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Books on the topic 'A Raymond (Firm)'

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Published: 4 June 2021
Last updated: 6 February 2022

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1

Industrialiser mode d'emploi: Le modèle d'entreprise "A Raymond". Paris: L'Harmattan, 2012.

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2

Raymond Chandler and film. 2nd ed. Tallahassee: Florida State University Press, 1991.

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3

Raymond Chandler in Hollywood. Los Angeles: Silman-James Press, 1996.

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4

Raymond Burr: A film, radio, and television biography. Jefferson, N.C: McFarland, 1994.

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5

Raymond Chandler, du roman noir au film noir. Paris: M. Houdiard, 2009.

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6

Gelly, Christophe. Raymond Chandler, du roman noir au film noir. Paris: M. Houdiard, 2009.

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7

Phillips, Gene D. Creatures of darkness: Raymond Chandler, detective fiction, and film noir. Lexington: University Press of Kentucky, 2000.

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8

Raymond, Deroo, ed. Soldats du feu: Histoire illustrée des sapeurs-pompiers : la collection de photographies du commandant Raymond Deroo. Paris: Taillac, 2011.

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9

James, Murray. Phoenix to the world: The story of Clyde Industries and Sir Raymond Purves, CBE. Sydney: Playright Pub., 1992.

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10

Short cuts: Formen filmischen und literarischen Erzählens bei Robert Altman und Raymond Carver. Alfeld-Leine: Coppi, 2000.

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11

1940-, Vallina Carlos, ed. El cine quema: Raymundo Gleyzer. Buenos Aires: Ediciones de la Flor, 2000.

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12

Short stories for students: Presenting analysis, context, and criticism on commonly studied short stories. Detroit, Mich: Gale, 2010.

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13

Short stories for students: Presenting analysis, context, and criticism on commonly studied short stories. Detroit, Mich: Gale, 2009.

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14

Short stories for students: Presenting analysis, context, and criticism on commonly studied short stories. Detroit, Mich: Gale, 2010.

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15

Constantakis, Sara. Short stories for students: Presenting analysis, context, and criticism on commonly studied short stories. Detroit, Mich: Gale, 2010.

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16

Raymond Bellour: Cinema and the Moving Image. Edinburgh University Press, 2018.

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17

Fox, Alistair, and Hilary Radner. Raymond Bellour: Cinema and the Moving Image. Edinburgh University Press, 2018.

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18

Clark, Al. Raymond Chandler In Hollywood. Proteus Press, 1985.

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19

Phillips, Gene D. Creatures of Darkness: Raymond Chandler, Detective Fiction, and Film Noir: Raymond Chandler, Detective Fiction and Film Noir. Univ Pr of Kentucky, 2000.

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20

Hill, Ona L. Raymond Burr: A Film, Radio and Television Biography (McFarland Classics). McFarland & Company, 1999.

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21

Creatures of Darkness: Raymond Chandler, Detective Fiction, and Film Noir. 2nd ed. University Press of Kentucky, 2003.

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22

Phillips, Gene D. Creatures of Darkness: Raymond Chandler, Detective Fiction, and Film Noir. University Press of Kentucky, 2014.

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23

Radner, Hilary, and Alistair Fox. Film Analysis and the Symbolic. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0007.

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Raymond Bellour explains the difference between Christian Metz’s semiological approach and his own approach to film analysis, and the degrees by which he became disenchanted with psychoanalysis, despite his debt to Lacan’s notion of the imaginary, the real, and the symbolic. With reference to his analysis of Alfred Hitchcock’s North by Northwest, he proceeds to comment on how he evolved such key notions as “symbolic blockage” (“le blocage symbolique”) and “the undiscoverable text” (also referred to as “the unattainable text” or “le texte introuvable”). He then describes the influence of Anti-Oedipus by Gilles Deleuze and Félix Guattari, and his interest in American cinema and filmmakers like Alfred Hitchcock, Michael Curtiz, and Fritz Lang.
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24

Radner, Hilary, and Alistair Fox. Film Analysis: Image and Movement. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0002.

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This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.
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25

Radner, Hilary, and Alistair Fox. Raymond Bellour (1939– ): A Biographical Sketch. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0012.

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This section includes a biographical sketch of Raymond Bellour, which lists his major publications, and an annotated bibliography of his major works. The biographical sketch is designed to give an outline of the intellectual and cultural factors that shaped Bellour’s preoccupations, the range of his interests, and the course of his career. Apart from the articles reprinted in The Analysis of Film and Between-the-Images, the vast majority of Bellour’s books and articles have been published in French only, and hence are unavailable to readers who are unable to read them in that language. The annotated bibliography provides a brief abstract of each work so as to provide the reader with a sense of the evolution and topography of Bellour’s thought on particular issues. Bellour’s articles that have been subsequently reprinted grouped in his books are arranged according to the book in which they appear, and are presented in chronological order. The listings can thus serve as a guide to specific topics and works discussed in the books, even for readers who are not able to read French. The bibliography also includes a list of articles in English not otherwise republished in Bellour’s books, of miscellaneous articles, and of supplementary interviews.
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26

Buhler, James. Theories of the Classical Sound Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0003.

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Chapter 3 examines theories after the sound film had been codified. The characteristic forms of theory became the grammar and typology: the goal was to map the potential formal relations between image and sound. This chapter considers six theoretical models focusing on the treatment of music and the relationship of the soundtrack to narrative: Eisenstein’s concept of vertical montage and the modes of synchronization that he developed from the concept; Aaron Copland’s typology of functions for film music; Hanns Eisler and Theodor W. Adorno’s response to Eisenstein, their critique of Hollywood practice, and their list of “bad habits”; and the formal typologies offered by Raymond Spottiswoode, Siegfried Kracauer, and Roger Manvell and John Huntley, which all seek to map the conceptual space of the image–sound relationship in film.
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27

Tulloch, John, and Belinda Middleweek. Intimacy and Romance in Film Theory. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0004.

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Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plastic sexuality and confluent love, Raymond Williams’s notion of emotional realism, and Trevor Griffiths’s historical understanding of the (raced and classed) wandering vagrant in an interdisciplinary “extension” of Tanya Krzywinska’s analysis of real sex cinema. This textual analysis combines “mutual understanding” of feminist mapping theory with risk sociology’s recognition of history as the growth of dialogue with the ars erotica.
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28

Fox, Alistair. A Select Annotated Bibliography of the Publications of Raymond Bellour. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0013.

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Apart from the articles reprinted in The Analysis of Film and Between-the-Images, the vast majority of Bellour’s books and articles have been published in French only, and hence are unavailable to readers who are unable to read them in their original language. Gaining a grasp of Bellour’s thought is also complicated by the fact that each of his books on cinema comprises a mosaic of individual pieces that have been written at different times, and published in a range of different outlets, often being republished, with revisions, over the span of Bellour’s career. This annotated bibliography is designed to furnish a brief abstract of each publication so as to provide the reader with a sense of the topography of Bellour’s thought on particular issues, along with a sense of how it has evolved....
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29

Cooper, Ian. Frenzy. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325369.001.0001.

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Frenzy (1972) was Alfred Hitchcock's penultimate film, and arguably one of his most misunderstood and neglected. Whereas even Psycho (1960) did eventually become respectable — indeed, it is a good contender for the most admired of the Master's films — Frenzy still remains problematic for many. While Raymond De Foery makes his feelings clear in the title of his book, Alfred Hitchcock's Frenzy: The Last Masterpiece, Hitchcock's controversial biographer Donald Spoto calls the film ‘repulsive’ and ‘a closed and coldly negative vision of human possibility’. Frenzy is perhaps Hitchcock's most nakedly autobiographical film, representing both a comeback and farewell to the city of his birth. But it started out as a very different kind of project. This book discusses the evolution of the film, its production, reception, and place in Hitchcock's oeuvre, as well as its status as a key film of ‘sleazy Seventies’ British cinema.
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30

Tulloch, John, and Belinda Middleweek. The Transformation of Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0003.

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In chapter 2 different voices and theories are in dialogue. First, by exploring and critiquing risk sociology through Beck’s notion of “reflexive modernization,” Strydom’s extension of Beck’s thesis, Giddens’s observation of the contradictions between experts, Beck and Beck-Gernsheim’s “normal chaos of love,” and Giddens’s understanding of the transformation of intimacy within risk modernity, the chapter draws attention to the critical assumptions underlying this “new risk” position and how it can be strengthened and extended within media/cultural studies. Second, the chapter explores film reviewing and current film theory through scholar Linda Williams’s work on “cinema and the sex act,” emphasizing bodily performance and aesthetic form, and via literary scholar Raymond Williams’s understanding of naturalism, emotional realism, and the secularization of intimacy, especially in his notion of “structures of feeling.” The arrival of the underclass stranger in the real sex film Romance is considered in this context.
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31

David, Lusted, and British Film Institute, eds. Raymond Williams: Film TV culture : a publication accompanying a season of films and television at the National Film Theatre, June 1989. London: NFT/BFI Education, 1989.

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32

Radner, Hilary, and Alistair Fox. Hypnosis, Emotions, and Animality. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0011.

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In this section of the interview, Raymond Bellour explains why he thinks hypnosis is superior as a model for explaining the effects of cinema, on the grounds that it involves a somatic displacement that comes from outside the spectator. At the same time, he explains his objections to cognitivist film theory. Finally, Bellour recounts how his interest in animals, which began in the 1970s, derived from his perception of the way in which animal figures were being used in American cinema in films like Howard Hawks’s Bringing up Baby and Monkey Business and Alfred Hitchcock’s The Birds, which in turn led him to consider the issue of animality itself.
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33

Pena, Martin, and Carlos Vallina. El Cine Quema: Raymundo Gleyzer (Biografias Apasionadas). De La Flor, 2005.

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34

Radner, Hilary, and Alistair Fox. Spectators, Dispositifs, and the Cinematic Body. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0010.

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Raymond Bellour explains why he returned to a preoccupation with cinema in general, and the spectator in particular, and how he came to write Le Corps du cinéma, emphasizing his interest in the diverse dispositifs represented by Foucault’s Panopticon on one hand, and by the phenomena of panoramas and phantasmagorias on the other. He describes how his discovery of Daniel Stern’s The Interpersonal World of the Infant marked a critical turning point, leading him to explore an analogy between the infant and a spectator watching a film in the cinema – an analogy that enabled him to break with the psychoanalytic model, reflected in his eventual substitution of the notion of the body for that of the text.
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35

1957-, Tracey Lindalee, Microfilms Inc (Toronto Canada), Canadian Broadcasting Corporation, Rogers Documentary Fund, and Canadian Television Fund, eds. Shake hands with the devil: The journey of Roméo Dallaire : a film by Peter Raymont. Toronto: Microfilms Inc., 2005.

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36

American Roman Noir: Hammett, Cain, and Chandler. University of Georgia Press, 1998.

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37

Tulloch, John, and Belinda Middleweek. Brutal Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0007.

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Chapter 5 begins with risk sociology’s understanding of intimacy as “a dogmatism for two” to explore an interdisciplinary mix of theory, including Tim Palmer’s analysis of the cinema of “brutal intimacy”; Tanya Modleski’s recognition of a current horror genre inflection of new desires for unleashing sexuality, violence, and control; Kelley Conway’s recognition of an authorship of considerable diversity in the context of films made by women about female sexuality in French culture; Raymond Williams’s concept of historical “structures of feeling”; Beck and Beck-Gernsheim’s “normal chaos of love”; and Giddens’s “transformation of intimacy.” Within these contexts, the films Twentynine Palms, Trouble Every Day, and Irréversible are analyzed textually, exploring genre, narrative, visual shot style, diegetic/non-diegetic sound, and spatial mapping (and the disruption of all these categories), with a particular focus on the road film Twentynine Palms.
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38

Associates, Raymond Nicol, ed. Castle Street and Princes Street development 1994: Based on Goad fire insurance drawing 1935 [with] amendments by Raymond Nicol Associates. [S.l.]: [s.n.], 1994.

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39

Akers, Tim. Short Stories for Students: Presenting Analysis, Context and Criticism on Commonly Studied Short Stories (Short Stories for Students). Thomson Gale, 1999.

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40

(Editor), Michael L. Lablanc, and Ira Mark Milne (Editor), eds. Short Stories for Students. Thomson Gale, 2000.

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41

Short Stories for Students: Presenting Analysis, Context & Criticism on Commonly Studied Short Stories. Gale Research Inc, 2016.

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42

(Editor), Ira Mark Milne, and Timothy J. Sisler (Editor), eds. Short Stories For Students: Presenting Analysis, Context, and Criticism on Commonly Studied Short Stories (Short Stories for Students). Gale Cengage, 2005.

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43

Short Stories for Students: Presenting Analysis, Context and Criticim on Commonly Studied Short Stories (Short Stories for Students). Thomson Gale, 2002.

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44

(Foreword), Thomas E. Barden, and Anne Marie Hacht (Editor), eds. Short Stories for Students: Presenting Analysis, context, And Criticism on Commonly Studies Short Stories (Short Stories for Students). Gale Cengage, 2006.

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45

(Foreword), Thomas E. Barden, and Ira Mark Milne (Editor), eds. Short Stories for Students: Presenting Analysis, Context, and Criticism on Commonly Studied Short Stories (Short Stories for Students). Gale Cengage, 2005.

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46

Galens, David. Short Stories for Students. Gale Cengage, 2003.

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47

Milne, Ira Mark. Short Stories for Students: Presenting Analysis, Context, and Criticism on Commonly Studied Short Stories (Volume 8) (Short Stories for Students). Thomson Gale, 1999.

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48

Wilson, Kathleen. Short Stories for Students: Presenting Analysis, Context & Criticism on Commonly Studied Short Stories (Vol. 2). Thomson Gale, 1997.

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49

Short Stories for Students. Gale Cengage, 2003.

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50

Wilson, Kathleen. Short Stories for Students: Presenting Analysis, Context and Criticism on Commonly Studied Short Stories (Short Stories for Students). Thomson Gale, 1998.

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