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Books on the topic 'Mizrahim in motion pictures'

Author: Grafiati

Published: 26 July 2024

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1

Shaʼul, Ilan. Milḥemetarbut: Reʼayonot nedirim ʻim ha-ḳolot shel ha-mahapekah ha-mizraḥit. Ramat Gan: Afiḳ, 2022.

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2

Masakh shel shikheḥah: ʻal heʻader ḥaṿayat ha-Shoʼah shel Yehude ha-Mizraḥ ba-medyah uva-omanut be-Yiśraʼel = Forgotten from the frame : the absence of the Holocaust experiences of Mizrahim from the visual arts amd media in Israel. Tel Aviv: Resling, 2017.

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3

Parkhomovsky, Marat. Mavo le-ahavah: Ha-seraṭim shel Mosheh Mizraḥi. Yisraʼel: Liriḳah - sefarim ba-ʻarikhat ʻAlizah Tsigler, 2019.

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4

Amit, Tami. Motion pictures. Blou: Monografik, 2008.

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5

Canada. Industry, Science and Technology Canada. Motion pictures. Ottawa, Ont: Industry, Science and Technology Canada, 1991.

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6

Motion pictures. New York: Franklin Watts, 2004.

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7

Canada. Industry, Science and Technology Canada. Motion pictures. Ottawa, Ont: Industry, Science and Technology Canada, 1988.

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8

Iris, Newsom, and Library of Congress, eds. Performing arts: Motion pictures. Washington: Library of Congress, 1998.

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9

Lea, Bandy Mary, Biesenbach Klaus, and Kunst-Werke Berlin, eds. Andy Warhol: Motion pictures. Berlin: KW Institute for Contemporary Art, 2004.

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10

Hollander, Anne. Moving pictures. London: Harvard University Press, 1991.

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11

Hollander, Anne. Moving pictures. New York: Knopf, 1989.

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12

Olson, Nancy B. Cataloging motion pictures and videorecordings. Lake Crystal, Minn: Soldier Creek Press, 1991.

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13

Carroll, Noël. The philosophy of motion pictures. Malden, MA: Blackwell Pub. Ltd, 2008.

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14

Olson, Nancy B. Cataloging motion pictures and videorecordings. Lake Crystal, Minn: Soldier Creek Press, 1991.

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15

Reed, David. David Reed paintings: Motion pictures. LaJolla, CA: Museum of Contemporary Art, San Diego, 1998.

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16

Olson, Nancy B. Cataloging motion pictures and videorecordings. Lake Crystal, Minn: Soldier Creek Press, 1991.

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17

What's on at the pictures? Cheltenham: Evergreen, 1995.

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18

Loader, Jayne. Between pictures. New York: Grove Press, 1987.

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19

Alberto, Mira, ed. The cinema of Spain and Portugal. London: Wallflower, 2005.

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20

Congress, Library of, ed. Motion picture agreement. [Washington, D.C.?]: Library of Congress, 1985.

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21

1966-, Feng Peter X., and Marchetti Gina, eds. Chinese connections: Critical perspectives on film, identity and diaspora. Philadelphia PA: Temple University Press, 2008.

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22

The attractive empire: Transnational film culture in Imperial Japan. Honolulu: University of Hawai'i Press, 2008.

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23

Harris, Mark. Pictures at a Revolution. New York: Penguin Group USA, Inc., 2008.

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24

McIlroy, Brian. Irish cinema: An illustrated history. Dublin: Anna Livia Press, 1988.

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25

Qi mao qiu le. Taibei Shi: Xiao zhi tang wen hua shi ye you xian gong si, 2003.

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26

Dawar, Ramesh. Best from Bollywood. London: ibs Books, 2008.

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27

Le tour du monde du cinéma français: Histoire du cinéma français à l'étranger. Paris: Dixit, 1995.

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28

Hong Kong cinema since 1997: The post-nostalgic imagination. Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009.

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29

Unterwegs zum Nachbarn: Deutsch-polnische Filmbegegnungen. Trier: WVT, Wissenschaftlicher Verlag Trier, 2015.

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30

E, Helt Marie, ed. West German cinema since 1945: A reference handbook. Metuchen, N.J: Scarecrow Press, 1987.

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31

McIlroy, Brian. World cinema. Trowbridge: Flicks Books, 1989.

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32

Wimal, Dissanayake, ed. Indian popular cinema: A narrative of cultural change. Stoke-on-Trent, UK: Trentham, 2004.

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33

Wimal, Dissanayake, ed. Indian popular cinema: A narrative of cultural change. New Delhi: Orient Longman, 1998.

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34

Taḥawwulāt al-sīnimā al-ʻArabīyah al-muʻāṣirah: Qaḍāyā wa aflām. Dimashq: Dār Kanʻān, 2004.

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35

hÉireann, Bord Scannán na. [List of Irish films]. Galway: Bord Scannán na hÉireann, 1998.

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36

1946-, Talens Jenaro, and Zunzunegui Díez Santos, eds. Modes of representation in Spanish cinema. Minneapolis: University of Minnesota Press, 1998.

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37

Best from Bollywood. London: ibs Books, 2008.

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38

African film: Re-imagining a continent. Bloomington: Indiana University Press, 2003.

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39

Dvoeglazov, A. E. Kinopokhod: Krasnodar. Krasnodar: Tradit︠s︡ii︠a︡, 2016.

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40

Postler, Vicky. De Gaumont Italia à arte: La politique culturelle française en Europe. Paris: Connaissances et savoirs, 2005.

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41

Bahar, Shirly. Documentary Cinema in Israel-Palestine: Performance, the Body, the Home. I.B. Tauris, 2023.

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42

Documentary Cinema in Israel and Palestine: Pain, Performance and the Body. Bloomsbury Publishing Plc, 2021.

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43

Sheḥur: Ha-tasriṭ ṿe-shevaʻ ḳeriʼot ʻal ha-sereṭ. Tel-Aviv: Yediʻot aḥaronot, 2009.

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44

Shemer, Yaron. Identity, Place, and Subversion in Contemporary Mizrahi Cinema in Israel. University of Michigan Press, 2013.

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45

Identity Place and Subversion in Contemporary Mizrahi Cinema in Israel. The University of Michigan Press, 2013.

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46

Site of Amnesia : the Lost Historical Consciousness of Mizrahi Jewry: Representation of the Experience of the Jews of North Africa and the Middle East During World War II in Israeli, European and Middle Eastern Film and Television. BRILL, 2019.

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47

Donovan, Mike. Motion Pictures. Independently Published, 2019.

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48

Blackwood, Gemma, and Andrew McGregor, eds. Motion Pictures. Peter Lang CH, 2016. http://dx.doi.org/10.3726/978-3-0351-0951-1.

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49

Motion Pictures. Lang AG International Academic Publishers, Peter, 2016.

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50

Godfrey, Donald G. Jenkins’ Motion Pictures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038280.003.0005.

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Abstract:

This chapter examines C. Francis Jenkins' photographic inventions that he used to demonstrate motion pictures in a variety of applications. Despite losing in the early battle with Thomas J. Armat, Jenkins declared himself the inventor of the motion-picture projector. With the Phantoscope, he ventured into home and educational use. He would travel west, filming a Hopi Snake Dance, teach photographic expression, and invent fireproof protections for the projector. This chapter first provides an overview of Jenkins' first Phantoscopes and the patents he obtained for them before turning to his demonstrations of the use of motion pictures at home and in science. It then recounts Jenkins' use of his motion-picture camera to film the Hopi tribe in northeastern Arizona performing the Snake Dance. It also discusses the Jenkins Phantoscope Company's manufacturing of Phantoscopes for educational household use, along with Jenkins' other inventions such as the Marveloscope and a high-speed camera. Finally, the chapter considers Jenkins' promotion of the use of photography in education by teaching photographic expression.

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