Academic literature on the topic 'Cinéma non-commercial'
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Journal articles on the topic "Cinéma non-commercial"
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.
Full textMANAKBAYEVA, Aigerim, and Serik SEIDUMANOV. "ACTUAL ISSUES OF PUBLIC POLICY IN THE FIELD OF CINEMATOGRAPHY." Public Administration and Civil Service, no. 2-77 (June 29, 2021): 32–40. http://dx.doi.org/10.52123/1994-2370-2021-252.
Full textMilerius, Nerijus. "ŽANRINIO APOKALIPSĖS KINO DEKONSTRUKCIJA A. KUROSAWOS „RASHOMONE“." Problemos 83 (January 1, 2013): 145–58. http://dx.doi.org/10.15388/problemos.2013.0.826.
Full textMuthalib, Hassan. "Film Review Karya, A Film by Abror Rivai: Calmly Waiting for the Community." International Journal of Creative Multimedia 1, no. 2 (September 30, 2020): 78–92. http://dx.doi.org/10.33093/ijcm.1.2.5.
Full textFallows, Tom. "Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero." Horror Studies 12, no. 1 (March 1, 2021): 45–62. http://dx.doi.org/10.1386/host_00028_1.
Full textCarpio Miranda, Rosa. "Narrativas abiertas en el cine de ficción ecuatoriano." Ñawi 2, no. 2 (July 31, 2018): 65. http://dx.doi.org/10.37785/1002204.
Full textCarpio Miranda, Rosa. "Narrativas abiertas en el cine de ficción ecuatoriano." Ñawi 2, no. 2 (July 31, 2018): 65. http://dx.doi.org/10.37785/nw.v2n2.a4.
Full textCiszewska, Ewa. "Film Education in Poland – Historical Outline and Current State of Research." Panoptikum, no. 18 (December 29, 2017): 10–27. http://dx.doi.org/10.26881/pan.2017.18.01.
Full textMcKenna, Christopher J. "An invisible operational mortar." AILA Review 34, no. 1 (September 9, 2021): 102–21. http://dx.doi.org/10.1075/aila.20010.mck.
Full textOgnieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
Full textDissertations / Theses on the topic "Cinéma non-commercial"
Cezar, Mundim Luiz Felipe. "Le public organisé pour la lutte : le cinéma du peuple en France et la résistance du mouvement ouvrier au cinéma commercial (1895-1914)." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H046/document.
Full textThe thesis examines the relationship between the French working class movement and the cinema at the beginning of the 20th century, specifically from 1895 to 1914. 1t focuses on the specific experience of the cooperative Cinéma du Peuple, which lasted from October 1913 to July 1914. The cooperative Cinéma du Peuple took part of militant cinema in France, which was barely begun from 1909 on when the industrialization process of the film in France was already advanced. Transmitted beyond 1914, the experience of the Cinéma du Peuple, first working class movement organized attempt to film appropriation, laid the foundations of a new ground of intervention in a prolonged hegemony in the cultural field until the present days. The assumption is that the public - a category of analysis in an alternative scale than mass or spectator - showed, with the experience of Cinéma du Peuple, that it is not by nature and so irrevocable way a prisoner of the commercial films and the interests of distributors. From the concepts of repertoire of contention, and the experience of the ideological domination of commercial cinema, we strive to identify the contours of that public, partly coïncident with the working class movement, mostly through collective and individual militants' trajectories, propagandists of the Cinéma du Peuple and its public. At the same time, we intend to bring from the analysis of the Cinéma du Peuple's films the beginning of the formation of a new mode of representation of the working class
Scheppler, Gwenn. "« Je suis le premier spectateur » : l’œuvre de Pierre Perrault ou le cinéma comme processus." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20017.
Full textThis thesis aims to a better understanding of the ways in which Pierre Perrault’s work interacted with Québécois society during the Quiet Revolution and with the ideas on which it was based.Specifically, it will focus on the way in which the filmmaker’s artistic conception might have been influenced by Québécois popular culture and how it has, in turn, reinvested it. I will analyse the relationships between the filmmaker’s work and three distinct contexts: the representations of the Québécois nation and their historicity in the 20th century; the ambivalent relationship between cinema and Québécois society since the birth of this mass media; and the reminiscences of oral tradition in popular culture and cinema.In order to properly understand Perrault’s creative practice an its inscription in the Québécois society, I propose to consider his work from a global perspective, which includes the films and the essays, as well as the film production and distribution, with the idea that all these elements formed in fact a coherent and indivisible whole in the ways in which Perrault thought of his filmmaking. I thus suggest the idea that the “cinéma de la parole” must be considered from a fresh perspective: its core or its meaning are not specifically found in the films themselves, nor in their reception, but in a long “process” of sharing that begins before the film’s recording and that is meant to continue beyond the screening of the finished work: the true aim of Perrault’s cinema is the very process of exchange, of interrelation and co-definition. The concept of “process”, which will be developed throughout this entire study, constitutes a frame for its “contextual” analysis. It also encompasses the way in which the filmmaker conceived his work as cinematographer; my analysis can thus be situated within a hermeneutic tradition.Finally, describing and analysing Perrault’s cinema in terms of process also allows us to consider a different conception of film based on Perrault’s example: a complex historical and socio-cultural phenomenon intimately tied to the evolutions of a given society, and whose meanings depend on the contexts in which it grows and with which it maintains a relationship based on exchange
Scheppler, Gwenn. ""Je suis le premier spectateur" : l'oeuvre de Pierre Perrault ou le cinéma comme processus." Thèse, 2009. http://hdl.handle.net/1866/6639.
Full textMiranda, Marta Maria Araújo. "Public Policies for Cinema in Portugal: the Non-commercial Film Exhibition Sector." Dissertação, 2020. https://hdl.handle.net/10216/129647.
Full textMiranda, Marta Maria Araújo. "Public Policies for Cinema in Portugal: the Non-commercial Film Exhibition Sector." Master's thesis, 2020. https://hdl.handle.net/10216/129647.
Full textFerreira, António Maria Teixeira Cardoso. "Os festivais de cinema em Portugal: estudo de caracterização e o seu contexto no panorama português." Master's thesis, 2018. http://hdl.handle.net/10071/17552.
Full textThis dissertation undertakes a characterization of Portuguese film festivals, informed by the evolution of the public funding, following the operationalization by the Institute of Cinema and Audiovisual (ICA) between 1997 and 2007. Film festivals are important local vehicles for cultural promotion, diversity and democratization, operating globally through national and transnational networks. Under this context, it is arguable the importance of public financial aid to this form of noncommercial film screenings. The analysis of the data provided by ICA, framed within its sociopolitical context, reveals the continuities and discontinuities of the Portuguese film festivals landscape. Once outlined the traits of this landscape, the study closes its framing upon the festivals themselves, by determining some of the main elements that characterize (and distinguish) the festivals supported for the triennium 2015 - 2017: location, organizing entities, venues, programming, duration, audience numbers for the last edition and relevant international partnerships, when available.
Books on the topic "Cinéma non-commercial"
Anne, Conser, and Silverman Stephen M, eds. The last remaining seats: Movie palaces of Tinseltown. Los Angeles, Calif: Balcony Press, 1997.
Find full textAnne, Conser, and Silverman Stephen M, eds. The last remaining seats: Movie palaces of Tinseltown. Santa Monica, CA: Hennessey & Ingalls, 2004.
Find full textRogers, Holly, and Jeremy Barham, eds. The Music and Sound of Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.001.0001.
Full textBerger, Robert, and Anne Conser. The Last Remaining Seats: Movie Palaces in Tinseltown. Princeton Architectural Press, 1999.
Find full textBook chapters on the topic "Cinéma non-commercial"
Colmeiro, José. "Made in Galicia: Making the Invisible Visible." In Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.003.0005.
Full text"Survival in the Independent–Non-Commercial–Avant-Garde– Experimental–Personal–Expressionistic Film Market of 1979." In Canyon Cinema, 329–38. University of California Press, 2019. http://dx.doi.org/10.1525/9780520940611-094.
Full textBohlmann, Julia. "Early Municipal Cinema." In Early Cinema in Scotland. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420341.003.0006.
Full textRhodes, Gary D., and Robert Singer. "Editing." In Consuming Images, 129–53. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460682.003.0006.
Full textMartin, Daniel. "From the Margins to the Mainstream: Asia Extreme in 2004." In Extreme Asia, 142–62. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697458.003.0007.
Full textTierney, Dolores. "‘From Hollywood and Back’: Alfonso Cuarón’s Adventures in Genre." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0004.
Full textUlfsdotter, Boel, and Mats Björkin. "The Gothenburg International Exile Film Festival in Context." In Nordic Film Cultures and Cinemas of Elsewhere, 94–102. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0008.
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