Relevant bibliographies by topics / Entre les murs (Motion picture)

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Academic literature on the topic 'Entre les murs (Motion picture)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Entre les murs (Motion picture)"

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Figueiredo, Vera Lúcia Follain de. "A grande arte: palavra e imagem." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 42–49. http://dx.doi.org/10.17851/2317-2096.8..42-49.

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Resumo: No romance A grande arte, de Rubem Fonseca, a tensão entre as exigências do mercado editorial e a autonomia da arte resolve-se pela adoção de uma estética ambígua. No filme A grande arte, de Walter Salles Junior, a tentativa de preservar esta ambigüidade, realizada de maneira superficial, desequilibra a obra.Palavras-chave: romance policial; cinema brasileiro; mercado.Absctract: In the novel A grande arte, by Rubem Fonseca, the tension between the demands of the editorial market and the autonomy of art is resolved by the adoption of ambiguous aesthetics. In Walter Salles Junior’s motio
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GOMES, William B., Daniel ROSEMBERG, Luciano da Silva ALENCASTRO, and Thiago Gomes de CASTRO. "Reversibilidade entre percepção e expressão na experiência cinematográfica: a completação gestáltica para campo multiestável." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 14, no. 2 (2008): 161–71. http://dx.doi.org/10.18065/rag.2008v14n2.2.

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The cinematographic experience is a multistable field, which brings time, being space a perceptual illusion. How does the spectator complete a Gestalt of a film without conversational dialogue, but keeping the tonal (a probable story) and expositive (a probable context) dialogue? Twenty six undergrad students of psychology watched an exhibition of a short motion picture called “i”, directed by Paulo Zaracla. They were asked to write a reaction report, following the presentation. The obtained reports were considered as an expression of the film’s message and analyzed through out the triadic cri
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Kelly Hopfenblatt, Alejandro, and Ivan Morales. "La Circulación internacional del cine clásico argentino: El caso de la Film Society of Southern California (1939)." Aniki: Revista Portuguesa da Imagem em Movimento 9, no. 1 (2022): 202–28. http://dx.doi.org/10.14591/aniki.v9n1.845.

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En 1939, Donald Gledhill, presidente de la Southern California Film Society y secretario ejecutivo de la Academy of Motion Picture Arts and Sciences, se contactó con el Instituto Nacional de Cine argentino dando lugar al primer encuentro institucional entre el cine argentino y Hollywood. El contacto resultó en la proyección de dos films argentinos en el New Review Theater de Los Ángeles: Puerta cerrada (Luis Saslavsky, 1939) y Alas de mi patria (Carlos Borcosque, 1939). En el presente artículo proponemos reconstruir este olvidado episodio de la historia del cine (trans)nacional a partir de doc
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Mangolte, Pierre-André. "Naissance de l’industrie cinématographique: Les brevets aux États-Unis et en Europe (1895-1908)." Annales. Histoire, Sciences Sociales 61, no. 5 (2006): 1121–45. http://dx.doi.org/10.1017/s0395264900039950.

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RésuméCet article porte sur l’émergence historique de l’industrie cinématographique aux États-Unis et en Europe entre 1895 et 1908, et sur le rôle de l’institution des patents (ou « brevets d’invention ») dans l’essor et la définition des nouvelles activités économiques. Il porte aussi sur les théories et justifications économiques de l’institution. Cette période est dominée par les revendications de l’inventeur Thomas Edison, ce qui conduisit à une guerre des patents prolongée aux États-Unis qui handicapa fortement la production et donna finalement naissance à un monopole (la Motion Picture P
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Encabo, Enrique. "De la pantalla al aula: biopics de músicos y educación musical." Revista Linhas 21, no. 47 (2020): 223–39. http://dx.doi.org/10.5965/1984723821472020223.

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Son bastantes los films que a través de la fórmula del biopic (biographical motion picture) se aproximan a la vida y obra de compositores e intérpretes pertenecientes a la tradición clásica occidental. En este artículo revisamos algunas de sus características y proponemos su empleo en el aula, con el fin de pasar de su uso como simple elemento motivador a su aplicación para la mejora del aprendizaje y el desarrollo de la competencia cultural y artística. En lugar del visionado completo de estas cintas, recomendamos la selección de determinados fragmentos que conectan, además, con la estética d
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Finocchiaro, Francesco. "Photoplay Music as a Key Source for a New Historiographical Paradigm." Fontes Artis Musicae 71, no. 2 (2024): 63–84. http://dx.doi.org/10.1353/fam.2024.a933073.

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English Abstract: The notion of 'source' poses considerable problems for the study of silent film music. On the one hand, from a purely historical point of view, it is worth remembering that most of the music for the films of the silent era no longer exists. On the other hand, a vast repertoire of stock photoplay music has come down to us from the silent era, as an example of specialised publishing in the field of film music. Collections such as Kinothek, Motion Picture Moods, Filmharmonie , and many others consisted of original pieces that were not associated with a specific film but were des
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Musse, Christina Ferraz, and Ana Clara Campos dos Santos. "Memória e filmes domésticos em Super 8: a família Assis em Juiz de Fora - MG." Revista Observatório 1, no. 3 (2015): 181. http://dx.doi.org/10.20873/uft.2447-4266.2015v1n3p181.

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Neste trabalho abordamos a memória como objeto de estudo, a película cinematográfica Super 8 e os filmes domésticos. No embasamento teórico, utilizamos autores como Andreas Huyssen e Pierre Nora (memória), Roger Odin e Lila Foster (filmes domésticos). Nosso objetivo é apresentar os filmes em Super 8 feitos pelo fotógrafo Márcio Assis na década de 1970, a fim de verificar as relações entre sua narrativa oral atual por meio da gravação em áudio de seus comentários do filme, em comparação a sua narrativa visual sobre a própria família na década de 1970. Também fazemos um estudo de como os familia
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Aguair, Mateus L., and Kamran Behdinan. "Design, Prototyping, and Programming of a Bricklaying Robot." Journal of Student Science and Technology 8, no. 3 (2015). http://dx.doi.org/10.13034/jsst.v8i3.92.

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This paper presents the development of a Bricklaying Robot capable of building entire walls. This project was motivated by opportunity of automation in construction, which remains costly and inefficient. Several studies have described specialized robot for masonry works, most of them incorporating the human arm concept that requires complex programming and low productivity. In order to improve this model, an innovative concept of a short arm assembled into a lift platform was introduced in this paper. The robot was modeled in Solidworks®, followed by motion study and dynamic analysis to optimi
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Dissertations / Theses on the topic "Entre les murs (Motion picture)"

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Felix, José Carlos 1974. "Caos controlado : a tensão entre controle técnico e liberdade criativa em Mistérios e paixões e Cidade de Deus." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269968.

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Orientador: Fabio Akcelrud Durão<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-22T12:16:19Z (GMT). No. of bitstreams: 1 Felix_JoseCarlos_D.pdf: 4164030 bytes, checksum: 109f30ea5add2340905cadbf1e7bbc39 (MD5) Previous issue date: 2013<br>Resumo: Expressão mais sintomática do sistema capitalista, a indústria cultural opera em uma lógica que incorpora e harmoniza expressões estéticas antagônicas, emulando uma tensão dialética análoga às obras de arte. O cinema, dada sua natureza industrial, desponta como uma das
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Belintani, Júlia Ramiro. "Projecionistas de cinema na transição película / digital: diálogos entre um futuro desapegado e um passado que resiste." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21689.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-05T11:47:25Z No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5)<br>Made available in DSpace on 2018-12-05T11:47:25Z (GMT). No. of bitstreams: 1 Júlia Ramiro Belintani.pdf: 1644791 bytes, checksum: 109215c4c0bcff1bdea018ff4d8f8428 (MD5) Previous issue date: 2018-10-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The research has emerged from the concern about technologies that fascinate people due to their eases and possibilities and that
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Vega, Jaimerena Maria Josefina. "El campo cinematográfico español entre 1974 y 1984: instituciones, agentes y teorías." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/673695.

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A partir de la teoría de los campos artísticos de Pierre Bourdieu, nos propusimos pensar el caso de la autonomización del campo cinematográfico español. Para ello analizamos su estado heterónomo, caracterizado por una censura política y económica, por el control de los profesionales del cine a través de un sindicato único, por la vigilancia del repertorio mediante premios, calificaciones e incentivos y por la asimilación de la disidencia discursiva desde la potenciación de los cines deseados, como en el caso del Nuevo Cine español. También observamos de qué modo la creación de un público má
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Books on the topic "Entre les murs (Motion picture)"

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Àngel, Comas, and Comas Àngel, eds. De entre los muertos (Vértigo): Chinatown. Libros Dirigido, 2002.

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Hitchcock, Alfred. Vértigo/De entre los muertos: Vertigo. Paidós, 1999.

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Riva, Lucía Rodríguez. Diálogos cinematográficos entre España y Argentina. Asociación Shangrila Textos Aparte, 2019.

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Cabrol, Catherine. Entre-metteurs en scène. Collectionneur, 2002.

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Getino, Octavio. Cine argentino: Entre lo posible y lo deseable. 2nd ed. Fundación CICCUS, 2005.

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Getino, Octavio. Cine argentino: Entre lo posible y lo deseable. 2nd ed. Fundación CICCUS, 2005.

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Dugas, Lucie. Amos Gitaï entre terre et exil. Corlet, 2009.

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Fernández, Emilio C. García. El cine español entre 1896 y 1939: Historia, industria, filmografía y documentos. Ariel, 2002.

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France), Abbaye d'Ardenne (Caen, ed. Intérieur: Dehors, dedans, entre. IMEC, 2017.

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Abhervé, Séverine. Musiques de films: Nouveaux enjeux : rencontre sensible entre deux arts. Impressions nouvelles, 2014.

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