Relevant bibliographies by topics / Cinema independent

Contents

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

Academic literature on the topic 'Cinema independent'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Cinema independent"

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Devasundaram, Ashvin. "Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema." Media International Australia 152, no. 1 (August 2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.

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The polemic circumscribing the rise and regulation of new independent Indian cinema is a compelling example of vicissitudes in India's public sphere. This article locates a growing access to new independent Indian films through pirate spheres, reflected in the burgeoning popularity of BitTorrent websites, particularly among young, urban Indians, disenchanted by inaccessibility due to regulations and multiplex cinemas' expensive ticket-pricing system. It precipitates deeper discourses of ‘migrating’ cinema audiences, an ambivalent state of film and internet regulation, and civil resistance, exemplified in the recent Madras High Court volte face, unblocking banned BitTorrent websites. This article invokes interviews with independent filmmakers also utilising the paradigm of independent Bengali film Gandu (2010) – purportedly denied a release for its graphic sexual content, and yet widely accessed via BitTorrent and YouTube. Ultimately, this study examines the discursive ramifications of new independent Indian cinema in a metamorphosing Indian cinema sphere.
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Ganjavie, Amir. "The Question of National Cinema in Iranian Independent Cinema." Film International 12, no. 3 (September 1, 2014): 11–20. http://dx.doi.org/10.1386/fiin.12.3.11_1.

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Jahed, Parviz, and Amir Ganjavie. "Introduction: Contemporary Independent Iranian Cinema." Film International 12, no. 3 (September 1, 2014): 6–10. http://dx.doi.org/10.1386/fiin.12.3.6_1.

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Higson, Andrew. "Film Acting and Independent Cinema." Screen 27, no. 3-4 (May 1, 1986): 110–33. http://dx.doi.org/10.1093/screen/27.3-4.110.

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Marriott. "Bastard Allegories: Black British Independent Cinema." Black Camera 7, no. 1 (2015): 179. http://dx.doi.org/10.2979/blackcamera.7.1.179.

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Farmer, Brett. "Independent Cinema in South East Asia." South East Asia Research 21, no. 1 (March 2013): 171–76. http://dx.doi.org/10.5367/sear.2013.0141.

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Bleasdale, John. "D. K. Holm (2008) Independent Cinema." Film-Philosophy 12, no. 2 (October 2008): 152–56. http://dx.doi.org/10.3366/film.2008.0022.

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Dokhanchi, Milad. "Iranian Independent Cinema Does Not Exist!" Film International 12, no. 3 (September 1, 2014): 56–63. http://dx.doi.org/10.1386/fiin.12.3.56_1.

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Rawnsley, Ming-yeh T. "Memory, subjectivity and independent Chinese cinema." Historical Journal of Film, Radio and Television 35, no. 3 (July 3, 2015): 537–39. http://dx.doi.org/10.1080/01439685.2015.1059617.

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Saul, Gerald, and Chrystene Ells. "Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 103–26. http://dx.doi.org/10.2478/ausfm-2019-0006.

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Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.
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Dissertations / Theses on the topic "Cinema independent"

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Codó, Martínez Jordi. "El cinema com a espai intercultural. La influència asiàtica en el cinema d'Occident: contextos, conceptes i casos." Doctoral thesis, Universitat Ramon Llull, 2013. http://hdl.handle.net/10803/104535.

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En un món social cada cop més nodrit per les interconnexions culturals, el cinema - expressió artística que és filla inequívoca del seu temps- es conforma des dels seus inicis a través de la integració i la interacció de formes expressives diverses i allunyades. Els darrers tres lustres han vist un impuls en la referida tendència, promoguda per la globalització de la indústria fílmica i, en bona mesura també, pel creixement (i/o la voluntat exportadora) dels cinemes asiàtics. La influencia d'aquests cines en el mainstream internacional (ja sigui el de l'entreteniment o el d'art i assaig) és cada cop més patent, i s'aventuren noves formes d'expressió cinematogràfica i d’anàlisi. El present treball vol reflexionar sobre la naturalesa d'aquests intercanvis, tot observant quines idees i practiques es posen en joc en la producció de films de caràcter transnacional. Conceptes com 'interculturalitat', 'cinema nacional', 'autoria' o 'orientalisme' en són els protagonistes, juntament amb l'estudi d'un cas: la influencia del cinema japonès en !'obra de Jim Jarmusch.
En un mundo social cada vez más nutrido por las interconexiones culturales, el cine­ expresión artística que es hija inequívoca de su tiempo- se conforma desde sus inicios a través de la integración y la interacción de formas expresivas diversas y alejadas. Los últimos tres lustros han visto un impulso en la referida tendencia, promovida por la globalización de la industria fílmica y, en buena medida también, por el crecimiento (y/o la voluntad exportadora) de los cines asiáticos. La influencia de estos cines en el mainstream internacional (ya sea el del entretenimiento o el de arte y ensayo) es cada vez más patente, y se aventuran nuevas formas de expresión cinematográfica y de análisis. El presente trabajo quiere reflexionar sobre la naturaleza de estos intercambios, observando qué ideas y prácticas se ponen en juego en la producción de filmes de carácter transnacional. Conceptos como 'interculturalidad', 'cine nacional', 'autoría' u 'orientalismo' son los protagonistas, junto con el estudio de un caso: la influencia del cine japonés en la obra de Jim Jarmusch.
In a social world increasingly nourished by cultural interconnections, film -an artistic expression that is an unequivocal output of its time- has been shaped from its beginnings through the integration and interaction of various and distant forms of expression. The last fifteen years have seen a boost in the aforementioned trend, promoted by the globalization of the film industry and, to some extent also by the growth (and / or will to export) of Asian cinemas. The influence of these cinemas in the interntional mainstream (either for entertainment or arthouse) is increasingly evident, and puts forward new forms of cinematic expression and analysis. The present work reflects on the nature of these exchanges, by observing which ideas and practices come into play in producing films with a transnational personality. Concepts such as interculturality, national cinema, authorship or orientalism are the protagonists, along with a case study: the influence of Japanese cinema in the work of Jim Jarmusch.
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Kapadia, Parita. "Independent Film Futures Mixa | Design for Democratic Cinema." Research Showcase @ CMU, 2013. http://repository.cmu.edu/theses/46.

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Abstract. Making and self-distributing high quality films have never been as affordable as they are today. Even films shot on cellphones are celebrated at festivals around the world. This is really empowering for storytellers who don’t want to submit to a Hollywood struggle or don’t have a big budget for making their film. Filmmaking is now a democratic arena. Even previously silent audiences are now becoming noisy participants in the films that they consume. But mere accessibility to the resources for production doesn’t entirely satisfy passionate creators who want to reach out to audiences far and wide. The Internet’s low entry barriers make room for everyone, resulting in a cluttered environment, where the effective discovery of applicable content becomes important. Each member of the networked audience affects the discoverability of content floating around on the web for others, within their own capacity. The audience’s emerging role as re-distributers, along with easy tools and resources that allow them to partake in cinema and popular culture, influences the content and format in which cinema is presented on the web. These premises offered an opportunity to introduce affordances that encourage new degrees of participation. With a focus on the emerging activities of appropriation, a system that honors content creators by making attribution consistent and codified is proposed in this project. The establishment of a culture of crediting welcomes the arrival of a future indie cinema, which is integral to the social nature of the Internet.
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Courage, Tamara V. "Contemporary Chinese independent cinema : urban spaces, mobility, memory." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/73253/.

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Since the 1990s, Chinese independent cinema has been at the forefront of documenting contemporary realities for marginalised citizens in Mainland China. This began with the New Chinese Documentary Movement and exploded in the mid-late 1990s with the rise of what is called the ‘Urban Generation’ of filmmakers who mix fiction with documentary to make sense of urban transformations at the street level. Now, with the continued expansion of more affordable and portable digital video production, independent filmmakers have moved beyond their local parameters and urban aesthetic styles to explore, represent and imagine new ways to document reality for the everyday citizen. In recent years, scholarship on Chinese independent cinema has acquired greater significance in film studies, insofar as it has devoted itself to the analysis of the historical significance and lasting influence of the New Chinese Documentary Movement and the ‘Urban Generation’. However, in the past decade, increasingly active digital video practices in China have proliferated on the independent film scene, including an increase in amateur and grassroots filmmaking which has embraced realism in multiple and innovative ways through documentary, fiction and experimental films. In this thesis, I will address the question of realism in contemporary Chinese independent cinema, which I argue, remains under-examined and both requires and warrants closer textual analysis. The cultural politics of China’s subaltern voices provides the common thread of this research which is articulated through the tropes of urban spaces, mobility and memory in this alternative filmmaking practice. These films imagine and represent realities through different and original modes of intervention that include performance, self-portraits, re-enactment and participatory filmmaking. In short, my research focuses on film productions from the past decade that challenge China’s official culture but also engage with it, placing it in relief with the ambiguity inherent in representation in film and history.
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Mak, Monica. "Digital cinematic technology and the democratization of independent cinema." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103271.

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This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.
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Tzioumakis, Yannis. "The cinema of David Mamet : independent filmmaking in Hollywood." Thesis, Sheffield Hallam University, 2004. http://shura.shu.ac.uk/20466/.

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This thesis examines the cinema of David Mamet with particular reference to the five films he made between 1987 and 1997. Its objectives are: to explore Mamet's distinct approach to filmmaking; to analyse the ways in which this approach shaped the formal organisation of his films; and to account for the specific aesthetic effects produced. The central argument advanced is that Mamet's filmmaking practice, which has, to a large extent, been influenced by practices he adopted during his long standing service to American theatre, is markedly different from dominant models of filmmaking in contemporary US cinema. As a result, his films have consistently demonstrated evidence of an idiosyncratic visual style, which has attracted considerable - mostly negative - criticism. This thesis also considers a number of institutional parameters that have impacted on Mamet's cinema. Particular emphasis has been placed on the role of independent distributors such as Orion Pictures and The Samuel Goldwyn Company who allowed the filmmaker to maintain his distinct aesthetic vision, despite his lack of success at the US box-office. Mamet's close association with the institutional apparatus of American Independent Cinema is examined throughout the thesis. My approach to Mamet's cinema takes place within a number of critical contexts that Film Studies uses to discuss both individual films and the work of a filmmaker as a whole. These contexts include: the classical/post-classical Hollywood cinema debate; auteur criticism; performance studies; film adaptation studies; and genre criticism. I use these frameworks to examine particular aspects of Mamet's cinema and also to establish fresh critical perspectives which will enhance our understanding of some of his films. One such perspective involves the proposal that Mamet utilises the generic form of the 'con-artist film,' a film genre previously unexplored within genre studies. This thesis challenges some of the established critical assumptions about David Mamet's cinema and bestows upon it the attention it deserves.
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Nicholls, Matthew. "Interactions between contemporary American independent cinema and popular music culture." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367385/.

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In recent years, many American independent films have become increasingly engaged with popular music culture and have used various forms of pop music in their soundtracks to various effects. Disparate films from a variety of genres use different forms of popular music in different ways, however these negotiations with pop music and its cultural surroundings have one true implication: that the 'independentness' (or 'indieness') of these movies is informed, anchored and embellished by their relationships with their soundtracks and/or the representations of or positioning within wider popular music subcultures. Independent American cinema, often distinguished from mainstream Hollywood cinema in terms of the separateness of its production or distribution, or its thematic and/or formal transgressions, can also be seen as distinctive in terms of its musical expression. This thesis will investigate the impact that these popular music cultures have had on contemporary American independent film since the 1980s. The primary objective of this thesis is not to discuss how these films are positioned within the industry (this has been done elsewhere), nor is it the aim to scrutinise a film's independentness (or 'unindependentness') in terms of its production, but rather to assert how music functions in these films and how a notion of independence (indieness) can be measured from the relationship between the film, its soundtrack, and a wider music culture. This will involve textual analyses of how popular music has been used to score a selection of key independent films (ranging from Blue Velvet and Do the Right Thing through to Ghost World and Juno), how popular music trends and subcultures have been represented on screen (such as dance music culture in Go), and how the film and music worlds have interacted, particularly through collaborations between directors and pop musicians (such as Darren Aronofsky and Clint Mansell).
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Mitchell, Stephen Mark. "Deconstructing national identity : character, place, and contemporary American independent cinema." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53462/.

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This thesis achieves a deconstructive interrogation of American national identity by analysing its representation in contemporary independent cinema. Drawing upon the poststructuralist work of Jacques Derrida (and limited applications of his thought to film scholarship), this project theorises a rigorous (but non-programmatic) model for conducting deconstructive readings of cinematic texts. Engaging with a corpus of ostensibly independent films, case-study analyses of American identity narratives are used to theorise and enact a fruitful process of Derridean cinematic and cultural interpretation. In undertaking this broad theoretical objective, I intervene within a range of specific filmic and socio-political debates. Analysing texts drawn from within prevailing independent film definitions, this project undertakes a deconstructive re-inscription of this prominent cinematic category. Destabilising its conventional designation as Hollywood’s antonymic “other,” the ontological solidity of independent film is fatally compromised, opening up its constituent texts to a greater range of interpretative gestures. Furthermore, in addressing textual representations of national identity, I elucidate a discursive area largely unexplored in existing independent film scholarship. Characterising case-study analyses as overtly deconstructive, this thesis also destabilises structural orthodoxies that orient American identity discourses around dichotomous concepts of character and place. Thus, studying representations of prominent cultural narratives (individualism, the nuclear family, the small-town, and the wilderness), this thesis uncovers and then dismantles their restrictive metaphysical foundations. Specifically, drawing attention to discursive slippages and paradoxes that inhabit these forms of cultural narration, textual readings problematize their self-coherence and ontological closure. Relating these cultural analyses to popular and academic discourses of national identity, this thesis also expands the reach of Derridean theory into a range of other disciplines, such as American studies. Ultimately, this thesis’ multifaceted research objectives open up American identity discourses to an unfixed freeplay of différance, laying the foundations for a liberatory intervention into oppositional American cultural debates.
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Vasconcelos-Oliveira, Maria Carolina. "\'Novíssimo\' cinema brasileiro: práticas, representações e circuitos de independência." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-19032015-172224/.

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Esta tese pretende somar esforços a outras pesquisas que se dedicam à compreensão da organização social da produção de bens/serviços culturais e artísticos. Tomando como objeto a produção cinematográfica que vem sendo caracterizada como o \"novíssimo\" cinema brasileiro (uma produção de cinema feita por jovens realizadores, com baixos orçamentos e em estruturas organizacionais menos especializadas e hierárquicas, que começa a se organizar no início dos anos 2000 e passa a ganhar reconhecimento público no país no fim da primeira década do século XXI), o trabalho se desenvolve a partir de dois objetivos. O primeiro, compreender o \"novíssimo\" cinema a partir do posicionamento de seus realizadores dentro do grande campo do cinema brasileiro, que configura um conjunto específico de práticas e representações. O segundo objetivo é trazer elementos para contribuir para uma discussão sobre produções culturais/artísticas do tipo independente a partir da observação do caso do cinema, buscamos construir uma categoria de independência que pode ser utilizada para a compreensão de outros contextos de produção simbólica
This thesis aims to contribute to the comprehension of the social organization of the production of cultural and artistic goods/services. Considering as a target the cinematographic production that has been characterized as the \"novíssimo cinema brasileiro\" (\"brand new\" Brazilian cinema, in reference to Brazilian 1960\'s \"new wave\", meaning a production made by young filmmakers with low budgets and less specialized and hierarchical organizational structures, which begins to get organized in early 2000 and gain public national recognition by the end of 21st century\'s first decade), this thesis is developed based on two goals. The first is to comprehend \"novíssimo\" cinema taking into account the positioning the filmmakers occupy in the larger Brazilian cinema field, which triggers a set of specific practices and representations. The second goal is to bring elements that contribute to the discussion of cultural/artistic productions known as \'independent\' from the observation of the cinema case, we seek to build a category of independence that can be used for understanding other contexts of symbolic production
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Lim, Michael Kho. "Pinoy Indie, Inc. : the cultural economy of distribution and Philippine independent cinema." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/96243/.

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This thesis investigates the cultural economy of film distribution set against the backdrop of Philippine independent cinema. Considered as the business centre of filmmaking, film distribution is typically studied from an economic perspective and traditionally falls outside the remit of film studies. However, the role that economics play in filmmaking cannot be regarded as an exclusive object or subject in the field of business and economics and not of the arts, since film is both a cultural good and economic commodity. As such, this thesis offers a more balanced viewpoint by taking on a humanities perspective in analysing and understanding the complex interplay of culture and economics as applied to Philippine cinema. The project also provides an Asian context to a generally western-dominated approach to the study of film distribution and thereby contributes to the (now) growing literature on distribution studies situated in the larger area of film studies. This thesis employs in-depth interview and case study analysis in addressing the central issue of how the independent sector struggles to access the various film distribution platforms in an attempt to sustain itself. The first chapter positions my research in the field, surveys existing scholarship on independent cinema and film distribution, and sets up the theoretical grounding of this thesis on the cultural economy framework. The second chapter fleshes out the notion of independence in filmmaking and contextualises the study by outlining the historical development of Philippine independent cinema. The third chapter analyses the interaction between mainstream and independent cinema and the current shifting movements happening between the two sectors. The next four chapters examine the film distribution and exhibition practices in the Philippines and how these affect the relationship of the mainstream and independent sectors and address the sustainability issue of the independents. Chapter Four lays out the conceptual framework of film distribution and exhibition as intermediary spaces and maps out a historical landscape of film distribution and exhibition in the Philippines. This is followed by an overview of the film distribution economy spectrum, namely, formal, semi-formal, and informal. Chapter Five explores the formality of the traditional platforms of theatrical and non-theatrical distribution method, while Chapter Six discusses the formality of the emerging distribution and exhibition platforms that utilise new media technologies. Both chapters present the challenges that independent filmmakers face in passing through the layers of gatekeepers in order to bring the film to its audience. Chapter Seven sets out a clearer definition of the semi-formal distribution economy and cites different self-distribution methods to illustrate and support my claim. This chapter also looks into the informal distribution method of piracy and its constructive effects on independent filmmaking. It also explains how technology is changing the role of the audience from being a passive consumer to an active producer to a dynamic distributor. Lastly, Chapter Eight probes into the identity of the Philippine film industry and the role of the state, their implications on cultural or film policy development, and how these elements impact the overall state of Philippine cinema.
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Hey, Jessica L. ""Coming out" by numbers." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1189022132.

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Books on the topic "Cinema independent"

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Independent cinema. Harpenden: Kamera, 2007.

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American independent cinema. Bloomington: Indiana University Press, 2005.

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American independent cinema. London: I.B. Tauris, 2005.

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Studying American independent cinema. Leighton Buzzard [England]: Auteur, 2011.

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Tzioumakis, Yannis. American independent cinema: An introduction. Edinburgh: Edinburgh University Press, 2006.

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Tzioumakis, Yannis. American independent cinema: An introduction. New Brunswick, NJ: Rutgers University Press, 2007.

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Independent queer cinema: Reviews and interviews. Binghamton, NY: Southern Tier Editions, Harrington Park Press, 2006.

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Southeast Asian independent cinema: Essays, documents, interviews. Hong Kong: Hong Kong University Press, 2012.

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American independent cinema: Indie, indiewood and beyond. New York: Routledge, 2012.

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Indiewood, USA: Where Hollywood meets independent cinema. London: I.B. Tauris, 2009.

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Book chapters on the topic "Cinema independent"

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Sudmann, Andreas. "Independent-Film – American Independent Cinema." In Handbuch Filmsoziologie, 1–13. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-10947-9_43-1.

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Driskell, Jonathan. "Southeast Asian independent cinema." In The Routledge Companion to World Cinema, 33–43. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-3.

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Lim, Michael Kho. "The Making of Philippine Independent Cinema." In Philippine Cinema and the Cultural Economy of Distribution, 39–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-03608-9_3.

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Dupin, Christophe. "The BFI and British Independent Cinema in the 1970s." In Seventies British Cinema, 159–74. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92282-6_15.

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Brzozowska, Blanka, and Patryk Galuszka. "Crowdfunding independent cinema." In Crowdfunding and Independence in Film and Music, 18–61. Routledge, 2021. http://dx.doi.org/10.4324/9781003150787-3-3.

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Backman Rogers, Anna. "Conclusion: The Crisis Image – Mumblecore and Beyond." In American Independent Cinema. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693603.003.0005.

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By way of conclusion and further development of the notion of a cinema of crisis, I will extend briefly this study’s theoretical framework to the work of Harmony Korine, Kelly Reichardt and the ‘Mumblecore’ movement – or, more specifically, the work of Lena Dunham. However, in order to outline these further facets of a cinema of crisis, it is necessary at this juncture to summarise what its salient features are. I argued at the beginning of this book that the dominant and established approach to American independent cinema in critical and scholarly studies is to categorise it in terms of economic, production and distribution strategies.1 While this is important and useful, this focus on the meaning and context of the very term ‘independent’ has resulted in a paucity of material on the aesthetics and poetics of this kind of cinema and its specific effect or affects. By focusing on the themes of crisis, liminality, transition, mutation and transformation, I have tried to emphasise the ways in which American independent cinema appropriates and transfigures the tropes of European ‘Art’ cinema (as set forth in Gilles Deleuze’s Cinema 2) for its own particular purposes in order to challenge entrenched modes of thought.
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Backman Rogers, Anna. "Introduction." In American Independent Cinema. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693603.003.0001.

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American independent cinema is certainly a cinema in crisis, but it is also a cinema of crisis. A great deal of useful scholarship has been carried out on the notion of independence and the definition of indie cinema as a hybrid industry (‘indiewood’). This study partakes of that conversation, but from the perspective of the aesthetics and poetics of crisis that figure or visualise notions of ambiguity and the in-between. The cinema of crisis delineated here is one that explores the difficulty or impossibility of progression through extended moments of liminality and threshold. In a cinema of crisis, the concept of a plot is subservient to the investigation of what it means to exist in a moment of threshold within the context of a rite of passage; this moment may usher in transformation, or it may lead to stasis and not offer any form of resolution. What the viewer sees on screen are bodies that may halt, falter, freeze and become-surface, or evolve, mutate, dissolve and merge: these are bodies in crisis because they are either atrophying or becoming-other.
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Tzioumakis, Yannis. "Introduction: Problems of Definition and the Discourse of American Independent Cinema." In American Independent Cinema, 1–14. Edinburgh University Press, 2006. http://dx.doi.org/10.3366/edinburgh/9780748618668.003.0001.

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Tzioumakis, Yannis. "Independent Filmmaking in the Studio Era: Tendencies within the Studio System." In American Independent Cinema, 19–59. Edinburgh University Press, 2006. http://dx.doi.org/10.3366/edinburgh/9780748618668.003.0002.

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Tzioumakis, Yannis. "Independent Filmmaking in the Studio Era: The Poverty Row Studios (1930–50s)." In American Independent Cinema, 63–94. Edinburgh University Press, 2006. http://dx.doi.org/10.3366/edinburgh/9780748618668.003.0003.

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Conference papers on the topic "Cinema independent"

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Doroschuk, Elena Sergeevna. "Basic Approaches to Ethnographic Film Usage as a Method of Developing of Ethnocultural Competence of Future Journalists." In All-Russian scientific and practical conference. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99277.

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The article discusses the features of the application of the methodology of visual education based on the use of ethnographic films in the organization of independent work of future journalists. On the basis of emic and ethical approaches, the main functions of ethnographic cinema are identified and described in the light of creating an image of ethnoculture in the process of training future journalists. The principles of representation of ethnoculture in the media sphere are considered, on the basis of which the ethnological motivation of future journalists is formed as the basis of ethnocultural competence.
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Kundu, Suman. "Total Influence and Hybrid Simulation of Independent Cascade Model using Rough Knowledge Granules." In 2020 4th International Conference on Computational Intelligence and Networks (CINE). IEEE, 2020. http://dx.doi.org/10.1109/cine48825.2020.234405.

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Tazkiyah, Iftah, and Sudarto Ronoatmodjo. "http://theicph.com/id_ID/122-siti-zakiah-zulfa-cesa-septiana-pratiwi/." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.02.12.

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Background: Menopause was the time of life when menstrual cycles cease and are caused by reduced secretion of the ovarian hormones estrogen and progesterone. the proportion of women aged menopause increases with increasing age. This study aimed to find the relationship between employment status, age at first delivery, number of children and smoking status to the incidence of early menopause in women aged 30 to 40 years. Subjects and Method: This was a cross sectional study conducted from secondary data Indonesian Health Data Survey (IDHS), 2017. The inclusion criteria were female respondents 30-40 years old with who are married and use contraceptives. The dependent variable was early menopause. The independent variables were employment status, age at first delivery, number of children and smoking status. The data were analyzed by chi-square and logistic regression. Results: This study found that women aged 30-40 years who had menopause were 10.3%. From the multivariate results, it was found that women who had more than 2 children had a 1.4 times greater risk of early menopause (OR= 1.43, 95% CI= 1.43 to 1.26). Women who have jobs have a 0.5 times greater risk of premature menopause than women who do not work (OR= 0.55, 95% CI= 0.49 to 0.61). The most dominant variable related to the incidence of menopause is the number of children. Conclusion: The family planning program needs to be increased in order to provide counseling on long-term family planning and how to plan to have children and prepare for menopause. Keywords: early menopause, number of children, childbirth age, smoking Correspondence: Iftah Tazkiyah. Master program in Public Health, University of Indonesia. Pondok Cina, Beji district, Depok city, West Java 12345. E-mail: tazkiyah88@gmail.com. Mobile: 08118002454. DOI: https://doi.org/10.26911/the7thicph.02.12
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Bergera, Iñaki. "Mirar a ver. Experiencias docentes en arquitectura." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6675.

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En un momento dado de la película, Amélie —desbordante visualmente de su gozo de vivir— coge fuertemente del brazo a un ciego y le ayuda a cruzar y recorrer una bulliciosa calle de París describiéndole entusiastamente todo lo que observa en ese breve y a priori anodino trayecto. Amélie le regala durante un minuto sus ojos al ciego pero, paralelamente, nos enseña a mirar más allá de lo que vemos. También los arquitectos americanos Charles y Ray Eames fueron durante las décadas centrales del siglo XX un paradigma de ese aprendizaje por la mirada, de ese obsesivo pero delicado análisis visual, a través de la fotografía o el cine, del espacio que habitamos. Y como ellos, Robert Venturi, Bernard Rudofsky, Aldo Rossi o recientemente John Pawson serían un buen referente de la ineludible utilización de las herramientas visuales en el contexto productivo e investigador de la arquitectura. Si para Le Corbusier, el padre de la modernidad, los arquitectos somos “asnos, pero asnos que ven”, podemos asumir la irrenunciable necesidad de implementar de forma explícita una educación visual en el contexto de los estudios de arquitectura. La fotografía es un herramienta pero más allá de su condición instrumental —que para el arquitecto ha suplantado al lápiz en la toma de datos y el análisis de lo que nos rodea— es potencialmente portadora de un lenguaje formal y narrativo cuya sintaxis es necesario conocer y educar. Para poder actuar de forma creativa, el alumno de arquitectura ha de saber “leer” el espacio y estructurarlo mediante la mirada. Paradójicamente, la saturación de imágenes contemporánea —especialmente virulenta en el ámbito concreto de la difusión mediática de la arquitectura entendida como icono visual— puede producir en el alumno una amnesia que ahogue su sensibilidad a la hora de “afilar el lápiz” con su mirada, para ver y construir con ella un nuevo argumentario espacial. A partir de mis intereses personales en torno a la fotografía y de mi particular experiencia investigadora en las relaciones entre arquitectura y fotografía, la comunicación que se propone presentará las experiencias docentes llevadas a cabo desde la Universidad de Zaragoza —en gran medida a contracorriente—, tanto dentro de la docencia en proyectos arquitectónicos que impartimos como, en un inmediato futuro, de forma reglada como asignatura trasversal independiente. Los modestos pero fructíferos resultados obtenidos hasta la fecha nos confirman el interés y la pertinencia de formular y demandar este espacio pedagógico que trasciende por supuesto a los aspectos técnicos de la imagen y subraya el interés que tienen los alumnos por canalizar docentemente el ordenamiento sensible y proactivo de la mirada.
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