarch. Orléans: Éditions HYX, 2007.

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4

Schulte-Eversum, Kristina M. Zwischen Realität und Fiktion: Dogma 95 als postmoderner Wirklichkeits-Remix? Konstanz: UVK Verlagsgesellschaft, 2007.

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5

Volkhard, Knigge, Stiftung Gedenkstätten Buchenwald und Mittelbau-Dora., Judisches Museum Berlin (1999- ), and Panstwowe Muzeum Oswiecim-Brzezinka, eds. Techniker der "Endlosung": Topf & Sohne, die Ofenbauer von Auschwitz : Ausstellung der Stiftung Gedenkstatten Buchenwald und Mittelbau-Dora in Verbindung mit dem Judischen Museum Berlin und dem Staatlichen Museum Auschwitz-Birkenau : Begleitband. [Weimar]: Stiftung Gedenkstatten Buchenwald und Mittelbau-Dora, 2005.

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6

Dorma Hauptverwaltung Ennepetal. Schnell und Steiner GmbH, Verlag, 2005.

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7

Dancer in the Dark - Ein Dogma-Musical?: Musik im Dogma-Film. GRIN Verlag GmbH, 2008.

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8

Lorenz, Matthias N. DOGMA 95 im Kontext. Kulturwissenschaftliche Beiträge zur Authentisierungsbestrebung im dänischen Film der 90er Jahre. Deutscher Universitäts-Verlag, 2003.

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9

DOGMA 95 Im Kontext: Kulturwissenschaftliche Beiträge Zur Authentisierungsbestrebung Im dänischen Film der 90er Jahre. Deutscher Universitäts Verlag, 2013.

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10

Boswell, Jonathan. Business Policies in the Making: Three Steel Companies Compared. Taylor & Francis Group, 2014.

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Частини книг з теми "DORMA (Firm)"

1

Stevenson, Jack. "Making the Waves. A closer look at the institutions that gave birth to Denmark’s current film resurgence." In DOGMA 95 im Kontext, 7–15. Wiesbaden: Deutscher Universitätsverlag, 2003. http://dx.doi.org/10.1007/978-3-663-07874-6_2.

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2

Calorio, Giacomo. "“What is contemporary Japanese Cinema?”. Questioning the answers, answering with questions." In Studi e saggi, 11–27. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-260-7.01.

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Анотація:
The English title of a recent book by renowned film scholar Yomota Inuhiko reads: “What is Japanese Cinema?”. In the preface to the English edition Yomota states that the direction we might take, should we try to provide an answer to the question, changes according to which word, “Japanese” or “Cinema” we choose to emphasize. When his survey reaches the recent past, the Japanese scholar describes the 2000s as “an era of chaos”. Starting from these questions and affirmations, and combining them with others made by scholars such as David Bordwell, Mitsuyo Wada-Marciano, Andrew Dorman and Mori Naoyuki, the following article attempts to explore a more specific doubt: “What is contemporary Japanese cinema”? In so doing, however, other questions arise, as we need to define when contemporaneity starts and what makes it different both from previous eras, and from the contemporaneity of other national cinemas. The further we probe, the more complex our definition becomes.
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3

"Dora Film:." In Streetwalking on a Ruined Map, 79–104. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1nxcvfp.9.

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4

Carroll, Noël. "The Dogma Dance Film." In Philosophy and the Moving Image, 290–302. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190683306.003.0018.

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5

"Dora Film of America:." In Streetwalking on a Ruined Map, 122–36. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1nxcvfp.11.

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6

"Chapter 3. Ritual without Dogma." In Theater in a Crowded Fire, 68–102. University of California Press, 2019. http://dx.doi.org/10.1525/9780520945531-007.

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7

Topp, Dominic. "A Star is Drawn: Media Hybridity and Ordinary Cinephilia in La Passion De Dora." In Stars, Fan Magazines and Audiences, edited by Tamar Jeffers McDonald, Lies Lanckman, and Sarah Polley, 139–57. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399505901.003.0008.

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Анотація:
In April 1948, readers of popular French movie magazine Ciné-Miroir were introduced to a new discovery, Dora Grey, a 19-year-old fashion-house model just cast in a film to be shot in Paris and Cannes. Unlike other actresses in Ciné-Miroir, however, Dora Grey never actually existed: she was the fictional protagonist of a comic strip ‘The Passion of Dora, Audacious Starlet’, which ran for fifteen issues. This chapter analyses the words and images of ‘The Passion of Dora’ from several angles: as a genre-bending narrative combining elements of backstage drama, workplace romance, adventure story and gangster film, while incorporating some of the visual conventions of the cinema; as a pedagogical tool taking readers behind the scenes to teach them about filmmaking; and as a self-reflexive explication of the apparatus of promotion and publicity by which film stars are manufactured and marketed – in which Ciné-Miroir itself is seen to play an active role. In line with recent scholarship on post-war French movie magazines, ‘The Passion of Dora’ is posited as an example of mass-market publications’ cultivation of a “popular cinephilia” among film fans, before the advent of the “erudite cinephilia” associated with Cahiers du cinéma.
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"5. Dora Film: An Urban Production House." In Streetwalking on a Ruined Map, 79–104. Princeton University Press, 1993. http://dx.doi.org/10.1515/9781400843985-007.

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Corrigan, Timothy. "Describing . . . Correspondence: Central Station (Walter Salles, 1998)." In Describing Cinema, 123–29. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197625354.003.0014.

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Abstract This is an analysis of a climatic sequence in the film when Dora and Josué arrive at a religious pilgrimage. Out of a need for money and angry with each other, they discover a new bond and way to “correspond” that brings them together.
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Ekelund, Robert B., Robert F. Hébert, Robert D. Tollison, Gary M. Anderson, and Audrey B. Davidson. "Attempts to Maintain Market Dominance." In Sacred Trust: The Medieval Church as an Economic Firm, 60–82. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195103373.003.0004.

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Abstract As a monopolist, the Church had to protect its “market” against entry by competitive firms. The product—assurances of eternal salvation—was sur rounded by doctrinal characteristics and conditions that had to be met in order to attain the final good. The power to interpret the Bible and to estab lish dogma, a set of principles that defined the product, was therefore of necessity accompanied by forms of entry control to protect the Church’s monopoly position. Those who challenged the medieval Church’s authority in this regard were considered to be transgressors, and the medieval Church wielded two major threats of punishment. Both involved exclusion, or expulsion, from the ranks of the “saved.” The first, excommunication, was fearsome and broadbased. The second, sanctions against heresy and witchcraft, was narrower in scope and more violent in practice.
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