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Books on the topic 'Cinéma – 2000-'

Author: Grafiati

Published: 1 June 2024

Last updated: 31 July 2025

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1

Dumont, Hervé. Histoire du cinéma suisse, 1966-2000. Cinematheque suisse, 2007.

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2

International, Inc Icon Group. The 2000-2005 world outlook for films and video. Icon Group, 2002.

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3

Rolland, Chloé. Chronique d'une mutation: Conversations sur le cinéma, 2000-2010. Fiches du Cinéma Editions, 2010.

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4

1967-, Hope William, ed. Italian cinema: New directions / William Hope, ed. P. Lang, 2005.

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5

B'béri, Boulou Ébanda de. Le verbe au cinéma: Essai sur l'épistémè de l'oralité dans les cinémas d'Afrique noire francophone (1950-2000). Editions AfricAvenir / Exchange & Dialogue, 2013.

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6

Broussouloux, Claude. Cinéma et médecine, le médecin à l'écran: Les représentations du médecin et de la médecine au travers d'un demi-siècle de cinéma français, 1945-2000. Ellipses, 2001.

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7

Canada. Dept. of Foreign Affairs and International Trade. Culture : exchange of notes constituting an agreement between the government of Canada and government of the French Republic amending the agreement concerning cinematographic relations done in Ottawa on May 30 1983, as amended by exchanges of notes done in Ottawa on February 8, 1989, on April 11, 1991, on September 8, 1992 and on October 25, 1997 (with annex), Ottawa, January 21 and March 22, 2000, in force March 22, 2000 =: Culture : échange de notes constituant un accord entre le gouvernement du Canada et le gouvernement de la République Française modifiant l'accord sur les relations cinématographiques fait à Ottawa le 30 mai 1983, tel que modifié par des échanges de notes faits à Ottawa le 8 février 1989, le 11 avril 1991, le 8 septembre 1992 et le 25 octobre 1997 (avec annexe), Ottawa, le 21 janvier et le 22 mars 2000, en vigueur le 22 mars 2000. Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 1998.

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8

Canada, Canada Foreign Affairs. Culture : agreement between the Government of Canada and the Government of the Republic of Senegal on audio-visual co-production, Santorini Island, 27 September 2000, in force 7 October 2003 =: Culture : accord entre le gouvernement du Canada et le gouvernement de la République du Sénégal sur la coproduction audiovisuelle, Ile de Santorini, le 27 septembre 2000, en vigueur le 7 octobre 2003. Minister of Public Works and Government Services Canada = Ministre des travaux publics et services gouvernementaux Canada, 2004.

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9

Jean-Pierre, Bertin-Maghit, ed. Discours audiovisuels et mutations culturelles: Actes du colloque organisé par l'AFECCAV, Bordeaux, 28, 29, 30 septembre 2000. L'Harmattan, 2002.

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10

Pachot, Christine. Le cinéma des années 30 et la culture télévisuelle à l'ère de l'an 2000: De l'efficience culturelle de la télévision : fiction ou réalité? A.N.R.T. Université de Lille III, 1997.

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11

Mostra internazionale del nuovo cinema. (20th : 2006 : Pesaro, Italy), ed. La meglio gioventù: Nuovo cinema italiano 2000-2006. Marsilio, 2006.

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12

Serrault, Michel. Les pieds dans le plat: Journal 2003-2004. Oh! éd., 2004.

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13

Brion, Patrick. Cinéma français: 1895-2005. Adpf = Association pour la diffusion de la pensée française, 2005.

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14

Pasquale, Iaccio, ed. Napoli e cinema: 1896-2000. Edizioni scientifiche italiane, 2000.

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15

Pereira, Beatriz Pacheco. Pre-textos de cinema, 1998/2000. Granito Editores e Livreiros, 2000.

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16

Robyn, Karney, ed. Cinema year by year, 1894-2000. Dorling Kindersley, 2000.

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17

Natola, Marco. Il cinema orientale degli anni 2000. Rossini editore, 2022.

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18

aut, Berriatúa Wiro, ed. Cine español 2004 =: Spanish cinema 2004. Ministerio de Cultura, 2005.

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19

aut, Berriatúa Wiro, ed. Cine español 2005 =: Spanish cinema 2005. Ministerio de Cultura, Instituto de la Cinematografía y de las Artes Audiovisuales, 2005.

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20

Just, Jesper. Film works = Filmarbeiten = Filmwerken: 2001-2007. Witte de With, 2006.

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21

J, Aumont, Collège d'histoire de l'art cinématographique (Paris, France), and Cinémathèque française, eds. Aventure et cinéma: Conférences du Collège d'histoire de l'art cinématographique 2000-2001. Cinémathèque française, 2001.

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22

Alter, Nora M. Projecting history: German nonfiction cinema, 1967-2000. University of Michigan Press, 2002.

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23

Saleh, Zinat. Les cinémas de l'Inde: Les années 2000. Éditions Charles Corlet, 2011.

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24

Lever, Yves. Chronologie du cinéma au Québec, 1894-2004. 400 coups, 2006.

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25

Institut de sociocritique de Montpellier and Institut de recherche études culturelles, eds. Cinéma, littérature, adaptations: [colloque, Montpellier, octobre 2005]. Centre d'études et de recherches sociocritiques, 2009.

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26

Dellavalle, Renato. Il mio cinema, 1989-2001. s.n., 2002.

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27

Esquenazi. Réseaux, cinéma et réception, 2000. Hermes Sciences Publicat., 2000.

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28

Dehée, Yannick. Mythologies politiques du cinéma français, 1960-2000. Presses Universitaires de France (PUF), 2000.

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29

Buache, Freddy. Le cinéma anglo-américain, de 1984 à 2000. Age d'homme, 2000.

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30

Le cinéma français depuis 2000: Un renouvellement incessant. Armand Colin, 2008.

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31

Histoire du cinéma: Des origines aux années 2000 : abrégé pédagogique. Éditions Charles Corlet, 2012.

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32

Schilt, Thibaut. The Fabric of Desire. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036002.003.0001.

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This chapter presents a commentary on François Ozon's entire film career to date. It suggests that despite tremendous diversity in terms of cinematic choices (on generic, formal, and thematic levels), Ozon's oeuvre is decidedly consistent in its desire to blur the traditional frontiers between the masculine and the feminine, gay and straight, reality and fantasy, auteur and commercial cinema. The moving fabrics mentioned above are a leitmotif that visually represents the permeability of those frontiers. The chapter begins by exploring the director's own path to filmmaking before considering th

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33

Swern, Phil, and Mike Childs. Guinness Box Office Hits. Gullane Children's Books, 1995.

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34

Sitney, P. Adams. Visionary Film: The American Avant-Garde, 1943-2000. Oxford University Press, 2002.

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35

Sitney, P. Adams. Visionary Film: The American Avant-Garde, 1943-2000. Oxford University Press, USA, 2002.

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36

La fin de siècle du cinéma américain (1891-2000): Une évaluation psychologique et morale des mentalités contemporaines. 2nd ed. Méduse, 2007.

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37

Fisher, Jaimey. A Ghostly Archeology. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037986.003.0001.

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This chapter analyzes the films of Christian Petzold. Over the past twenty years and across eleven feature-length works, Petzold has established himself as the most critically acclaimed director in Germany. Five of his last eight films have won Best Film from the Association of German Film Critics (2001, 2005, 2007, 2008, and 2012). It is not only the critics, however, who admire Petzold's work: his breakthrough The State I Am In (Die innere Sicherheit; 2000) won the Federal Film Prize in Gold, the equivalent of a best-film prize for its year, an unusual recognition for an art-house film. His

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38

O'Sullivan, Sean. The Nature of Contrivance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036385.003.0001.

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This chapter presents a commentary on Mike Leigh's film career. It attempts to reclaim him from the kindly ghetto in which he has been placed by his well-meaning enthusiasts. Leigh is typically considered an unassuming crafter of little movies, who has written little or nothing that we would consider theory, or even criticism. However, it is shown that Leigh is a filmmaker deeply invested in cinema's formal, conceptual, and narrative dimensions. The recurrent simplifications of what his cinema is, and what his cinema does, result in part from the mode in which he works, or the mode in which he

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39

White, John. The Contemporary Western. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427920.001.0001.

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The September 11th attacks in 2001 and the subsequent ‘War on Terror’ have had a profound effect on American cinema, and the contemporary Western reflects this situation. This book explores the various ways in which recent Westerns – Open Range (2003), The Three Burials of Melquiades Estrada (2005), The Assassination of Jesse James by the Coward Robert Ford (2007), True Grit (2010), Django Unchained (2012), The Lone Ranger (2013), The Revenant (2015), and Jane Got a Gun (2016) – reinforce a conservative myth of America exceptionalism. As a whole, the films are seen to endorse the use of extrem

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40

Foote, John H. Clint Eastwood. Greenwood Publishing Group, Inc., 2008. http://dx.doi.org/10.5040/9798400627590.

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Now a two-time Academy Award winner for best director, twice winner of the Directors Guild of America Award for best director, and recipient of countless other critics prizes and nominations in multiple capacities, Clint Eastwood stands alongside Martin Scorsese and Steven Spielberg as one of the finest directors working in modern cinema. Here, John Foote examines the long, impressive, and unlikely film career of a man who fought against expectations to forge his own way and become one of this generation's finest filmmakers. Each chapter examines a different film, beginning with Play Misty for

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41

Holmlund, Chris, Lisa Purse, and Yvonne Tasker, eds. Action Cinema Since 2000. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839022814.

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Action Cinema Since 2000 addresses an increasingly lively and evolving field of scholarship, probing the definition and testing the potential of action cinema to reframe the mode for the 21st century. Contributors examine a broad range of content, from blockbusters to smaller independent films, originating from China, Korea, India, France, the USA, and Mexico. Ranging from 2001: A Space Odyssey (1968) to Polite Society (2023), they consider the changing modes of action cinema, with streaming assuming global importance and an ever-increasing number of generic blends. They consider under-explore

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42

Jesper Just: Film works 2001-2007 = Filmarbeiten 2001-2007 = Filmwerken 2001-2007. Witte de With, Center for Contemporary Art, 2007.

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43

Murguía, Salvador Jimenez, Erica Joan Dymond, and Kristina Fennelly, eds. Encyclopedia of Sexism in American Films. The Rowman & Littlefield Publishing Group, Inc., 2019. https://doi.org/10.5040/9798881828462.

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The treatment—and mistreatment—of women throughout history continues to be a necessary topic of discussion, in order for progress to be made and equality to be achieved. While current articles and books expose troubling truths of the gender divide, modern cinema continues to provide problematic depictions of such behavior—with a few heartening exceptions. The Encyclopedia of Sexism in American Films closely examines the many, pervasive forms of sexism in contemporary productions—from clueless comedies to superhero blockbusters. In more than 130 entries, this volume explores a number of cinemat

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44

Spanish National Cinema (National Cinemas). Routledge, 2003.

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45

Spanish National Cinema (National Cinemas). Routledge, 2003.

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46

Action Cinema Since 2000. Bloomsbury Publishing Plc, 2024.

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47

Action Cinema Since 2000. Bloomsbury Publishing Plc, 2024.

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48

L'Annuel du cinéma 2002. Somogy, 2002.

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49

L'Année du cinéma 2002. Calmann-Lévy, 2002.

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50

L'annuel du Cinéma 2001. Somogy, 2001.

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