Relevant bibliographies by topics / Alain Cavalier

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Alain Cavalier'

Author: Grafiati
Published: 22 June 2024
Last updated: 31 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Alain Cavalier.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Alain Cavalier"

1

Sáez-González, Jesús Miguel. "Thérése (Alain Cavalier)." Vivat Academia, no. 114 (March 15, 2011): 322. http://dx.doi.org/10.15178/va.2011.114.322-323.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Guyot-Bender, Martine. "Pater by Alain Cavalier." French Review 87, no. 2 (2013): 207–8. http://dx.doi.org/10.1353/tfr.2013.0299.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Perron, Bernard. "Alain Cavalier: visage de style." Canadian Journal of Film Studies 5, no. 1 (1996): 23–34. http://dx.doi.org/10.3138/cjfs.5.1.23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Monterrubio, Ibáñez Lourdes. "Los filmeurs Joseph Morder y Alain Cavalier. Gesto fílmico de despojamiento y epistemología de la no manipulación." Arte, Individuo y Soceidad 31, no. 1 (2019): 55–73. https://doi.org/10.5209/ARIS.58613.

Full text
Abstract:
This article aims to analyse the cinematic practice of the filmeur through two of its top representatives in the French space: Joseph Morder and Alan Cavalier. Its purpose is, therefore, to determine the epistemological approaches and the aesthetic characteristics of this filmic experience developed in solitude, in which the filming becomes a “corporal and aesthetic act” characterised by subjectivity, privacy, immediacy and observation. The analysis of different works belonging to both filmmakers –Lettre de Joseph Morder à Alain Cavalier (2005), Joseph Morder par Alain
APA, Harvard, Vancouver, ISO, and other styles
5

Jeannelle, Jean-Louis. "Alain Cavalier : le filmeur, la caméra et le spectateur." Itinéraires, no. 2009-4 (December 1, 2009): 175–91. http://dx.doi.org/10.4000/itineraires.1282.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Guyot-Bender, Martine. "Alain Cavalier, cinéaste et filmeur éd. par Robin Dereux, Serge Lepéron." French Review 89, no. 2 (2015): 197–98. http://dx.doi.org/10.1353/tfr.2015.0039.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Koch, Jana. "Erinnernd, grabend. Alain Cavaliers Irène." Maske und Kothurn 60, no. 3-4 (2014): 196–203. http://dx.doi.org/10.7767/muk-2014-603-414.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Koch, Jana. "Erinnernd, grabend. Alain Cavaliers Irène." Maske und Kothurn 63, no. 3-4 (2014): 196–203. http://dx.doi.org/10.7767/muk-2014-633-414.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Tweedie, James. "The Afterlife of Art and Objects: Alain Cavalier's "Therese"." SubStance 33, no. 3 (2004): 52. http://dx.doi.org/10.2307/3685545.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Tweedie, J., and D. F. Bell. "The Afterlife of Art and Objects: Alain Cavalier's Therese." SubStance 33, no. 3 (2004): 52–79. http://dx.doi.org/10.1353/sub.2004.0047.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Alain Cavalier"

1

Robles, Amanda. "Le cinéma d'Alain Cavalier : le contact et la preuve." Toulouse 2, 2007. http://www.theses.fr/2007TOU20067.

Full text
Abstract:
Comment définir l'émotion ressentie devant ces plans singuliers où un cinéaste introduit sa main dans le cadre pour toucher ce qu'il filme ? Dans cette recherche, j'ai proposé d'appeler ce geste cinématographique "plan-contact". Les films d'Alain Cavalier présentent une variété considérable de "plans-contact" : ne seraient-ils pas le signe, chez lui, de toute une pensée du cinéma ? Le cinéma d'Alain Cavalier est un cinéma du contact : il met en œuvre le corps de l'auteur qui cherche à aller au plus près, à établir un lien direct avec ce qu'il filme, à créer un échange pouvant aller jusqu'à la
APA, Harvard, Vancouver, ISO, and other styles
2

Rèbre, Isabelle. "Figures du deuil et du photographique. Formes du film-essai chez Naomi Kawase, Alain Cavalier et David Perlov." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080044.

Full text
Abstract:
Cette recherche développe une réflexion autour du photographique dans son lien à la mémoire et au deuil, qu’il soit intime ou d’ordre historique. Elle montre que la photographie est une figure de deuil, autrement dit, elle fait à la fois coupe et lien. A travers un corpus restreint de trois films-essais, elle analyse des figures de deuil et des gestes filmiques singuliers. Dans La Danse des souvenirs (2002), Naomi Kawase est confrontée à une mort intime. L’imbrication de clichés photographiques dans le film produit une suspension qui provoque un renversement dans cette trajectoire dont l’issue
APA, Harvard, Vancouver, ISO, and other styles
3

Müller, Maria Ganem. "Found footage na era digital: especificidades da montagem nos filmes baseados em arquivos amadores e familiares." Doctoral thesis, 2020. http://hdl.handle.net/10451/48403.

Full text
Abstract:
Contém: Anexos: Jacarepaguá (2017). Tabú (2018). À memória de Nilda (2019) apenas consultável na Biblioteca da Faculdade de Belas-Artes<br>La thèse Found Footage à l'ère numérique, le montage avec les films d'archives amateurs et familiaux a pour objectif étudier la pratique du found footage, en particulier la création de films réalisés avec des archives amateur et de famille à l'ère du numérique, en faisant attention aux particularités du montage dans de telles oeuvres audiovisuelles. L'étude approfondit les connaissances sur ce sous-genre du film de montage, le film créé à partir d'archives
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Alain Cavalier"

1

Michel, Estève, ed. Alain Cavalier. Minard, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dereux, Robin. Alain Cavalier, cinéaste et filmeur: Journée d'étude du 27 mars 2012. Harmattan, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Henri, Agel, and OCIC (Organization), eds. Cinéma et spiritualité: Robert Bresson, Andreï Tarkovski, Ermanno Olmi, Krzyzstof Zanussi, Alain Cavalier. OCIC, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Aleksandrovich, Kuznet︠s︡ov Vladimir. Les Alains: Cavaliers des steppes, seigneurs du Caucase. Errance, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Aleksandrovich, Kuznet︠s︡ov Vladimir. Les Alains: Cavaliers des steppes, seigneurs du Caucase : Ier-XVe siècles apr. J-C. Errance, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

1960-, Lebedynsky Iaroslav, ed. Les Alains: Cavaliers des steppes, seigneurs du Caucase : Ier-XVe siècles apr. J-C. Errance, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Alain Cavalier, filmeur. De l'incidence, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Le travail du cinéma: Rencontres avec André S Labarthe, Alain Cavalier, Claire Denis et Albert Serra. Presses universitaires de Vincennes, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Tweedie, James. Moving Pictures, Still Lives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.001.0001.

Full text
Abstract:
Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century, exploring the work of artists and philosophers who complicated the usual association between the past and tradition or the future and modernity. The book retraces the “archaeomodern turn” in media and theory that viewed the past as a repository of abandoned but potentially transformative modern experiments. Three theoretical chapters consider key figures—Walter Benjamin, Gilles Deleuze, and Serge Daney—who grappled with the late twentieth century’s characteristic concerns, including h
APA, Harvard, Vancouver, ISO, and other styles
10

Tweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.

Full text
Abstract:
Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Alain Cavalier"

1

Villain, Dominique. "Alain Cavalier. Filmeur." In Le travail du cinéma II. Presses universitaires de Vincennes, 2013. http://dx.doi.org/10.4000/books.puv.2715.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Sharpe, Mani. "Stardom, Atrocity and the Beauty of Violence." In Late-colonial French Cinema. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474414227.003.0002.

Full text
Abstract:
Drawing from notions of ‘synthesis’ and ‘ideology’ associated with Edgar Morin and Richard Dyer, theories of late-colonial stardom proposed by Guy Austin and Sarah Leahy, alongside Ginette Vincendeau’s understanding of Jean Gabin’s ‘redeemed’ militarised masculinity, this chapter is split into two sections. In part one, it focuses on Alain Cavalier’s 1964 L’Insoumis/The Unvanquished, illustrating the ways in which Cavalier frames the face of Alain Delon, undoubtedly one of the biggest French film stars of the late-colonial period, as a beautiful object; one that neutralises the paramilitary vi
APA, Harvard, Vancouver, ISO, and other styles
3

Chaplin, Felicity. "Courtesan." In La Parisienne in Cinema. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526109538.003.0006.

Full text
Abstract:
La Parisienne is frequently associated with prostitution, whether in the narrow sense of the streetwalker or courtesan or the general sense of the object and subject of consumption. Tracing her development in nineteenth-century art and literature, this chapter examines the way the Parisienne as courtesan is re-presented in cinema in Charles Chaplin’s A Woman of Paris (1923), Alain Cavalier’s La Chamade (1968), and Baz Luhrmann’s Moulin Rouge! (2001). Cinematic courtesans have their prefigurations in both real life courtesans of the Second Empire, as well as in representations in French art, li
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Alain Cavalier' for particular source types:
Journal articles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography