Results 81 to 90 of about 15,075 (197)

London's Silent Cinemas

open access: yes
The scholarly website London’s Silent Cinemas explores the history of cinema exhibition in London from the emergence of permanent film venues in 1906 to the end of the silent film era around 1930. It documents the early lives of over 700 cinemas across
Chris O'Rourke (17164621)   +1 more
core   +1 more source

La Seconda guerra mondiale sugli schermi: un’analisi sul cinema nel Nordeste

open access: yesDiacronie. Studi di Storia Contemporanea, 2014
This paper analyzes the relationship between the cinemas located in the city of Aracaju (located in Brazil’s Northeast) and the movies shown at the time of World War II. The cinemas’ scheduling varied according to changes in U.S. movie production, and it
Andreza Santos Cruz Maynard si è addottorata in Storia presso l’Universidade Estadual Paulista (UNESP) ed è attualmente post-dottoranda presso la Universidade Federal do Rio de Janeiro (UFRJ). È membro del Grupo de estudo do tempo presente (GET) dell’Universidade Federal de Sergipe.
doaj  

Irish Cinemas Data

open access: yes
This is the initial historical data for cinemas in Ireland between 1896 and ...
Aronoson, Michael, Condon, Denis
core   +1 more source

Portuguese Cinema / Literary Cinema?

open access: yesAniki: Revista Portuguesa da Imagem em Movimento, 2016
This essay aims at questioning the literary trend or trait in Portuguese cinema. The focus of the reflection is on documentary, and on author fiction films, starting with the analysis of works by António Reis, often considered "a filmmaker of poetry". The problematization it entails does not so much indicate a conclusion (whether Portuguese film is or ...
openaire   +1 more source

COTPA Section 4 Compliance in Udupi City Municipal Corporation: An Exploratory Survey From Coastal Karnataka. [PDF]

open access: yesInt J Dent
Singla N   +7 more
europepmc   +1 more source

Iranian cinema in long shot [PDF]

open access: yes
This thesis aims to facilitate a broader understanding of post-revolutionary Iranian filmmaking, by way of an analysis of the New Iranian Cinema and Iranian cinema in exile and diaspora, and the various relationships between these two cinemas. Thus far
Gow, Christopher Malcolm
core  

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