Relevant bibliographies by topics / Films religieux

Contents

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

Academic literature on the topic 'Films religieux'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Films religieux"

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Bédard, Éric. "Ce passé qui ne passe pas. La grande noirceur catholique dans les films Séraphin. Un homme et son péché, Le Survenant et Aurore." Globe 11, no. 1 (February 7, 2011): 75–94. http://dx.doi.org/10.7202/1000492ar.

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Les films de genre sont généralement un excellent reflet des valeurs dominantes d’une époque. Le genre historique peut donc constituer un terrain d’investigation fort intéressant pour qui cherche à comprendre le rapport d'une époque à son passé. Les films Séraphin. Un homme et son péché (2003), Le Survenant (2005) et Aurore (2005), qui marquent un retour des « classiques » dans le cinéma québécois, ont été analysés dans cette perspective. Ces trois films témoignent d’un rapport trouble à l’héritage religieux, toujours associé à l’idée de « Grande noirceur ». L’expérience religieuse des Canadiens français y est travestie et le rôle de l’Église et de son clergé, jugé très sévèrement.
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Laugrand, Frédéric, and Galo Luna-Penna. "IsumaTV, la Babel du Grand Nord." Recherches amérindiennes au Québec 43, no. 2-3 (July 28, 2014): 31–47. http://dx.doi.org/10.7202/1026105ar.

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Connu pour ses films largement primés à travers le monde, Igloolik ISUMA Productions a mis en place un réseau virtuel qui, aujourd'hui, diffuse massivement, partout dans le monde, des images et des entretiens sur les questions autochtones. La compagnie a cependant des objectifs plus fondamentaux, comme ceux de se faire le porte-parole de multiples revendications contemporaines, tant sur le plan de la culture (préservation du patrimoine…) que sur celui de l'économie et des revendications (défense des droits des peuples face à l'exploitation minière, etc.). Cet article tente de montrer comment, dans le Grand Nord, un média électronique comme IsumaTV, joue un rôle décisif dans la mise en place de véritables connexions autochtones. Par le biais d'une analyse de contenu d'Isuma.tv, les auteurs examinent comment ces productions peuvent alimenter et trans former les images à l'échelle globale du cyberespace, alors que, pour de multiples raisons, les effets locaux demeurent plus restreints. Ils avan cent l'idée que le religieux figure au centre de ces flux dans la mesure où il donne plus de force aux revendications autochtones.
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Michelson, Annette. "The Kinetic Icon in the Work of Mourning." October 169 (August 2019): 87–104. http://dx.doi.org/10.1162/octo_a_00361.

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Among Dziga Vertov's films, Three Songs of Lenin is unique in its immediate and enduring approval within the Soviet Union. The film was commissioned for the tenth anniversary of Lenin's death and made extensive use of archival material documenting Lenin's political trajectory and his funeral. Annette Michelson offers a reading of the film's political function within the historical situation of the USSR in the 1930s, claiming that the register and scale of Three Songs of Lenin make the film a “kinetic icon” for the deceased leader. Michelson discusses similarities between religious icons and films, particularly the way in which death haunts both, and she examines the way in which the film's emphasis on the role of the female mourner enables it to transform document into monument.
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Meyer, Birgit. "Religious Remediations." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (December 3, 2005): 155–81. http://dx.doi.org/10.1558/post.v1i2_3.155.

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This article addresses the interface of video-films and Pentecostal-Charismatic Christianity in Ghana. This interface, it is argued, needs to be examined from a position that transcends the confines of film studies and religious studies and leaves behind a secularist perspective on the relationship between religion and film. On the basis of detailed ethnographic research, it is shown that, far from standing apart from the realm of religious beliefs, video-films call upon audio-visual technologies so as to remediate Pentecostal views of the invisible world around which Pentecostal-Charismatic Christianity evolves. Video-films invoke a “techno-religious realism” that addresses spectators in such a way that they authorize video representations as authentic. Transcending facile oppositions of technology and belief, media and authenticity, and entertainment and religion, video-films are shown to achieve immediacy and authenticity not at the expense of, but thanks to, media technologies and practices of remediation.
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Speelman, Gé M. "Iranian Religious Films and Inter-religious Understanding." Exchange 41, no. 2 (2012): 165–98. http://dx.doi.org/10.1163/157254312x638328.

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Abstract The article deals with two recent Iranian films, al-Masih (Teh Messiah) by Nader Talebzadeh and Maryam al-Muqaddasah (Holy Mary) by Shahriar Bahrani. Both movies are about religious characters shared by Islam and Christianity: Zechariah, Mary and Jesus. The article explores the way the filmmakers have made use of both Islamic and non-Islamic sources to tell their story, and it analyses the stylistic and narrative means they have employed. Are these films contributing to the mutual religious understanding of Christians and Muslims? If so, how? And if not, why not?
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Pick, Anat. "Film's Religious Algorithm." Paragraph 42, no. 3 (November 2019): 387–402. http://dx.doi.org/10.3366/para.2019.0313.

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This article explores Simone Weil's concept of ‘affliction’ and the black poetics of Saidiya Hartman and Fred Moten in relation to two nonfiction films: Artur Aristakisyan's Palms (1993) and Forough Farrokhzad's The House Is Black (1962). The films’ contentiousness springs from their provocative depictions of suffering, presented not as a social ill but as a defiant mode of being outside of institutional power. Supplanting the search for a cure with the search for salvation, the films transcend the socially-conscious logic of documentary in favour of a ‘religious algorithm’ of profound but recalcitrant weakness. As alternative ‘city symphonies’, Palms and The House Is Black's municipal visions complement Hartman and Moten's vivid accounts of insurgent black life in American cities.
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Shreve, Adam T. "Religious Films in Zimbabwean Contexts." International Journal of Public Theology 9, no. 2 (June 2, 2015): 193–211. http://dx.doi.org/10.1163/15697320-12341392.

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This article presents the author’s original research of a reception study of religious films amongst Shona peoples in the Gora and Chikara villages, which are located in the Mashonaland West Province of Zimbabwe. The two central questions of the author’s study are: First, in what ways might pre-existing Shona images of Jesus shape Shona responses to and interpretations of Jesus as he is portrayed in The Jesus Film (1979) and in indigenous, short, Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect these images of Jesus? This article addresses how indigenous, short Jesus films in Zimbabwe have manifested different representations of Jesus from the pervasive European image of Jesus that is perpetuated by The Jesus Film. This research is particularly relevant to current trends in media and technology, as the indigenous, short Jesus films are being distributed via mobile phones in Zimbabwe.
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Danial Hashmi, Syed, and Saqib Gulzar. "Does Diversity Matter for Religious Firms Too? Board Gender Diversity and Corporate Choices of Shar¯ı‘ah Compliant Firms." Journal of Islamic Business and Management (JIBM) 10, no. 01 (June 30, 2020): 170–87. http://dx.doi.org/10.26501/jibm/2020.1001-011.

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Felani, Herman, and Ida Rochani Adi. "Nasionalisme Religius dalam Film-Film Amerika dan Indonesia." Jurnal Komunikasi 17, no. 1 (October 31, 2022): 97–116. http://dx.doi.org/10.20885/komunikasi.vol17.iss1.art7.

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This study aimed to examine religion-based nationalism in popular American and Indonesian films. The subjects of this research were American and Indonesian films from 1915-2020. This research used a mixed qualitative and quantitative research with content analysis approach. The findings of this study indicated that the discourse of religious nationalism was constructed in popular American and Indonesian films to carry out the practice of inclusion and exclusion of certain groups. The results of the analysis showed that religious nationalism in American films was dominated by Christian nationalism, while religious nationalism in Indonesian films was dominated by discourses of Islamic nationalism. Both American and Indonesian films were against the ideology of communism, but American films were dominated by exclusive nationalism, while Indonesian films were mostly inclusive. American films also tended to show Islamophobia while Indonesian films positioned Islam more as a spirit of religious nationalism. This research has theoretical implications for increasing studies on nationalism which always appears and strengthens in films as a form of mass communication.
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Rahmatikawati, Yayan, Dadan Rusmana, and Akhmad Jauhari. "Relation Between Religion and Film: The Commodication of Quranic Verses in Indonesian Religious Films 2008-2020." International Journal of Islamic Khazanah 11, no. 2 (July 5, 2021): 103–17. http://dx.doi.org/10.15575/ijik.v11i2.12029.

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This article describes the use of Quranic verses in Indonesian religious films released in 2008-2020. This study investigates Indonesian religious movies based on the Quranic verses, the contexts, and the purposes for which they are used. The theories applied on the religious films by Rachel Dwyer (2006) and relations of religion from films by Gregory J. Watkins (2008). The method used in this research is descriptive, in which the researcher interprets the religious film based on text through content analysis. The results show that there are films that use religious interpretation, such as presenting cultural values related to religion, encourage religious life, and religious critic.
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Dissertations / Theses on the topic "Films religieux"

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Djankoff, Christine Gamita M. "Essai d'anthropologie visuelle & sonore d'un "rite élémentaire" - Film de recherche "La joie du feu" : ethnographie de la permanence d'une praxie ontologique pyrobate & de la croyance afférente en Europe orientale." Paris 7, 2003. http://www.theses.fr/2003PA070095.

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De nos jours en Europe, les nestinari en Bulgarie, les anesténarides du Nord de la Grâce dansent sur les braises, baignés de la même ferveur que celle des pyrobates de l'Espagne septentrionale et des Nyungwes de Tété en Afrique australe : Ce rituel « élémentaire » de marche ou de danse sur le feu a été abordé sous l'angle de ses origines, des mécanismes psychosociologiques, neurophysiologiques patents -mis en oeuvre pour ce qui touche a l' «Incombustibilité» et à l'insensibilisation-, des comportements individuels et collectifs, des évolutions historiques comme des significations sociales. Ce point de vue s'est reposé sur une tradition philosophique zététique & méthodologique liées au champ ethnologique. Il,s'est agi de susciter une « synergie transversale » afin de mettre en cause et impliquer directement le parallélisme des diverses branches des sciences humaines considérant le rituel et le « fait de communication » dans sa globalité, toute en construisant progressivement une réflexion à caractère témoin grâce à l'outil majeur de l'anthropologie visuelle et sonore. Son intérêt se peut donc résumer ainsi : - Permettre l'approfondissement d'une manifestation culturelle supposée non décrite ainsi,- Déterminer avec plus d'exactitude l'influence de l'environnement social, lors de leur déroulement. Cette recherche compte dans son analyse principale l'élaboration d'un document audiovisuel à portée anthropologique, portrait d'une nestinarka, inclus & soutenu en ce mémoire numérique
Nowadays in Europe, the "Nestinari" from Bulgaria, the "Anestenarides" from Northern Greece dance on burning charcoals, enlightened by the same enthusiasm as the pyrobates from septentrional Spain and the "Nyungwes of Tété" from Southern Africa : its "elementary rite of walking or dancing on fire was discussed through the perspectives of its origins, of its sociopsychological and obviously neurophysiological mechanisms — in connection with the belief of the incombustibility and insensitivity of the human body - , of its individual and collective behaviours , of its historical evolution, as well as its social meanings. This point of view relies on a zetetic methodological and philosophical tradition, related to the ethnological domain. The point was to give rise to a "transverse synergy" in order to directly involve the parallelism of the various branches of the social sciences considering the rite: and the "way of communication" as a whole, while building gradually a conception in a pilot matter thanks to visual anthropology. Its interest can thus be summarised as follows : - Allowing to deepen a assumablely not described cultural event, - Determining more accurately the influence of the social environment throughout the unfolding of this event. This research includes in its analysis the realisation of an audio-visual document in the anthropological range, the portrait of a "Nestinarka", included and argued in this digitally formatted work
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Makosso, Claude Giscard. "Le châtiment et la récompense dans les films de l'Afrique noire francophone : approches psycho-esthétique & socio-esthétique." Montpellier 3, 2007. http://www.theses.fr/2007MON30002.

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Tout en montrant la récurrence de ces notions dans l'univers africain, nous avons tenté d'analyser le sens et la fonction de cette thématique à partir d'un échantillonnade de films. Les œuvres étudiées sont fictives, documentaires, ethnographiques, sociologiques, anthropologiques, etc et concernent le XXème siècle avec une analyse stylistique sur des réalisateurs ouest-africains. Ce qui nous a permis de faire intrusion dans l'actualité du monde contemporain en traitant sur le plan filmique le fait religieux et le fait social tout en posant la question du sens, mais aussi du rapport aux religions, à la tradition, au sacré. Certains événements du film Ceddo fonr remonter les souvenirs à la conscience. On ne peut dire que cela n'a rien à voir avec la vie. Nous avons pu confronter les figures psychanalitiques de Jung et de Freud avec les thèmes de l'eau, du feu, de l'arbre et du soleil. Les deux approches servant de méthodologie sont des sortes de diagnostic du cinéma africain. L'objectif visé n'étant autre que de le distancier pour le rendre à sa complexité
While showing the recurrence of the concepts (punishment/reward) in the african universe, we tried to analyze the direction and the function of this set of themes starting from a film sampling. Our effort in the company of reading is an effort of interpretation and thus of creation from where the theory which we baptized: the châtirécompense. Studied works are varied and relate to the Xxème century with a stylistic analysis on West african realizers. By treating on the filmic level the religious fact and the social fact while raising the question of the direction, but also of the report/ratio to the monk, the tradition, with crowned. Certain events of film CEDDO make go up the memories with the conscience. One cannot say that that has nothing to do with the life. We could confront the psychoanalytical figures of the Jung and Freud with the topics of water, fire, the tree and the sund. By initially instrumentalisant the topics by assumptions (philosophical, moral, sociological, anthropological, ethnological and cinematographical) we then supported our reflexion by the analysis of the dialogues while elucidating so much is little, the images, the specific forms of accounts/tales of griots will bambara or mandingue and the essential truths contained in the myths and rites of certain filmic accounts
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Bleuzen, Brigitte. "Religieux en banlieues : sociologie d'un institut religieux de 1940 à 2003 (l'Institut des Fils de la Charité)." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0082.

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Passer d'une situation de relative domination institutionnelle à celui de simple partenaire dans un monde devenu à la fois pluri-culturel et pluri-confessionnel, implique, pour les religieux, la recherche constante de « communautés pertinentes pour l'action collective ». Après les œuvres, puis les syndicats et partis politiques ce furent les associations de chômeurs et petits collectifs d'engagement dans les cités « de relégation ». Les religieux oscillent entre la mise en valeur de leur propre singularité et l'inscription dans une mémoire collective. Une sociologie de la subjectivation propose une typologie de profils différenciés. L'être pour l'histoire construit sa relation au monde sur la base de l'antagonisme dans le but de créer un homme nouveau. L'être pour le monde construit sa présence au monde en intégrant l'altérité et le paradoxe. L'être pour être construit son être au monde dans une « fidélité à lui-même ». Face à cette individualisation des pratiques, les religieux mobilisent la mémoire de leur fondateur pour identifier des ressources symboliques qui permettent de justifier l'action présente et d'engager l'avenir. Diverses « lignées de témoins » émergent alors pour produire la mémoire collective, un « Nous » à la fois pluriel et différencié
The transition from a situation of relative institutional domination to that of a simple association-based partnership in a world that has become both multi-cultural and multi-denominational implies, for the men of faith, the constant quest for suitable communities in wich to promote social action going from charitable organisations unions and political parties as well as unemployement associations and grass roots movements situated in the cités "suburbs of exclusion". The sociology of subjectivity proposes differentiated profile typologies : The being of history who constructs his relation to the world through antagonism with the aim of creating a new man. The being of the world builds his wordly presence through the integration of otherness and paradox. The being for the being conceives of his being in the world through a "faithfull to himself" and this, in all circumstances. Confronted by this individualism of pratice, the priests explore the memory of their founder in order to identify symbolic resources thus enabling them to justify the present action and their commitments for the future. Diverse "families of references" emerge to produce a "We", collective memory, that is both plural and differentiated
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Agar, Bruno. "La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna, Truth or Dare, 1991 ; I'm Going to Tell You a Secret, 2005 ; I Am Because We Are, 2008." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLE060/document.

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La thèse « La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna : Truth or Dare, 1991, I’m Going to Tell You a Secret, 2005, I Am Because We Are, 2008 » s'intéresse à la façon dont la culture populaire contemporaine utilise des concepts et des outils originaires des domaines du religieux et du politique pour s'exprimer et exercer son influence dans la société. La longévité de la carrière de la chanteuse Madonna fait de son corpus de travail un lieu privilégié pour saisir et analyser l'emploi de tels concepts depuis les années 1990, et offre ainsi l'occasion de mieux comprendre les formes du contemporain et les enjeux de la culture populaire
This dissertation deals with the ways in which the contemporary popular culture uses concepts and tools coming from religion and politics in order to exert some influence on our society. The length of American singer Madonna’s career makes her decades-long artistic expression a privileged locus where such concepts can be grasped and analysed, starting in the 1990’s. This provides the opportunity to better understand the means of expression in our contemporary world, together with what is at stake in popular culture
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Shreve, Adam Terrence. "Framing the sacred : an analysis of religious films in Zimbabwe." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22006.

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This is a study of the production, content, distribution, and reception of different religious films in Zimbabwe, with an emphasis on the audience’s initial reception of the films. Informants’ self-identified religious beliefs and their reception of these selected films are analyzed primarily by using qualitative methods to understand better the interplay between film and religion in Zimbabwe. The films studied in this research are The Jesus Film (1979) created by Campus Crusade for Christ and indigenous, short Jesus films created locally in Zimbabwe in 2012. In order to answer the central research questions of this study, two main approaches are employed: the first is a holistic approach to the analysis of these films. The primary question within this approach is: in what ways do the production, content, and distribution of The Jesus Film and indigenous, short Jesus films affect the reception of the films among informants in Zimbabwe today? The second approach specifically addresses the interchange between the audience members’ self-identified religious beliefs and their reception of the films. There are two central research questions within this approach. First, in what ways may pre-existing perceptions of Jesus shape informants’ responses to and interpretations of Jesus as he is portrayed in The Jesus Film and in indigenous, short Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect those perceptions of Jesus? Based upon the careful analysis of the original data that emerges from the field work of this research, the conclusion provides a series of answers to these questions, revealing new insights into the interplay of film and religion in Zimbabwe.
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Fitting, Jessica. "Attack of the Fallen! Cinematic Portrayals of Fallen Angels in Post 9/11 Science Fiction Film." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/pitzer_theses/2.

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Abstract: The science fiction films which feature the angel Gabriel (The Prophecy (1995), Van Helsing (2004), Constantine (2005), Gabriel (2007), and Legion (2010)) represent a trend in exploring specific socio-cultural issues of America. All of these films explore fears over the loss of faith in American culture in a post 9/11 society. They are comparable to the ways in which science fiction films of the 1950’s addressed fears of the Cold War. By utilizing the alien invasion plot structure from the 50’s, contemporary plots have a pre-defined structure and film language in which to explore the themes of a crisis of faith. The fallen angels featured in all these films have their textual basis in the apocalyptic Jewish text of 1 Enoch, which presents an alternate origin of evil tale to the one found in the Christian Bible, which attributes to wicked fallen angels and provides the religious archetypal themes, moral basis and story ark for the fallen angels of the films. Furthermore, the films evoke an “uncanny Other” through the use of the angel Gabriel, who is a familiar Christian figure but who is uncanny in his modern portrayals, allowing frightening fears of the loss of faith and Christian identity to be explored through a familiar figure. Finally, the fears of encountering a “Muslim Other” in a post 9/11 world, and the millennial fears of uncertainty, are the cultural factors that lead to this crisis of faith present in all of these films.
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Solomon, Evan 1968. "The cinematic experience and popular religion : understanding the religious implications of a cult film." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22503.

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An examination of the Rocky Horror Picture Show illustrates the various ways in which the cinema is closely linked to religious experience. The audience participates in the narrative of the film on both conscious and unconscious levels in the same way as the ancients participated in their myths during ritual ceremonies. Moreover, the audience shifts its mode of cognition in order to appreciate as truth the fantastic events which occur both on and off the screen. Finally, I argue that cult films function as parable in dominant cultures and therefore as primary manifestations of the "counter-civil religion". In this way secular films have more profound religious implications than is at first apparent.
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Andersson, Emma. "Islam på film : En undersökning om framställningen av muslimer på film." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-40934.

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Producing religion on film is not new and investigating the production of religion on film has also been done before. Popular culture has never been so present in our everyday life as it is today, therefore the interest in popular culture is big. This qualitative content analysis examines how Muslims are produced on film. The films used in the survey are: American Sniper, The Hurt Locker, Not without my daughter and Desert flower. Previous research on the subject shows that films generally produce a stereotypical image of Muslims. Researchers argue that instead of showing that culture and individual may be the reason for some opinions or ways the angled the films to make it seem that everything has to do with Islam. The implicit message is then that only Islam is the cause of the Muslim mindset and action. The results of my survey are the same results as previous research shows, Muslims are stereotypically produced, women wear veil and men are evil and aggressive.
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Radovic, Milja. "Cinematic representations of nationalist-religious ideology in Serbian films during the 1990s." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/7985.

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This thesis is a critical exploration of Serbian film during the 1990s and its potential to provide a critique of the regime of Slobodan Milosevic. In this dissertation I focus upon how selected films provide insight into the ideological discourse of the 1990s within the Serbian socio-political and cultural context. I discuss a range of Serbian films produced during the 1990s, and I analyse in detail several films, in particular Pretty Village, Pretty Flame (Lepa sela, lepo gore, Srdjan Dragojevic, 1995) and Wounds (Rane, Srdjan Dragojevic, 1998), in which I focus on the depiction of nationalist and religious elements in the films. I analyse cinematic representations of the nationalist-religious ideology, its characteristics, impacts and promotion. On the basis of this analysis I consider the extent to which these cinematic representations are subversive. My dissertation has seven chapters. In chapter 1, which is an introduction to the thesis, I state my research questions and methodology. In chapter 2 I discuss the research context and I consider literature relevant to my research. Since I am basing my research upon different fields, I divide this chapter into three parts: the first one is devoted to the field of film and religion in which I position this study; the second part is on the literature that I used for the exploration of the socio-political context of the 1990s; and the last part is devoted to literature written on Balkan, Yugoslav and Serbian cinema. In chapter 3 I provide an analysis of the Serbian socio-cultural and political context of the 1990s. Chapter 3 is divided into eight parts, in which I primarily focus on the creation, characteristics and impacts of the nationalist-religious ideology. This discussion includes an analysis of the interaction between the Church and the state in the promotion of this ideological discourse. This chapter is important for the further analysis of Serbian film, its contextualization, and understanding the main issues which films communicated. In chapter 4 I analyse Serbian films produced during the 1990s. In the first part of this chapter, and for the purpose of contextualization of Serbian film, I first briefly discuss the cinematic tradition of former Yugoslavia: the Black Wave movement. I move on to discuss the cinematic context of the 1990s and the films produced over this period of time. I particularly focus on several films which dealt with the political-ideological context of the 1990s. I discuss the most significant films which dealt with the war, violence, ideology and the collapse of Serbian society under the Milosevic regime. The aim of this chapter is to provide a cinematic context for the analysed films and a clearer understanding of Serbian film of the 1990s as politically engaged cinema. Chapter 5 is devoted to the film Pretty Village, Pretty Flame while in chapter 6 I analyse the film Wounds. I analyse these two films separately because of their unique depictions of the nationalist-religious ideology. Both chapters are structured the same way and are divided into two major parts. In the first part of each chapter I consider the film's plot, its genre and its production, as well as discussing the film's critical reception. In the second part of each chapter I analyse the film narrative and images. At the end of each chapter I discuss the results of my analysis. Chapter 7 is the last chapter of my thesis and is devoted to the conclusion. In this final chapter I discuss the findings based on the cinematic and contextual analysis in the previous chapters. As part of my final remarks, I outline the contributions this study has made and future research that can be developed on the basis of this thesis.
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Ginach, Erich Lie. "Discurso, silenciamento e alteração material no filme Deus e Brasileiro." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268930.

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Orientador: Suzy Lagazzi-Rodrigues
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Résumé: Cette recherche, prenant comme référentiel théorique l¿Analyse du discours de la ligne matérialiste, avec le film Dieu est Brésilien s¿est proposée à apporter à la pratique analytique la matérialité du cinéma, en prenant comme approche les scènes dans lesquelles l¿accord entre les interventions divines et les changements filmiques sont traversés par le silence. Dans ces extraits de l¿intrigue, Dieu entre en contact direct avec les humains, produisant des interventions de différents ordres. Les changements filmiques marqués sont caractérisés par caméra lente ou rapide, introduction d¿effet visuel et sonore, suppression dês bruits et remplissage de l¿espace sonore avec de la musique. Cependant, deux diferentes relations de sens sont distingées dans le corpus: d¿un côté par des démonstrations de puissance divine face à l¿insolence des mortels Taoca et Quinca das Mulas, un effet disjonctif est là produit; d¿un autre côté, les interventions pacifiques et humanisées de Dieu dans lês scènes avec la jeune femme Madá produisent un effet conjonctif. Dans les deux groupes de relations certains sens ne sont formulées pas, ce qui se marque à la surface textuelle sous la forme de suspension de l¿interlocution des personnages. De sorte que la nature du silence dans l¿ensemble de scènes soit comprise, il a été nécessaire de renvoyer les formulations ¿ comprenant les images, les gestes, la musique, lês bruits, les mots ¿ aux interdiscours ou mémoire discursive. Ce travail a montré des déplacements de sens dans la position du devin dans la formation discursive religieuse
Resumo: Esta pesquisa, tomando como referencial teórico a Análise de Discurso de linha materialista, com o filme Deus é Brasileiro se dispôs a trazer para a prática analítica a materialidade do cinema, tendo como enfoque cenas nas quais é regular a concomitância entre intervenções divinas e alterações fílmicas atravessadas de silenciamentos. Nesses trechos do enredo, Deus entra em contato direto com os humanos, produzindo intervenções de diferentes ordens. As alterações fílmicas aí marcadas se caracterizam por câmera rápida ou lenta, introdução de efeitos visuais e sonoros, supressão de ruídos e preenchimento do espaço sonoro por música. No entanto, distinguem-se no corpus dois recortes, definidos segundo diferentes relações de sentidos inscritas nas cenas: de um lado, com as demonstrações do poder divino diante da insolência dos mortais Taoca e Quinca das Mulas, produz-se um efeito disjuntivo; de outro, as intervenções pacíficas e humanizadas de Deus nas cenas com a moça Madá produzem um efeito conjuntivo. Em ambos os recortes certos sentidos são silenciados, o que se marca na superfície textual sob a forma da suspensão da interlocução dos personagens. Para que se compreendesse a natureza do processo de silenciamento no conjunto de cenas foi preciso remeter as formulações ¿ incluindo as imagens, os gestos, a música, os sons, as palavras ¿ ao interdiscurso ou memória discursiva. Este trabalho mostrou deslizes de sentidos na posição do divino na formação discursiva religiosa
Mestrado
Mestre em Linguística
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Books on the topic "Films religieux"

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George, Aichele, and Walsh Richard G, eds. Screening scripture: Intertextual connections between scripture and film. Harrisburg, Pa: Trinity Press International, 2002.

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Reel spirituality: Theology and film in dialogue. Grand Rapids, Mich: Baker Books, 2000.

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Faith and film: Theological themes at the cinema. St. Louis, MO: Chalice Press, 2000.

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Forshey, Gerald Eugene. American religious and biblical spectaculars. Westport, Conn: Praeger, 1992.

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R, May John, ed. New image of religious film. Kansas City, MO: Sheed & Ward, 1997.

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Hahn, Johan G. Over religieuze films gesproken: Het verschijnsel "religieuze film," theologische achtergronden en praktische bruikbaarheid in katechese en pastoraat. Hilversum: Gooi & Sticht, 1987.

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1964-, Porter Jennifer E., and McLaren Darcee L. 1965-, eds. Star trek and sacred ground: Explorations of Star trek, religion, and American culture. Albany, N.Y: State University of New York Press, 1999.

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Seeing and believing: Religion and values in the movies. Boston: Beacon Press, 1996.

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1952-, Davis Tim, ed. Divine images: History of Jesus on the screen. New York: Carol Publishing, 1992.

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MacDonald, Alan. Films in close-up: Getting the most from film and video. Leicester, England: Frameworks, 1991.

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Book chapters on the topic "Films religieux"

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Dimitrova, Diana. "Religious Othering in Hindi Films." In Religious Othering, 164–73. London: Routledge, 2022. http://dx.doi.org/10.4324/b22926-12.

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Resnick, David. "Religious Education." In Representing Education in Film, 95–113. New York: Palgrave Macmillan US, 2018. http://dx.doi.org/10.1057/978-1-137-59929-2_6.

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Hamner, M. Gail. "Religious Realism." In Imaging Religion in Film, 133–41. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9781137013248_5.

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Fleming, Chris. "Resurgent Religious Themes in Contemporary Film." In The Palgrave Handbook of Mimetic Theory and Religion, 525–30. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-53825-3_69.

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Crawford, Ashley. "Dualism: An Exploration of Good and Evil via David Lynch’s Films." In Religious Imaging in Millennialist America, 55–99. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99172-6_3.

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Crawford, Ashley. "Delusion: On Mormon and Masonic Symbolism in Matthew Barney’s CREMASTER Films." In Religious Imaging in Millennialist America, 101–58. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99172-6_4.

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Mäder, Marie-Therese. "In Search of Orientation in Cinematic Spaces: The Journey Motif in Fiction Film from a Transdisciplinary Perspective of Film and Religious Studies." In Religious Representation in Place, 159–76. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137342683_12.

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Morag, Raya. "The New Religious Wave in Israeli Documentary Cinema." In A Companion to Contemporary Documentary Film, 366–83. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118884584.ch17.

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Rubenfeld, Sheldon, and Daniel P. Sulmasy. "Physician-Assisted Suicide, Euthanasia, and Bioethics in Nazi and Contemporary Cinema." In The International Library of Bioethics, 173–208. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-01987-6_10.

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AbstractToday, physician-assisted suicide and/or euthanasia are legal in several European countries, Canada, several jurisdictions in the United States and Australia, and may soon become legal in many more jurisdictions. While traditional Hippocratic and religious medical ethics have long opposed these practices, contemporary culture and politics have slowly weakened opposition to physician-assisted suicide and euthanasia. Our chapter examines how assisted suicide and euthanasia have been presented in cinema, one of the most powerful influences on culture, by Nazi propagandists during the German Third Reich and by Western filmmakers since the end of World War II.Almost all contemporary films about assisted suicide and euthanasia, including six winners of Academy Awards, promote these practices as did Ich klage an (I Accuse) (1941), the best and archetypal Nazi feature film about euthanasia. The bioethical justifications of assisted suicide or euthanasia in both Ich klage an and contemporary films are strikingly similar: showing mercy; avoiding fear and/or disgust; equating loss of capability with loss of a reason to live; enabling self-determination and the right-to-die; conflating voluntary with involuntary and nonvoluntary euthanasia; and casting opposition as out-of-date traditionalism. Economics and eugenics, two powerful arguments for euthanasia during the Third Reich, are not highlighted in Ich klage an and are only obliquely mentioned in contemporary cinema. One dramatic difference in the cinema of the two periods is the prominence of medical professionals in Ich klage an and their conspicuous absence in contemporary films about assisted suicide and euthanasia. A discussion of the medical ethos of the two time periods reveals how cinema both reflects and influences the growing acceptance of assisted suicide and euthanasia.
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Dunlop, John B. "Religious Currents in Contemporary Soviet Literature and Film." In Church, Nation and State in Russia and Ukraine, 333–48. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21566-9_19.

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Conference papers on the topic "Films religieux"

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Rositama, Whida, and Asni Furaida. "Seong Gi Hun’s Religiosity Represented in Squid Game Film Series." In International Symposium on Religious Literature and Heritage (ISLAGE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220206.027.

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Liubimova, O. V. "Use of film and video materials in educational practice teaching religious disciplines." In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/lj-04-2018-11.

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Usta, Emine Ebru. "The Effect of Culture on Economic Development and Turkey-Russia Economic Relations." In International Conference on Eurasian Economies. Eurasian Economists Association, 2013. http://dx.doi.org/10.36880/c04.00647.

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Globalization is worldwide integration of economical ,cultural,political,religious and social system.The incremental competitive conditions of nowadays make the firms not only analysis the other countries economic or political system but also cultural,religious and social systems. In this respect for globalization world , it is sure that culture and economy get the crucial role at the inter state relations.At the base of turkey and Russia also lays this dialog.For this reason in this study it is aimed that with current parameters tried to explain after diagnosis in general means the effects of culture on economical developments especially after 2001 economic recession- lives important regulation period in which known power transition world economy -Turkey,takes place in the developing countries, with Russia Federation ,important member of ascending market economy.
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Pujante González, Domingo. "Rites et rythmes de l'eau dans Mossane de Safi Faye." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3107.

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L’histoire de Mossane (1996) de la réalisatrice sénégalaise Safi Faye (1943-) se déroule en pays Sérère, à Mbissel, entre mer et savane, où les traditions et les rites religieux marquent le rythme de la vie du village. Le film s’ouvre et se termine par le même mouvement de la caméra autour de la belle Mossane dans l’eau. En effet, l’eau est un composant primordial de la narration filmique mais elle possède une valeur symbolique ambivalente, toujours en transition entre la vie et la mort. L’élément aquatique est montré comme un bien précieux dans cette région africaine, pouvant, toutefois, être prémonitoire d’une fin funeste. Le film est donc ponctué d’images où l’eau est très présente : dans la beauté des paysages de cette branche de mer à proximité du village, dans les rituels des bains des femmes ou dans le puits au milieu des terres arides où d’autres femmes vont la chercher pour l’apporter au hameau. Nous analyserons cette riche présence de l’eau marquant non seulement la mémoire collective et les rythmes de la communauté dans des espaces naturels mais également les rituels intimes où les femmes nues s’ouvrent aux désirs et à la sexualité.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3107
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Chakim, Sulkhan, Nawawi, Uus Uswatussolikah, and Moh Roqib. "Intersectionality of Gender and Religious Politics in the Humanitarian Discourse of Ayat-Ayat Cinta Film." In 1st Borobudur International Symposium on Humanities, Economics and Social Sciences (BIS-HESS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200529.211.

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Shajani, Nafiseh. "MILLENNIAL REPRESENTATIONS OF MEDIEVAL RELIGIOUS SCHISM IN WESTERN MEDIA: An Iconographic Analysis of Dante�s Inferno 28 and the Twenty-First Century Films Dracula Untold and Kingdom of Heaven." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s06.11.

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Reports on the topic "Films religieux"

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Baker, James, and Sofya Shahab. Preserving Communities' Heritage: A Workbook for Heritage Capturers. Institute of Development Studies (IDS), November 2021. http://dx.doi.org/10.19088/creid.2021.006.

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This is a practical workbook to guide local communities and heritage gatherers through the process of capturing and storing their heritage for future generations. Through initiatives with the British Academy and the Coalition for Religious Equality and Inclusive Development (CREID), the Institute of Development Studies (IDS) has been working with young people in Egypt, Iraq and Syria to capture their oral heritage, so that it may be preserved for future generations. Alongside life history interviews and topic interviews - which cover particular aspects of communities’ heritage - a key component of this heritage preservation is how these records will be stored. Thinking about the language and accessibility of digital archiving practices, this workbook is a practical guide to capturing and storing “heritage harvests”, including community interviews, photographs, and short films.
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