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Books on the topic 'Nord au cinéma'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Visions of the North, Voices of the North, Northern Culture Conference. The North in film: Papers presented at Visions of the North, Voices of the North, Northern Culture conference, held at Nipissing University, North Bay, Ontario, May 15-17, 1998. Nipissing University, 1999.

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2

Canada. Dept. of External Affairs. Culture : protocol between the Government of Canada and the Government of the United Kingdom of Great Britain and Northern Ireland amending the Films Co-Production agreement done at London on 12 September 1975, as amended on 9 July 1985, Ottawa, July 5, 1991 in force September 27, 1991 =: Culture : protocole entre le gouvernement du Canada et le gouvernement du Royaume-Uni de Grande Bretagne et d'Irlande du Nord modifiant l'accord de coproduction cinématographique fait à Londres le 12 septembre 1975 et modifié le 9 juillet 1985, Ottawa, le 5 juillet 1991 en vigueur le 27 septembre 1991. Queen's Printer for Canada = Imprimeur de la Reine pour le Canada, 1994.

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3

Gehrts, Meg. Une actrice de cinema dans la brousse du Nord-Togo (1913-1914). HAHO, 1996.

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4

Salvestroni, Simonetta. Il cinema di Dreyer e la spiritualità del Nord Europa: Giovanna d'Arco, Dies irae, Ordet. Marsilio, 2011.

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5

Il cinema di Dreyer e la spiritualità del Nord Europa: Giovanna d'Arco, Dies irae, Ordet. Marsilio, 2011.

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6

Il disegno armato: Cinema di animazione e propaganda bellica in Nord America e Gran Bretagna (1914-1945). CLUEB, 2000.

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7

Poliziano, Angelo. Coniurationis commentarium / Commentario della congiura dei Pazzi. Edited by Leandro Perini. Firenze University Press, 2012. http://dx.doi.org/10.36253/978-88-6655-119-5.

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The Pazzi Consipracy by Angelo Poliziano is the only historical work in the vast production of the famous humanist. He was an eye-witness of the tragic episode that took place in Florence in 1478 in which Giuliano de' Medici was killed and his brother Lorenzo il Magnifico wounded. This was one episode in a conflict between rival banking houses during what Fernand Braudel has defined as "the first crisis of capitalism". Behind the veil of a highly cultured form of appropriation of the classical tradition (Sallust's De Catilinae coniuratione), we can discern a ruthless realism which, in its spar

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8

Mitry, Association Jean, ed. Le Nord et le cinéma: Contributions à l'histoire du cinéma dans le Nord/Pas-de-Calais. Temps des cerises, 1998.

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9

1968-, Chartier Daniel, Nadeau Amélie 1979-, Bouchard Joë 1980-, and Université du Québec à Montréal. Centre de recherche Figura sur le texte et l'imaginaire., eds. Problématiques de l'imaginaire du Nord en littérature, cinéma et arts visuels. Université du Québec à Montréal, Centre de recherche Figura sur le texte et l'imaginaire, 2004.

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10

Anders, Toftgaard, and Hawkesworth Ian, eds. Onde del nord: Il cinema danese contemporaneo. Momentum, 2000.

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11

Cinémas d'Europe du Nord: De Fritz Lang à Lars von Trier. Éd. Mille et une nuits, 1998.

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12

Lash, Dominic. The Cinema of Disorientation. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474462778.001.0001.

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Perhaps because they are so immediately absorbing, narrative films can also be profoundly confusing and disorienting. This fascinating book neither proposes fool-proof methods for avoiding confusion, nor does it suggest that disorientation is always a virtue. Instead, it argues that the best way to come to terms with our confusion is to look closely at exactly what is confusing us, and why. At the heart of the book are original close readings of four important recent films: David Lynch's INLAND EMPIRE (2006), Leos Carax's Holy Motors (2012), Pedro Costa's Colossal Youth (2006) and Jean-Luc God

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13

Tulloch, John, and Belinda Middleweek. Intimacy and Romance in Film Theory. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0004.

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Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plas

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14

Radner, Hilary, and Alistair Fox. The Digital Challenge: From the Theater to the Gallery. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0003.

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This chapter demonstrates how Bellour’s work on video art (or what was later termed moving-image installation art), while a product of his own preoccupations, is situated firmly within more general speculations about spectatorship. Confronting this new medium, or media, as it turned out, Bellour introduced the notion of “le spectateur pensif,” the pensive spectator, or the spectator engaged in thought – who is not an entirely rational spectator, nor one who is completely sutured into the narrative as some scholars felt was the case with the spectator of classical cinema. He also sees the emerg

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15

Shumway, David R. John Sayles. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036989.003.0001.

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This chapter presents a commentary on John Sayles' film career. Sayles has long been referred to as America's leading independent filmmaker. More recently, he has been called both the grandfather and the godfather of American independent cinema. The press has also described Sayle's as a realist. Realism here means a particular kind of content, and that content is connected to a traditionally leftist position of support for workers. These are both aspects of Sayles' realism, but many of his films are neither gritty nor are focused on a particular class. The remainder of the chapter traces Sayle

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