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Books on the topic 'Films suspendus'

Author: Grafiati
Published: 25 May 2024

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1

Krzystek, Waldemar, Jerzy Radziwiłowicz, and Krystyna Janda. W zawieszeniu: Suspended. Zespoły Filmowe Zodiak, 1989.

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2

Daya, Zahir A. Electroconvection in suspended fluid films. National Library of Canada, 1996.

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3

Freely suspended liquid crystalline films. J. Wiley, 1998.

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4

Koršič, Igor. Suspended time: An analysis of Bazin's notion of objectivity of the film image. University of Stockholm], 1988.

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5

D'Aloia, Adriano. Neurofilmology of the Moving Image. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725255.

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A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The ‘tensive motifs’ of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams, and offer imaginary forms of transcendence of the limits of our human condition, along with an awareness of their insurmountable n
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6

Menotti, Gabriel. Movie Circuits. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789089648907.

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Movie Circuits: Curatorial Approaches to Cinema Technology attempts to grasp media in the making. It delves into the underbelly of cinema in order to explore how images circulate and apparatus crystallize across different material formations. The indisciplinary experience of curators and projectionists provides a means to suspend traditional film studies and engage with the medium as it happens, as a continuing, self-differing mess. From contemporary art exhibitions to pirate screenings, research and practice come together in a vibrant form of media scholarship, built from the angle of cinema’
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7

Sonin, A. A. Freely Suspended Liquid Crystalline Films. Wiley & Sons, Incorporated, John, 2000.

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8

Morris, Stephen William *. Electroconvection in a freely suspended smectic film. 1991.

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9

Tweedie, James. The Suspended Spectacle of History. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0005.

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This chapter examines both the history of the tableau vivant as an art form and its remarkable revival in the cinema of the late twentieth century. At once a quotation of an existing work of art and an always imperfect copy, the tableau vivant recognizes the persistent power of the original but transforms or parodies its source, creating something new even when it returns to old and familiar models. The chapter charts the development of a cinema of painters in the late twentieth century and identifies the tableau as one of its key strategies precisely because it exists at the threshold between
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10

Prawer, S. S. The Blue Angel (Der Blaue Engel). British Film Institute, 2002. http://dx.doi.org/10.5040/9781838712907.

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This comprehensive study reconstructs the production history of The Blue Angel (1930), showing how director Josef von Sternberg's virtuoso visual style was amply supported by an immensely talented team of actors and technicians. It also analyzes the film's aesthetics, and shows how the grave political situation in Germany reverberated in its seemingly airtight world. One of the most famous images in cinema is to be found in the film The Blue Angel (1930). Lola Lola (Marlene Dietrich), in revealing black suspenders, sits on a beer-barrel clasping an upraised knee with both hands while she leans
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11

D’Aloia, Adriano. Neurofilmology of the Moving Image. Amsterdam University Press B.V., 2021. http://dx.doi.org/10.5040/9789048561827.

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A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The 'tensive motifs' of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams and offer embodied forms of transcendence of the limits of our human condition along with an awareness of their insurmountable natu
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12

Beidler, Philip. The Vietnam War, American Remembering, and the Measure of Sacrifice, Fifty Years On. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198806516.003.0014.

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Fifty years on, the American experience of the Vietnam War seems suspended between ancient history and rapidly fading cultural memory; or perhaps consigned to the vicissitudes of that habit of negotiating between history (what happened) and memory (how it is retrospectively mythologized). This chapter considers Vietnam War writings, including Michael Herr’s Dispatches (1977), and Tim O’Brien’s The Things They Carried (1990), as well as popular music and films such as Oliver Stone’s Platoon (1986) and Robert Zemeckis’ Forrest Gump (1994), in relation to the cultural lineage of those negotiation
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13

Menotti, Gabriel. Movie Circuits. Amsterdam University Press B.V., 2019. http://dx.doi.org/10.5040/9789048561469.

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Movie Circuits: Curatorial Approaches to Cinema Technology attempts to grasp media in the making. It delves into the underbelly of cinema in order to explore how images circulate and apparatus crystallize across different material formations. The indisciplinary experience of curators and projectionists provides a means to suspend traditional film studies and engage with the medium as it happens, as a continuing, self-differing mess. From contemporary art exhibitions to pirate screenings, research and practice come together in a vibrant form of media scholarship, built from the angle of cinema’
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14

Williams, James S. Xala. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839026010.

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Xala (1974) by the pioneering Senegalese director Ousmane Sembene, was acclaimed on its release for its scorching critique of postcolonial African society, and it cemented Sembene’s status as a wholly new kind of politically engaged, pan-African, auteur film-maker. Centring on the story of businessman El Hadji and the impotence that afflicts him on his marriage to a young third wife, Xala vividly captures the cultural and political upheaval of 1970s Senegal, while suggesting the radical potential of dissent, solidarity and collective action, embodied by El Hadji’s student daughter Rama and the
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15

Phillis, Philip E. Greek Cinema and Migration, 1991-2016. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437035.001.0001.

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Greek Cinema and Migration examines the ways in which the cinema of Greece has responded to the post-1990s phenomenon of becoming a host country for immigrants. The book focuses mainly on migration from Albania that dominated social discourse and cinematic representation in the 1990s and 2000s, but also sheds light on cinematic responses to the mid-2010s ‘refugee crisis’. Placing contemporary Greek cinema within the context of European film production and transnational cinema, the book explores the fascination of Greek filmmakers with migration, mobility, borders and identity between 1991 and
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16

Shimabuku, Annmaria M. Alegal. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282661.001.0001.

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Alegal reveals modern Okinawa to be suspended in a perpetual state of exception: it is neither an official colony of Japan or the U.S., nor an equal part of the Japanese state. Today it is the site of one of the densest concentrations of U.S. military bases globally—a truly exceptional condition stemming from Japan’s abhorrence toward sexual contact around bases in its mainland that factored into securing Okinawa as a U.S. military fortress. This book merges Foucauldian biopolitics with Japanese Marxist theorizations of capitalism to trace the formation of a Japanese middle class that discipli
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17

Kumao, Heidi. Heidi Kumao: Real and Imagined. Maize Books, 2022. http://dx.doi.org/10.3998/mpub.12465060.

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Heidi Kumao: Real and Imagined documents and contextualizes narrative fabric works and animations from Kumao’s 2020 solo exhibition at the University of Michigan’s Stamps Gallery. Using fabric cutouts and stitching of everyday objects, Kumao invents a tactile visual vocabulary that distills unspoken aspects of ordinary exchanges into accessible narrative images. Weaving in her experiences as an Asian American woman, artist, and educator, Kumao creates poetic and playful open-ended visual haikus, generating a range of associations to current events, gender roles, and institutional power structu
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