Results 31 to 40 of about 1,557 (165)

Foule et public

Conserveries Mémorielles, 2012
The film reception idea of French theory, in the silent period, is basically linked to the notion of crowd. This notion appeared during the19th century. It had many interpretations, which we can find again in cinema writtings. For those who fight against
Emmanuel Plasseraud
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Le cinéma belge comme laboratoire du cinéma européen : quels enjeux d’une politique européenne en matière de cinéma ?

Mise au Point, 2020
Can Belgian cinema be a “European laboratory”? By studying a cinematography with a two-headed face (because it is composed of productions in two languages and distinct cultures, Flemish and French-speaking), we can try to identify the economic, artistic ...
Frédéric Sojcher
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The use of classical music in Jean-Jacques Beineix's Diva and Roselyne et les lions

Musicologica Brunensia
By releasing his first feature film Diva, French film director Jean-Jacques Beineix introduced a new direction into French cinema – a movement which was later to be called cinéma du look.
Matúš Mravec
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Laurent Cantet, by Martin O'Shaughnessy

Alphaville: Journal of Film and Screen Media, 2016
Martin O’Shaughnessy’s Laurent Cantet is the latest edition of—and the author’s second contribution to—the Manchester University Press French Film Directors series after the publication in 2000 of his study on the films of Jean Renoir.
Ally Lee
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Les logiques du marché à l’œuvre dans les dispositifs scolaires d’éducation au cinéma

Cahiers de la Recherche sur l'Education et les Savoirs, 2020
This article revisits four independent studies on French cinema education programs Collège au cinéma (Middle school at the movies) and Lycéens au cinéma (High school at the movies).
Cédric Barbier, Tomas Legon, Lisa Marx, Anna Mesclon   +3 more
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A Different Kind of Lexicon for a Different Kind of Cinema

[sic], 2016
Not just another dictionary in the well-known Rowman & Littlefield “Historical Dictionaries” series – South American Cinema is a special kind of book for anyone delving into the broad field of national and regional cinema encompassed by the term South ...
Mario Županović
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The Grace of Destruction: A Vital Ethology of Extreme Cinemas, by Elena del Río, and Bodies in Pain: Emotion and the Cinema of Darren Aronofsky, by Tarja Laine

Alphaville: Journal of Film and Screen Media, 2017
While graphic extremism in the cinema is certainly not new and can be traced back to the oeuvres of twentieth-century auteurs—such as Luis Buñuel, Pier Paolo Pasolini and Rainer Warner Fassbinder—a more recent urgency to characterise and define the ...
Jenny Gunn
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Zapomniany rozdział kina. O polskiej recepcji kilku dzieł kina francuskiego

Studia Filmoznawcze
The article analyzes selected critical texts on French ‘Tradition of Quality’ films published in the 1940s and 1950s in the Polish press. The author of the article examines what has been written in Poland about these now somewhat forgotten French films ...
Kalina Kamińska
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Interstices and impurities in the cinema: Art and science

Alphaville: Journal of Film and Screen Media, 2013
Through a close analysis of Alain Resnais’s Mon Oncle d’Amerique (1980), Angela Dalle Vacche argues that the French filmmaker interrogates the “humanity” of humans through art, science, and religion in the light of Andre Bazin’s film theory.
Angela Dalle Vacche
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Struggles on Two Indivisible Fronts Godard, Dziga Vertov Group and the Ethical Predicaments of Post-1968 French Maoism

Cinéma & Cie, 2018
With reference to the historical trajectory of modern French cinema, the Mao- leaning period (1967-1972) of Jean-Luc Godard under the collective spell of the Groupe Dziga Vertov (Dziga Vertov group, or DVG in short) was often a controversial and
Man-tat Terence Leung
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