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Journal articles on the topic 'Alain Cavalier'

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

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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.

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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.

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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.

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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.

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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
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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.

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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.

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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.

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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.

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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.

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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.

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11

Seror, R., G. Baron, M. Camus, et al. "OP0286 DEVELOPMENT AND PRELIMINARY VALIDATION OF THE SJÖGREN’S TOOL FOR ASSESSING RESPONSE (STAR): A CONSENSUAL COMPOSITE SCORE FOR ASSESSING TREATMENT EFFECT IN PRIMARY SJÖGREN’S SYNDROME." Annals of the Rheumatic Diseases 81, Suppl 1 (2022): 189.2–190. http://dx.doi.org/10.1136/annrheumdis-2022-eular.2583.

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BackgroundToday, there are still no DMARDs licensed for primary Sjögren Syndrome (pSS) patients. Among the explanations, are the limitations of current outcome measures used as primary endpoints: e.g; high placebo response rate, evaluation of either symptoms or systemic activity, and important features not being assessed. The NECESSITY consortium (https://www.necessity-h2020.eu/), including pSS experts from academia, pharmaceutical industry and patient groups formed to develop a new composite responder index, the Sjögren’s Tool for Assessing Response (STAR) that solve the issues of current out
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12

Evrard, Audrey. "Déplacements dialectiques : paroles de cinéastes." Acta Fabula 15, no. 7 (2014). http://dx.doi.org/10.58282/acta.8835.

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Cet article est un compte-rendu du livre : Dominique Villain, Le Travail du cinéma II. Rencontres avec André S. Labarthe, Alain Cavalier, Claire Denis, Albert Serra, Saint-Denis : Presses Universitaires de Vincennes, coll. « Esthétiques hors cadre », 2013, 198 p., EAN 9782842923938.
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13

"Lettres à et de François Truffaut, chroniqueur d’Arts-spectacles (1re partie)." 1895 96 (2022): 208–43. https://doi.org/10.4000/12y85.

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Accompagnant les « chroniques cinéma » qu’il publie depuis 1954 dans l’hebdomadaire Arts-spectacles dont elle est le hors-champ, cette correspondance que reçoit le critique François Truffaut de ses lecteurs et les réponses qu’il leur fait, éclairent le type d’accueil que reçut cette « critique à l’état furieux » dont il se réclame, de la part de la profession comme de lecteurs ordinaires. Certains se révéleront plus tard des auteurs connus (comme Alain Cavalier), d’autres de futurs collaborateurs du cinéaste Truffaut (comme Henri Decae). Cette correspondance révèle aussi le style qu’adopte Tru
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14

Monterrubio, Lourdes. "Los "filmeurs" Joseph Morder y Alain Cavalier. Gesto fílmico de despojamiento y epistemología de la no manipulación." Arte, Individuo y Sociedad 31, no. 1 (2018). http://dx.doi.org/10.5209/aris.58613.

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15

Sharpe, Mani. "Star Faces and Star Bodies in an Age of Atrocity: Alain Cavalier’s L’Insoumis and Mark Robson’s Les Centurions." French Studies, November 13, 2019. http://dx.doi.org/10.1093/fs/knz284.

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Abstract Often physically flawless to the point of perfection, cinematic stars are frequently metaphorized as gods, or mirrors, of our own collective desires. But why would the iconography of stardom be mobilized to narrate a socio-political phenomenon defined by absolute violence — for example, the war that raged between the French army and Algerian nationalists from 1954 to 1962? Through detailed analysis of Alain Cavalier’s 1964 polar, L’Insoumis, and Mark Robson’s combat film, Les Centurions (1966), this article will trace connections between the history of decolonization and political eng
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16

La Vaissière, Étienne de. "Les Alains. Cavaliers des steppes, seigneurs du Caucase. Paris, Errance, 1997, 176 p." Abstracta Iranica, Volume 22 (May 15, 2001). http://dx.doi.org/10.4000/abstractairanica.36134.

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