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Journal articles on the topic 'Cinéma coréen'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Gras, Pierre. "Vitalité du cinéma coréen." Commentaire Numéro 124, no. 4 (2008): 1151. http://dx.doi.org/10.3917/comm.124.1151.

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2

Coy, Jean-Louis. "Pour saluer le cinéma coréen." Humanisme N° 290, no. 4 (2010): 95–97. http://dx.doi.org/10.3917/huma.290.0095.

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3

Coppola, Antoine. "La nature fantasmatique du cinéma coréen." Esprit Janvir-févrir, no. 1 (2018): 200. http://dx.doi.org/10.3917/espri.1801.0200.

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4

Leveau, Arnaud. "Cinéma coréen : une ambition dans la durée." Outre-Terre N° 39, no. 2 (2014): 338. http://dx.doi.org/10.3917/oute1.039.0338.

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5

Coppola, Antoine. "Le cinéma nord-coréen : arme de destruction massive ?" Cahiers d’histoire. Revue d’histoire critique, no. 102 (October 1, 2007): 129–43. http://dx.doi.org/10.4000/chrhc.369.

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6

Coppola, Antoine. "Le cinéma nord-coréen : arme de destruction massive ?" Les Temps Modernes 654, no. 3 (2009): 179. http://dx.doi.org/10.3917/ltm.654.0179.

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7

Lee, Yun Yeong. "Lieux et imaginaires dans le cinéma d'auteur coréen." Sociétés 122, no. 4 (2013): 17. http://dx.doi.org/10.3917/soc.122.0017.

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8

Coppola, Antoine. "Représentations subversives des altersexualités dans le cinéma coréen." Sociétés 129, no. 3 (2015): 125. http://dx.doi.org/10.3917/soc.129.0125.

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9

Coppola, Antoine. "Littérature française et cinéma coréen : le cas de L’Étranger." Po&sie 139-140, no. 1 (2012): 249. http://dx.doi.org/10.3917/poesi.139.0249.

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10

Coppola, Antoine. "Regain religieux dans le cinéma sud-coréen : vers une trans-religion du futur ?" Sociétés 144, no. 2 (2019): 95. http://dx.doi.org/10.3917/soc.144.0095.

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11

Joinau, Benjamin. "Aux origines de la vague sud-coréenne : le cinéma sud-coréen comme soft power." Pouvoirs 167, no. 4 (2018): 107. http://dx.doi.org/10.3917/pouv.167.0107.

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12

Duay, Justine. "Mémoire, traumatisme et histoire dans le cinéma sud-coréen contemporain : Mother et Peppermint Candy." Décadrages, no. 19 (October 10, 2011): 120–29. http://dx.doi.org/10.4000/decadrages.319.

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13

Joinau, Benjamin. "Soi-même comme un autre. Identité et altérité dans le cinéma sud-coréen populaire." Critique 848-849, no. 1 (2018): 123. http://dx.doi.org/10.3917/criti.848.0123.

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14

Habib, André. "En terrains connus ou « choses vues » dans Paris : Night and Day (2008) de Hong Sang-soo." Études littéraires 45, no. 2 (2015): 97–107. http://dx.doi.org/10.7202/1028980ar.

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Paris est, avec peut-être New York comme seul rival, un des « personnages » les plus illustres de l’histoire du cinéma. Des « vues Lumière » jusqu’aux pérégrinations des héros de la Nouvelle Vague, de la psychogéographie de Debord aux cartographies affectives de Rohmer, en passant par les Paris vu par (1965, 1985) et autres Paris je t’aime (2006), peu de villes ont été autant filmées, et peu de villes ont eu autant d’influence sur l’imaginaire cinématographique. Il est notamment fascinant de constater la migration de cet imaginaire au sein des cinématographies asiatiques contemporaines. Cet ar

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15

Coppola, Antoine. "La science-fiction dans le cinéma coréen du Sud et du Nord : enjeu culturel et politique." Sociétés 135, no. 1 (2017): 103. http://dx.doi.org/10.3917/soc.135.0103.

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16

Coppola, Antoine. "Cinéma et dictature en Corée du Nord." Vingtième Siècle. Revue d'histoire 131, no. 3 (2016): 151. http://dx.doi.org/10.3917/ving.131.0151.

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17

김미라. "Le Cinéma français en Corée depuis 2000." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 19 (2009): 51–80. http://dx.doi.org/10.18022/acfco.2009..19.003.

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18

Debs, Sylvie. "CORDEL, cinema & Glauber." Revista Légua & Meia 7, no. 1 (2017): 124. http://dx.doi.org/10.13102/lm.v7i1.2611.

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Este artigo se propõe a analisar dois filmes de Glauber Rocha, Deus e o Diabo na Terra do Sol e O Dragão da Maldade contra o Santo Guerreiro à luz dos elementos do universo da cultura popular nordestina admitidos como a inspiração pelo cineasta para criar a estética do cinema novo, tanto do ponto-de-vista da trama e da escolha dos personagens, das performances gestuais, da narração, da música, da luz e da fotografia, quanto do conteúdo religioso, social e político; desta forma, Glauber Rocha parte de uma realidade regional para a projetar num plano nacional e internacional.

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19

김미라. "Les tendances du cinéma français en Corée, au 21ème siecle." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 25 (2012): 29–61. http://dx.doi.org/10.18022/acfco.2012..25.002.

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20

Govin, Marie-Françoise. "Sylvie Debs, Cinéma et cordel. Jeux de miroirs-Intertextualités." Cinémas d’Amérique latine, no. 27 (April 1, 2019): 154–55. http://dx.doi.org/10.4000/cinelatino.6269.

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21

Govin, Marie-Françoise. "Sylvie Debs, Cinéma et cordel. Jeux de miroirs-Intertextualités." Cinémas d’Amérique latine, no. 27 (April 1, 2019): 154–55. http://dx.doi.org/10.4000/cinelatino.6277.

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22

Ulhôa, Marco Túlio. "Os devires da imagem e da palavra nas relações entre o cinema e o cordel." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 4, no. 1 (2016): 4. http://dx.doi.org/10.22475/rebeca.v4n1.351.

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23

Amar, Víctor. "DADOS SOBRE AS RELAÇÕES ENTRE CINEMA E LITERATURA NO CINEMA NOVO BRASILEIRO." A Cor das Letras 11, no. 1 (2017): 101. http://dx.doi.org/10.13102/cl.v11i1.1505.

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Neste artigo a ideia principal é estabelecer um esquema comparati-vo abordando as relações entre o cinema e a literatura, com destaque para o cinema novo brasileiro. O mote principal do trabalho leva-nos a relacionar o romance e o cinema, mas nossa intenção é estabelecer um cômputo de rela-ções entre o cinema e a literatura de cordel, o teatro e a música/poesia. Quer dizer, nosso interesse é abordar dados que tornam possíveis as relações entre a literatura e o cinema novo brasileiro. Um documento escrito com ri-gor busca sinais documentais da época em consonância com outros mais atuais.

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24

지명혁. "L'industrie du cinma coren et la politique cinmatographique en France." Etudes de la Culture Francaise et de Arts en France 20, no. ll (2007): 347–65. http://dx.doi.org/10.21651/cfaf.2007.20..347.

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25

Sarno, Geraldo. "Sylvie Debs, Cinema e cordel - Jogo de Espelhos." Cinémas d’Amérique latine, no. 23 (June 1, 2015): 174–75. http://dx.doi.org/10.4000/cinelatino.2009.

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Sarno, Geraldo. "Sylvie Debs, Cinema e cordel - Jogo de Espelhos." Cinémas d’Amérique latine, no. 23 (June 1, 2015): 174–75. http://dx.doi.org/10.4000/cinelatino.2012.

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27

Debs, Sylvie. "Cordel & cinema: era uma vez o nordeste." Mediações - Revista de Ciências Sociais 12, no. 1 (2007): 291. http://dx.doi.org/10.5433/2176-6665.2007v12n1p291.

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28

LEE, YUNYEONG. "La Genèse de l’esthétique du cinéma en Corée: Son état actuel et virtuel." Mihak - The Korean Journal of Aesthetics 84, no. 4 (2018): 27–58. http://dx.doi.org/10.52720/mihak.84.4.2.

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29

Faucon, Térésa. "Hors chant. Arrangements godardiens pour violoncelle et cordes élargies." Revue musicale OICRM 5, no. 1 (2018): 33–45. http://dx.doi.org/10.7202/1044442ar.

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Dans les compositions musicales de ses films, Jean-Luc Godard nous fait entendre son écoute d’oeuvres musicales, invente des arrangements avec les moyens du cinéma qui pourraient porter une double signature, Beethoven-Godard, Dvořák-Godard, comme les arrangements des musiciens Beethoven-Liszt ou Bach-Webern. Pour cette étude, nous avons choisi de nous concentrer sur les oeuvres pour violoncelle, instrument pour lequel Godard semble avoir une prédilection comme pour les cordes frottées en général pour la plasticité de la matière sonore. Nous analysons l’arrangement du Concerto pour violoncelle

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30

Costa, Affonso Henrique Vieira da. "Cinema e educação." Trilhas Filosóficas 12, no. 1 (2019): 221–30. http://dx.doi.org/10.25244/tf.v12i1.33.

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Resumo: O trabalho ora proposto procura pensar a relação entre Filosofia e Educação. Para tanto, se nutre de pensar essa articulação a partir da experiência em sala de aula. Uma experiência que se deu quando da necessidade de apresentação de um filme com um posterior debate em torno de questões por ele suscitadas. Palavras-chave: Liberdade. Filosofia. Educação. Cinema. Abstract: The hereby proposed work seek to think about the relationship between Philosophy and Education. For so, nurturing of thinking this articulation from the classroom experience. An experience originated from t

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31

Debs, Sylvie. "O poder de denúncia do cordel no cinema: O romance do vaqueiro voador, de João Bosco Bezerra Bonfim e Manfredo Caldas." Estudos de Literatura Brasileira Contemporânea, no. 35 (June 2010): 129–38. http://dx.doi.org/10.1590/2316-4018359.

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Resumo O filme O romance do vaqueiro voador, de Manfredo Caldas, é construído a partir do cordel homônimo de João Bosco Bezerra Bonfim - que, por sua vez, foi inspirado no documentário Brasília segundo Feldman, de Vladimir Carvalho - com a finalidade de contar, denunciar e lembrar a tragédia que foi a construção de Brasília. O artigo pretende discutir algumas questões: Por que escolher como personagem um poeta vaqueiro para perambular pelos lugares da tragédia? Por que utilizar um cordel para fazer surgir um outro filme?

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32

Nemer, Sylvia. "Glauber Rocha e as imagens do sertão." Revista Contracampo, no. 15 (December 1, 2006): 219. http://dx.doi.org/10.22409/contracampo.v0i15.556.

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Este texto tem como objetivo discutir o problema da intertextualidade fílmica por meio da análise da apropriação da literatura de cordel em Deus e o diabo na terra do sol (1964) e em O dragão da maldade contra o santo guerreiro (1969), filmes de Glauber Rocha dedicados à representação do universo social e cultural sertanejo. A preocupação do cineasta com a forma de representação, discutida em seus textos Estética da fome (1965) e Estética do sonho (1971), reflete-se, nos dois filmes estudados, no modo como estes lidam com o cordel. Recusando o tratamento da temática sertaneja pelo

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33

Varjão, Thiago De Brito. "As mitologias do sertão através do cinema e literatura." Letras de Hoje 53, no. 4 (2018): 517. http://dx.doi.org/10.15448/1984-7726.2018.4.29889.

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O cinema e a literatura de cordel apresentam o Nordeste como uma feira de mitos com características sui generis no que concerne à cultura popular. O imaginário que cerca a região constitui o Nordeste como sendo a terra das lendas, dos cangaceiros, dos jagunços, dos vaqueiros e líderes religiosos. A partir desse ponto de vista, o Nordeste pode ser encarado como uma construção imagético-discursiva onde se propagam os mais diversos mitos, tipicamente, heroicos gerados em um grupo socioeconômico marginalizado, de proletários arraigados à terra. Nesse cenário, dois personagens fundamentais aparecem

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34

Coppola, Antoine. "Le Cinéma français filme l'altérité en Corée du Nord : Le Cas du film Voir le pays du Matin Calme." Contemporary French and Francophone Studies 21, no. 2 (2017): 150–58. http://dx.doi.org/10.1080/17409292.2017.1344032.

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35

Weiss, Andrea. "Robert J. Corber, Cold War Femme: Lesbianism, National Identity, and Hollywood Cinema. Durham, NC: Duke University Press, 2011. 225 pp. $23.95." Journal of Cold War Studies 14, no. 3 (2012): 196–97. http://dx.doi.org/10.1162/jcws_r_00254.

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36

Connie Lim Keh Nie, Chong-Lee Yow, and Chow Ow Wei. "Life Disrupted and Regenerated: Coping With the ‘New Normal’ Creative Arts in the Time of Coronavirus." International Journal of Business and Society 22, no. 2 (2021): 788–806. http://dx.doi.org/10.33736/ijbs.3759.2021.

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A global pandemic caused by COVID-19 virus since December 2019 has developed into a fearsome situation more than any common global contagion. In combating COVID-19 worldwide, governments instigated a precautionary cordon sanitaire in various degrees. Live music, cinema and film festivals were inevitably cancelled, causing artists to become alienated from their audience. This paper aims to illuminate how practitioners of the creative industry cope with the drastic disruption due to the COVID-19 outbreak as well as the means of regenerating ‘life’, which refers to that of a creative artist in a

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37

Nepsha, Viktor. "Landscape as a Category of Film Aesthetics: Key Approaches." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 4 (September 21, 2021): 111–21. http://dx.doi.org/10.37482/2687-1505-v122.

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This article examines a variety of approaches to the concept of landscape in the philosophy of film in order to establish terminological accuracy and highlight problematic topics in conversations about space in film aesthetics in particular and to clarify the status and boundaries of the term landscape in philosophical use in general. Three groups of approaches to landscape in the philosophy of film were identified in the course of the study and analysis of literature on this issue: landscape as an auxiliary element for the director/crew/viewer (Béla Balázs, Susan Cathleen Gunn, Chris Lukinbea

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38

Louzao Villar, Joseba. "La Virgen y lo sagrado. La cultura aparicionista en la Europa contemporánea." Vínculos de Historia. Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 8 (June 20, 2019): 152. http://dx.doi.org/10.18239/vdh_2019.08.08.

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RESUMENLa historia del cristianismo no se entiende sin el complejo fenómeno mariano. El culto mariano ha afianzado la construcción de identidades colectivas, pero también individuales. La figura de la Virgen María estableció un modelo de conducta desde cada contexto histórico-cultural, remarcando especialmente los ideales de maternidad y virginidad. Dentro del imaginario católico, la Europa contemporánea ha estado marcada por la formación de una cultura aparicionista que se ha generadoa partir de diversas apariciones marianas que han establecido un canon y un marco de interpretación que ha ali

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39

Pisano, Heui-Tae Park et Giusy. "Enseignement du cinéma et des médias en Corée du Sud." Mise au point, no. 7 (May 1, 2015). http://dx.doi.org/10.4000/map.1887.

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40

Albano, Sebastião Guilherme. "Elipse, história, política, memória. Las marimbas del infierno e O som ao redor." Fotocinema. Revista científica de cine y fotografía, no. 9 (September 24, 2014). http://dx.doi.org/10.24310/fotocinema.2014.v0i9.5962.

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Resumo:O texto versa acerca da constante da figura da elipse no cinema contemporâneo, especialmente em sua habilidade para incorporar conteúdos associados à manifestação da história, da memória e da política em sentido amplo. Os modos de manifestação desse tropo franqueiam a reflexão a propósito das variantes expressivas e de substância do audiovisual latino-americano, aqui, com o intuito de análise, reduzido a dois expoentes da nova safra de filmes para cinema, Las marimbas del infierno (Julio Hernández Cordón, 2009) e O som ao redor (Kleber Mendonça Filho, 2012). Quando se fala em elipse se

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41

Borisova, Anna. "Simbolismo de agua en el cine: entre el orientalismo poético ruso y el catastrofismo occidental." Fotocinema. Revista científica de cine y fotografía, no. 9 (September 24, 2014). http://dx.doi.org/10.24310/fotocinema.2014.v0i9.5970.

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La representación de agua en las artes visuales tuvo siempre una potente carga simbólica que se nutrió de las tradiciones religiosas y filosóficas de todo el mundo. En función del contexto cultural, este elemento puede hacer referencia a la idea del nacimiento, a la búsqueda espiritual, al subconsciente, a la vía que une el mundo de los vivos y los muertos, etc. La aparición del cine, como un género que da vida a una imagen fija, proporciona al artista la posibilidad de explorar la totalidad de las posibilidades expresivas de las “aguas que corren” convirtiéndolas en un recurso visual recurren

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42

Miletic, Sasa. "‘Everyone Has Secrets’: Revealing the Whistleblower in Hollwood Film in the Examples of Snowden and The Fifth Estate." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1668.

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In one of the earliest films about a whistleblower, On the Waterfront (1954), the dock worker Terry Malloy (Marlon Brando), who also works for the union boss and mobster Johnny Friendly (Lee J. Cobb), decides to testify in court against him and uncover corruption and murder. By doing so he will not only suffer retribution from Friendly but also be seen as a “stool pigeon” by his co-workers, friends, and neighbours who will shun him, and he will be “marked” forever by his deed. Nonetheless, he decides to do the right thing. Already it is clear that in most cases the whistleblowers are not simpl

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43

Khamis, Susie. "Nespresso: Branding the "Ultimate Coffee Experience"." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.476.

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Introduction In December 2010, Nespresso, the world’s leading brand of premium-portioned coffee, opened a flagship “boutique” in Sydney’s Pitt Street Mall. This was Nespresso’s fifth boutique opening of 2010, after Brussels, Miami, Soho, and Munich. The Sydney debut coincided with the mall’s upmarket redevelopment, which explains Nespresso’s arrival in the city: strategic geographic expansion is key to the brand’s growth. Rather than panoramic ubiquity, a retail option favoured by brands like McDonalds, KFC and Starbucks, Nespresso opts for iconic, prestigious locations. This strategy has been

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