Thematische Bibliographien / French Creative nonfiction

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile

Auswahl der wissenschaftlichen Literatur zum Thema „French Creative nonfiction“

Autor: Grafiati
Veröffentlicht am 28. Juli 2024
Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "French Creative nonfiction"

1

Bell, Melanie. "Rebuilding Britain." Feminist Media Histories 4, no. 4 (2018): 33–56. http://dx.doi.org/10.1525/fmh.2018.4.4.33.

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Women's marginalization in the British feature film industry is well documented: gender discrimination, and sometimes overt segregation, shut most women out of senior creative roles after the introduction of sound. What has received less critical attention is their participation in nonfiction filmmaking, which offered women greater employment opportunities, especially in the decades after World War II as Britain rebuilt its economy. This article provides the first historical mapping of women's involvement in sponsored nonfiction filmmaking in Britain in the period between 1945 and 1970, using
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2

Docalovich, Katarina. "Mati Diop in NYC." Film Quarterly 78, no. 3 (2025): 85–89. https://doi.org/10.1525/fq.2025.78.3.85.

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French-Senegalese filmmaker Mati Diop returned to New York City in 2024 with two new nonfiction projects. Feature-length documentary Dahomey, which follows the restitution of 26 artifacts from France back to Benin, as well as the reactions of the Beninese people, screened at the 62nd New York Film Festival. In addition, Diop’s experimental dance short titled Naked Blue, created in collaboration with Manon Lutanie, premiered at the Museum of Modern Art’s “Modern Mondays” series. While the two films may at first seem different in both form and content, Diop’s new films both center defiant perspe
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Carroll, Richard. "The Trouble with History and Fiction." M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.372.

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Historical fiction, a widely-read genre, continues to engender contradiction and controversy within the fields of literature and historiography. This paper begins with a discussion of the differences and similarities between historical writing and the historical novel, focusing on the way these forms interpret and represent the past. It then examines the dilemma facing historians as they try to come to terms with the modern era and the growing competition from other modes of presenting history. Finally, it considers claims by Australian historians that so-called “fictive history” has been best
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4

Adams, Jillian Elaine. "My Failed Cheddar Cheese: Cookbooks, Tacit Knowledge, and Technology." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.637.

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Introduction Cookbooks are more than recipes. They are valuable historical artifacts containing information about the food, culture and society that produced and used them (Driver, Theophano, Wheaton). This story is based on my first and failed attempt at using an old recipe to make a cheddar cheese. It examines the effect of changed technology on artisanal cooking practices (Supski, Giard) and how recipe writing has had to adapt to changed culinary technology. In the absence of the generational—mother to daughter—handing down of cooking practices, and an inherited understanding of traditional
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Brien, Donna Lee. "“Porky Times”: A Brief Gastrobiography of New York’s The Spotted Pig." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.290.

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Introduction With a deluge of mouthwatering pre-publicity, the opening of The Spotted Pig, the USA’s first self-identified British-styled gastropub, in Manhattan in February 2004 was much anticipated. The late Australian chef, food writer and restauranteur Mietta O’Donnell has noted how “taking over a building or business which has a long established reputation can be a mixed blessing” because of the way that memories “can enrich the experience of being in a place or they can just make people nostalgic”. Bistro Le Zoo, the previous eatery on the site, had been very popular when it opened almos
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Dissertationen zum Thema "French Creative nonfiction"

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Ball, Christin B. "My Life in Pieces, Scattered Abroad: A 22 year old East Tennessean Attempts to Take Everything She Has Learned Growing Up in a Small Town and Make Sense of It in the French Riviera—the Côte d’Azur—Which Instantly Felt Like Home." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/236.

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For my senior thesis, I have compiled essays that cover traveling to Aix en Provence for the month of June 2103 and growing up in East Tennessee. This project should exhibit my skills as a writer in the nonfiction category. I describe personal experiences, portray characters, and attempt to show readers a world that they may not otherwise have been able to experience. I blend narrative essays with travel writing to show overall how these two components create an intercultural experience that work to inform and answer each other.
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Christiansen, Naomi Lund. "Learning to Create: A Collection of Personal Essays." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd485.pdf.

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Bücher zum Thema "French Creative nonfiction"

1

Henri, Bergson. Creative evolution. Dover, 1998.

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2

1928-, Wiesel Elie, Wiesel Elie 1928-, and Wiesel Elie 1928-, eds. The Night Trilogy: Night / Dawn / The Accident. 5th ed. Noonday Press, 1991.

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3

Wiesel, Elie. Nochʹ. Rassvet. Denʹ: Trilogii︠a︡. Olimp PPP, 1993.

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4

Wiesel, Elie. The night trilogy: Night ; Dawn ; Day / Elie Wiesel. Hill and Wang, 2008.

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5

Wiesel, Elie. Night ; Dawn ; Day. Aronson, 1985.

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6

Wiesel, Elie. The night trilogy: Night ; Dawn ; Day / Elie Wiesel. Hill and Wang, 2008.

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7

Wiesel, Elie. Night. 2nd ed. Bantam Books, 1986.

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8

Wiesel, Elie. Night. 3rd ed. Bantam Books, 1986.

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9

Wiesel, Elie. Night. 2nd ed. Bantam Books, 1989.

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10

Wiesel, Elie. Night. 7th ed. Bantam Books, 1986.

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Buchteile zum Thema "French Creative nonfiction"

1

Roustang-Stoller, Eve-Alice. "Creative Feminine Nonfiction in the United States: A Model for French Feminists?" In Women, Feminism, and Femininity in the 21st Century. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230621312_11.

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2

Stuckey-French, Ned. "Creative Nonfiction and the Lyric Essay." In On Essays. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198707868.003.0016.

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This chapter is devoted to writing which falls under a recent, nearly paradoxical coinage: ‘creative nonfiction’, a phrase which raises the fundamental theoretical questions asked by Lukács and Adorno about whether the essay is better seen as art or knowledge. Stuckey-French examines both the rise of this category in creative writing programmes in universities in the United States, and the arguments of the influential theorist and anthologist of the essay John d’Agata, who rejects ‘creative nonfiction’ in favour of the ‘lyric essay’. Stuckey-French then shows how the contemporary essayists Jo
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Bell, Melanie. "Introduction Women’s Work in Film Production." In Movie Workers. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043871.003.0001.

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This introductory chapter provides an overview of the work done by women in film production in the twentieth century. One of the common misunderstandings of women in film production is that after the pioneering days of early cinema — when women directed and headed up their own production companies — they contributed little of substance to film production until the feminist developments of the 1970s. This book challenges that view as too limiting and instead offers a fresh assessment of women and their work in the British film industry in the decades following the introduction of sound. It focu
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Glick, Joshua. "Hard Lessons in Hollywood Civics." In Los Angeles Documentary and the Production of Public History, 1958-1977. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520293700.003.0005.

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As Wolper Productions continued to make documentaries and experiment with fiction, the studio provided a professional entry point for promising talent and off-and-on employment for filmmakers involved with New Hollywood features. This chapter investigates Wolper Productions’s output during a period in which the film and television industries faced a precarious financial situation. The studio helped create a political imaginary for Lyndon B. Johnson’s Great Society. Additionally, Wolper Productions’s forays into programs with Jacques-Yves Cousteau charted a fresh path for nonfiction. Packaging
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