Relevant bibliographies by topics / ERA Bouw (Firm)

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Academic literature on the topic 'ERA Bouw (Firm)'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "ERA Bouw (Firm)"

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Islam, Muhammad Sajidul, Md-Khairul Islam, and Sabbir Hasan. "Commercial Films in Bangladesh: Impact Analysis (2009-2019)." International Journal of Social, Political and Economic Research 8, no. 1 (2021): 226–35. http://dx.doi.org/10.46291/ijospervol8iss1pp226-235.

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After the independence of Bangladesh (1971), new generation film development making take a place. Bangla commercial films can be divided before liberation, post liberation and modern era. Before liberation era; A. J. Kardar, Zahir Raihan, Khan Ataur Rahman, were the commercial Bengali film makers. During the Post liberation time, we have some extra ordinary movies like Sareng Bou (1978), Surjo Dighal Bari (1979) and so on. But in the modern era definition of commercial film has got a change. From 2009 to 2019 Bangladeshi audience got difference in commercial films. But having DT (Digital Techn
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Islam, Muhammad Sajidul, Md Khairul Islam, and Sabbir Hasan. "Commercial Films in Bangladesh Impact Analysis (2009-2019)." CenRaPS Journal of Social Sciences 3, no. 1 (2021): 1–8. http://dx.doi.org/10.46291/cenraps.v3i1.60.

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After the independence of Bangladesh (1971), new generation film development making take a place. Bangla commercial films can be divided before liberation, post-liberation and the modern era. Before the liberation era; A. J. Kardar, Zahir Raihan, Khan Ataur Rahman, were the commercial Bengali filmmakers. During the Post liberation time, we have some extraordinary movies like Sareng Bou (1978), Surjo Dighal Bari (1979) and so on. But in the modern era definition of the commercial film has got a chance. From 2009 to 2019 Bangladeshi audiences got different in commercial films. But having DT (Dig
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Gómez Alonso, Carlos, Eva Álvarez Isidro, and Ana Torres Barchino. "Conversando con...Momoyo Kaijima." EGA Revista de expresión gráfica arquitectónica 22, no. 31 (2017): 12. http://dx.doi.org/10.4995/ega.2017.8861.

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<p>Momoyo Kaijima es profesora en la Facultad de Arte y Diseño de la Universidad de Tsukuba en la Prefectura de Ibaraki y profesora visitante en la ETH de Zürich, en Royal Academy of Fine Arts, en Rice School of Architecture y en Harvard GSD. A lo largo de los años, Atelier Bow Wow ha colaborado con Krešimir Rogina, arquitecto de Zagreb y socio de la firma internacional Penezic&Rogina, en la realización del Grožnjan International Summer School of Architecture, siendo Rogina el nexo indispensable para propiciar la visita de Kaijima a Valencia.</p>
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Binotto, Johannes. "Synced." NECSUS. EUROPEAN JOURNAL OF MEDIA STUDIES, no. 1 (January 1, 2022): 304–8. https://doi.org/10.5281/zenodo.7612554.

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The coupling of optics and acoustics in cinema never was a natural given, but always a construction and as such highly fragile, dependent on technical equipment, and therefore also open for experimentation. The film "La Boum" from 1980 is a particularly interesting case in point not only because it contains a surprising scene of synchronisation. But the film seems to think through the many implications and ambivalences of this process. It shows us the combination of the audible and the visual as a contradictory process that splits what we thought was unified and welds the incommensurable. It i
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Zakharov, Dmitriy Vladislavovich. "Cinema in the Phase of Private Interest." Journal of Flm Arts and Film Studies 3, no. 3 (2011): 24–40. http://dx.doi.org/10.17816/vgik3324-40.

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There is a conception in American science that the life of the American society complies with the algorithm of moods and interests. This pattern is reflected in the cinema which records the swing from "private interest" to "social unrest". The article investigates the phase of the "private interest" of 1918 - 1929, the "jazz" or "prosperity" era and is centered on analyzing the films Why Change Your Wife? (1919, Cecil Blount DeMille) and It (1927, Clarence J. Badger) with Clara Bow, the queen flapper, who has been ignored by Russian film scholars.
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Gunadi Putra, I. Gede, I. Gede Mawan, and I. Bagus Wijna Bratanatyam. "Motivation for Creating the Baris Nadewa Creation Dance in the New Normal Era." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (2022): 127–36. http://dx.doi.org/10.31091/lekesan.v5i2.2156.

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Baris Nadewa creation dance is one of the male dance creations whose existence is still relatively new in Bali. The duration of this dance is approximately 10 minutes and in each performance, this dance is accompanied by the Gong Kebyar gamelan instrument. Baris Nadewa dance is a duet dance because it is performed by two male dancers and each carries the property of a spear that looks like a bow. This dance represents the bravery and patriotism of Nakula and Sahadewa fighting on the battlefield. The creation of this dance was inspired by the characters Nakula and Sahadewa who are part of the F
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Cocker, Alan. "Malcolm Ross, journalist and photographer: The perfect war correspondent?" Pacific Journalism Review 22, no. 1 (2016): 152. http://dx.doi.org/10.24135/pjr.v22i1.39.

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Malcolm Ross was New Zealand’s first official war correspondentand from 1915 until the end of the First World War he provided copy to theNew Zealand press. His journalism has been the subject of recent academicinvestigation, but Ross had another string to his bow—he was an enthusiasticphotographer with the skill to develop his own film ‘in the field’. Itmight therefore be expected that Ross was the ideal war correspondent, anindividual who could not only write the stories, but also potentially illustratethem with photography from the battlefields. Yet by the end of the conflicthis body of phot
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Achatz, Markus, and Michael Bloech. "Starke Kinder – Schwache Eltern." merz | medien + erziehung 59, no. 2 (2015): 74–79. https://doi.org/10.21240/merz/2015.2.17.

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Einen inhaltlichen Schwerpunkt der Filme in der Sektion GENERATION der diesjährigen Internationalen Filmfestspiele in Berlin bildete häufig ein aus den Fugen geratenes Verhältnis zwischen Kindern und Eltern. Konkret wurde in vielen Produktionen das Versagen der Eltern in den Vordergrund gestellt, auf das im Gegenzug die Kinder mit Stärke, Mut und anarchischer Selbstständigkeit reagieren mussten. In einigen Produktionen fehlten die Eltern sogar gänzlich, wie in der amerikanischen Produktion Golden Kingdomvon Brian Perkins, der das Leben von vier kleinen Jungen erzählt, die als burmesische Mönch
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Düzcan, Bekir. "“Take my Moneybox”: The Symbolic Powers of the First Child Movie Stars in Early French Cinema (1906‐1916)." Sociology Lens, March 8, 2024. http://dx.doi.org/10.1111/johs.12452.

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AbstractThis paper analyzes why child film star series produced by major French production companies (Pathé, Gaumont, Eclectic, and Éclair) in the early 1900s (Bébé, Bout‐de‐Zan, Willy, and the Maria Fromet series) were received with such interest by global audiences. This period, prior to World War I, was a brief era when French cinema held significant hegemony worldwide, before Hollywood's dominance began. There are ideas suggesting that child film stars emerged with American cinema. Contrary to this, however, French producers competed fiercely in the 10 years following 1906, producing serie
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Kaur, Jasleen. "Allure of the Abroad: Tiffany & Co., Its Cultural Influence, and Consumers." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1153.

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Introduction Tiffany and Co. is an American luxury jewellery and specialty retailer with its headquarters in New York City. Each piece of jewellery, symbolically packaged in a blue box and tied with a white bow, encapsulates the brand’s unique diamond pieces, symbolic origin story, branded historical contributions and representations in culture. Cultural brands are those that live and thrive in the minds of consumers (Holt). Their brand promise inspires loyalty and trust. These brands offer experiences, products, and personalities and spark emotional connotations within consumers (Arvidsson).
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Books on the topic "ERA Bouw (Firm)"

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Graaf, Kees de. In beton gegoten: ERA Bouw : 45 jaar werken aan wederopbouw, volkshuisvesting en stedelijke vernieuwing : kroniek van een bouwbedrijf. Uitgeverij Thoth, 2009.

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Book chapters on the topic "ERA Bouw (Firm)"

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Fotiade, Ramona. "‘Montage, My Fine Care’: Realism, Surrealism and Postmodernism after Bazin." In The Major Realist Film Theorists. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402217.003.0005.

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The title of this chapter takes its cue from one of Jean-Luc Godard’s well-known articles, published in Cahiers du cinéma in 1956, which engaged with Bazin’s conception of cinematic realism in an attempt to effect a generational break with the past by proposing a revised understanding of montage, not simply as an integral part of mise-en-scène, but as a form of deliberate authorial statement and, in that sense, as a practical extension of the New Wave ideology or politique des auteurs. In highlighting Bazin’s formative influence on the New Wave directors (in particular, his relationship to Tru
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