Academic literature on the topic 'North American cinema'
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Journal articles on the topic "North American cinema"
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Shah, Mudassar Hussain, Muhammad Yaqoub, and Zhang Jingwu. "Post Covid-19 Comparison between Chinese and North American Film Industry: A Systematic Review of the Year 2020 Cinema." Global Strategic & Securities Studies Review VI, no. I (2021): 11–19. http://dx.doi.org/10.31703/gsssr.2021(vi-i).02.
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This article analyzes the Chinese post-Covid-19 cinema and compares it with the developments in North American Cinema. Coronavirus disease has significant detrimental effects on the worldwide film industry, and the annual box office of major film industries has seen a severe decline. This study presents the systematic review of the comparison of Chinese and North American Cinema during the year 2020. In this study, researchers have opted for the deductive approach on secondary source data with the keywords “Post Covid-19 Cinema”, “Chinese Film Culture Industry”, “Hollywood”, “Box Office”, and “Film Academy” on google search and consider all the significant sources in this systematic review. The Findings of the study reveal that China has already overtaken North America as the global most extensive box office crown for the first time, showing that in the post-COVID-19 era, the Chinese film industry is indeed among the first to get back on its feet.
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Allen, Robert C. "Reimagining the History of the Experience of Cinema in a Post-Movie-Going Age." Media International Australia 139, no. 1 (2011): 80–87. http://dx.doi.org/10.1177/1329878x1113900111.
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As theatrical movie-going is supplanted by other modes of engaging with cinema, it becomes more apparent that one of the most striking features of the experience of cinema for a century was its sociality. Prior to the 1980s, the experience of cinema around the world involved groups of people converging upon particular places to experience together something understood to be cinema. As it emerged as a cultural industry, cinema depended upon the regular repetition of this social practice under the sign of cinema. This article explores the application of digital technologies in representing the history of the experience of cinema in one American state (North Carolina) across the first three decades of commercial cinema. Going to the Show ( www.docsouth.unc.edu/gtts ) uses data from city directories, newspapers, photographs, architectural drawings, newspaper ads and articles to recover that which is representable about the experience of movie-going in an online archive. This material is itself represented as a layer on more than 1000 digitally stitched and georeferenced map pages for 45 towns and cities in the state. What emerges is a ‘view’ of movie-going as part of the experience of urban life at a time when towns and cities in North Carolina – and across the United States – were taking on their modern character and institutions. It also affords a unique perspective on the role of race as the determinative social factor in the experience of movie-going for all North Carolinians and, by extension, millions of other Americans.
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Arruda de Barros, Gelka. "REPRESENTAÇÃO DA FEMINILIDADE POR MEIO DO STAR SYSTEMNORTE-AMERICANO NA REVISTAALTEROSA(1939-1945)." Fênix - Revista de História e Estudos Culturais 17, no. 1 (2020): 285–302. http://dx.doi.org/10.35355/0000055.
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Este artigo analisa a estratégia discursiva presente na revista Alterosa com o intuito de compreender a representação da feminilidade por meio do star systemnorte-americano, entre 1939 e 1945. A primeira seção aborda, brevemente, algumas relações entre o rádio nacional e o cinema norte-americano apresentando a construção de imagens modelo das rainhas do rádio e das estrelas de cinema. A investigação trata dos atributos e dos comportamentos desejáveis para a conformação da feminilidade voltada para a valorização da ordem conjugal. A segunda seção apresenta o entrelaçamento das noções de beleza e saúde como elementos de mobilização feminina para a prática de exercícios físicos e para o chamamento de guerra, analisando como esses discursos dirigiam a mulher para a maternidade sadia e para o cuidado com o outro.
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Benson-Allott, Caetlin. "On Platforms." Film Quarterly 73, no. 2 (2019): 66–71. http://dx.doi.org/10.1525/fq.2019.73.2.66.
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FQ columnist Caetlin Benson-Allott identifies a new, noteworthy pattern in North American cinema: independent filmmakers crafting narratives about African-American rural women struggling to survive oppressive white communities. Centering her discussion around Nia DaCosta's Little Woods (2018), Jasmin Mozaffari's Firecrackers (2018), and Tate Taylor's Ma (2019), Benson-Allott suggests that these films allow viewers to glimpse the intersections of race, gender, and geography rarely explored in mainstream media.
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Khouri, Malek. "The Radio Eye: Cinema in the North American Atlantic, 1958-1988 (review)." University of Toronto Quarterly 80, no. 2 (2011): 281–82. http://dx.doi.org/10.1353/utq.2011.0062.
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Odagiri, Takushi. "Mental (2008): Sōda Kazuhiro’s Observational Cinema." positions: asia critique 28, no. 2 (2020): 277–309. http://dx.doi.org/10.1215/10679847-8112461.
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This article examines Sōda Kazuhiro’s observational documentary, especially his second observational film, Seishin (Mental), and specifically considers its participatory methods, sociohistorical circumstances, and philosophical anthropology. Influenced by North American direct cinema of the 1960s (especially Frederick Wiseman) as well as Bronisław Malinowski’s participant observation, Sōda’s observational style not only emphasizes the self-affective nature of documentary eyes but also rejects the preconceived reality of its object. Documentary is not conceived “in the head”: unexpected discoveries, which inevitably accompany his participatory methods, define his object from an ex ante facto (before the fact) perspective. Examples of this are the contingency of the mental-bodily complex (Seishin) and self-contradictory social situations (Senkyo and Senkyo 2). Because it’s an observationalparticipatory film, Seishin responds to the sociopolitical climates of the late 2000s, especially the Japanese government’s reforms of health and medical services. Specifically, two laws were enacted while the film was in production: the 2005 Support for Independence of Persons with Disability (SIPD) Act and the 2006 Suicide Prevention Act. Furthermore, Seishin represents an anthropological (techno-ontological) standpoint similar to that of Gilbert Simondon, Miki Kiyoshi, and Ludwig Wittgenstein. This article investigates the film’s ontology, externalism, and political critique of neoliberalism in the late 2000s.
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Ayres, John D. "The Two Screens: FIDO, RFDA and Film vs. Television in Post-Second World War Britain." Journal of British Cinema and Television 14, no. 4 (2017): 504–21. http://dx.doi.org/10.3366/jbctv.2017.0391.
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This article will consider some of the key factors at play in the medium-term post-Second World War relationship between the burgeoning format of television and the steadily declining commerciality of cinema. This work charts, in detail via archival materials, the impact of the 1953 coronation on television ownership and Ealing Studios supremo Sir Michael Balcon's understanding of, and openness to, the potentialities offered by the rival media. The work also considers the establishment of the Film Industry Defence Organisation (FIDO) and Rank Organisation Chief Executive John Davis's formation of Rank Film Distributors of America (RFDA) in the late 1950s as a means of developing not only projects with international appeal (targeting particularly the North American marketplace), but also combating on the domestic front the relentlessly growing popularity and charms of the small screen.
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Strub, Whitney. "Amateur Cinema: The Rise of North American Moviemaking, 1923–1960 by Charles TeppermanAmateur Cinema: The Rise of North American Moviemaking, 1923–1960 by Charles Tepperman. Berkeley, University of California Press, 2015. xii, 364 pp. $65.00 US (cloth), $34.95 US (paper or e-book)." Canadian Journal of History 52, no. 2 (2017): 376–78. http://dx.doi.org/10.3138/cjh.ach.52.2.rev26.
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Martín García, Alicia. "Product placement as an efficient marketing tool within the media mix." Harvard Deusto Business Research 10, no. 1 (2021): 224–37. http://dx.doi.org/10.48132/hdbr.345.
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Product placement has existed in its most primitive form since the dawn of cinema. Now, due to the saturation of conventional advertising, this technique has reached its zenith, with brands appearing in an environment without competition, as a natural element of the plot. The automotive sector has been present from the beginning and soon understood the expressive possibilities that were offered. General Motors began its journey in the film industry in 1933 following an agreement with Warner. Since then, the General Motors group has had a growing presence in the film industry, which reached its peak in Transformers (2007), an unprecedented type of product placement. It is possible to identify a clear cause-effect relationship in the company’s sales, with product placement being an efficient marketing tool within the media mix, as we will show throughout this investigation. The study begins with a historical review of brand placement in North American cinema (1933-2014), then proceeds with a content analysis, following the methodology proposed by Méndiz (2001), of advertising placement in film and a structured interview with Norm Marshall, the director and founding partner of Norm Marshall & Associates, responsible for GM’s product placements.
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Belanger, Noelle, and Anna Westerstahl Stenport. "The Politics of Color in the Arctic Landscape: Blackness at the Center of Frederic Edwin Church's Aurora Borealis and the Legacy of 19th-Century Limits of Representation." ARTMargins 6, no. 2 (2017): 6–26. http://dx.doi.org/10.1162/artm_a_00174.
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American painter Frederic Edwin Church's monumental oil painting Aurora Borealis (1865) presents a stark contrast to the dominant Western tradition of representing the Arctic as monochrome and static. This article discusses how the impressive palette of Aurora Borealis and its black semi-circle in the center allow for a revisionist understanding of Church's contributions to a rich history of Arctic representation, including in an age of climate change and rapidly melting ice. The article connects Aurora Borealis to emerging lens technologies—especially photography and astronomy, and later the cinema and composite satellite imagery, to argue for circumpolar north as globally connected—then, and now. The article furthermore draws connections to the nineteenth-century trade in pigments, the interconnected routes of slavery, and cultural modes of urban modernity.
Dissertations / Theses on the topic "North American cinema"
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De, Ruiter Brian. "North American indigenous cinema and its audiences." Thesis, Swansea University, 2013. https://cronfa.swan.ac.uk/Record/cronfa42866.
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This dissertation examines the fictional and non-fictional films of Sherman Alexie, Chris Eyre and Zacharias Kunuk in the larger context of the development of North American indigenous cinema and its audiences. It examines the relation of the films to mainstream cinema and representations of North American indigenous populations by drawing on a wide range of critical responses. After the introduction, which surveys the literature in the field and demonstrates the need for the present study, Chapter One will discuss the persistence of stereotypical representations of Native Americans in cinematic texts and the manner in which they continue to influence people's perceptions of Native Americans. Chapter Twofocuses on Sherman Alexie's Smoke Signals and The Business of Fancydancing as conscious and sophisticated responses to these stereotypes which offer a new sort of dialogue regarding Coeur d 'Alene and Spokane identity. This chapter also looks at the relation of the films to the texts from which they originated. Chapter Three looks at the wide range of filmic texts directed by Chris Eyre, and his exploration of contemporary Sioux and Navajo identity, particularly the complex problems of representing spirituality, while Chapter Four focuses on shamanism as represented in the fictional filmic texts of Zacharias Kunuk. Chapter Five provides an account of the funding of indigenous cinema, and the problems that can potentially arise in production and distribution if not connected to government sources of funding. Chapter Six examines how 'A Thousand Roads' and 'Inuit Knowledge and Climate Change' utilises images connected to indigenous identity for their own political purposes. The conclusion of this dissertation will provide a brief assessment of the current state of North American indigenous cinema.
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Tapia, Daniel 1986. "A orquestra sinfônica do cinema norte-americano = o exemplo de Bernard Hermann = The orchestra of the north american cinema: the example of Bernard of Hermann." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284554.
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Previous issue date: 2012<br>Resumo: Esta pesquisa teve por finalidade demonstrar o processo pelo qual caminhou a linguagem da orquestração até sua chegada à trilha musical cinematográfica e, posteriormente, trazer à tona os processos adquiridos na música de cinema tendo a obra de Bernard Herrmann como exemplo. Ao observar a produção musical da primeira década do cinema norte americano, é possível perceber que a orquestração sinfônica do cinema é um dos frutos diretos do desenvolvimento da instrumentação e orquestração de concerto como linguagem. Para demonstrar este processo, estruturou-se uma análise cronológica das obras de compositores ligados ao contexto de produção germânico, considerado mais próximo em sua relação com a prática assumida pela música do cinema. Em um segundo momento, apresenta-se uma análise semelhante dos compositores que precedem Bernard Herrmann, considerados pilares de formação da linguagem musical no cinema. A terceira fase, por sua vez, trata da obra de Herrmann como um todo e analisa as peças compostas para Vertigo (1958) e Psycho (1960), ambas as produções dirigidas pelo cineasta Alfred Hitchcock<br>Abstract: This research has the aim of demonstrate the process on which the language of orchestration pervaded up to its arrival at film music composition and after, bring upon the processes acquired by film music using Bernard Herrmann's work as an example. On observing the musical production of the first decade of the north american cinema, it is possible to infer that the symphonic orchestration of cinema is one of the direct results of the concert music orchestration. To demonstrate this process, an cronological analysis of the works of the german composers was structured, considering this the closer model of cinema production. In advance, an equal analyses is made with the works of the cinema composers who preceeded Herrmann, considered references to the formation of the language. The third fase deals with Herrmann's work directly and analyses two of his works: Vertigo (1958) and Psycho (1960)<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música
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Murray, Susan. "The Female Social Activist in American Cinema - A New Genre: Norma Rae, Silkwood, Erin Brockovich, and North Country." Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_theses/83.
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This thesis proposes that the female social activist is a new genre in American cinema. The four films chosen in this paper: Norma Rae, Erin Brockovich, Silkwood, and North Country are argued to be representative, and form the narrative construct of this genre. The argument uses Stanley Cavell?s theory of genre composition as presented in Pursuits of Happiness: The Hollywood Comedy of Remarriage and Contesting Tears: The Hollywood Melodrama of the Unknown Woman. There is growing recognition in the American film industry that a series of films portraying women as activists addressing social concerns is forming the basis of an emerging new genre. The social concerns addressed in the above films are: environmental pollution and its toxic health effects, sexual harassment of women in traditional male work places, radioactive contamination of nuclear plant workers, and unionization of textile workers. In this genre women are presented in a new social role. Future directions of this work suggest that the female social activist genre can encompass effectively all areas of social concerns as gender is demonstratively not a barrier.
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De, Fazio Andréa Helena Puydinger [UNESP]. "Cultura, política e representações do México no cinema norte-americano: Viva Zapata! de Elia Kazan." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/93334.
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defazio_ahp_me_assis.pdf: 1692517 bytes, checksum: 7e9cb3508e8a110d3480a0f807533dbb (MD5)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>Temos no filme Viva Zapata! (1952) o eixo central desta pesquisa, através da qual buscamos iluminar as relações entre cinema, cultura e política norte-americana dos anos cinqüenta, além de questionar como este cinema forma uma visão sobre o outro – nesse caso, os mexicanos. Produzido e lançado nos Estados Unidos em meio ao macartismo – oposição e perseguição aos comunistas, decorrente da Guerra Fria – é dirigido pelo cineasta Elia Kazan e tem como roteirista John Steinbeck, importante romancista norte-americano. Suas temáticas dialogam com a cultura e a política da época, os quais buscamos resgatar através deste estudo. Ainda, sendo um filme norte-americano sobre o México, nos possibilita questionar como este país e seu povo são representados – e ir além, analisando como se formam as visões dos outros no imaginário norte-americano, visão esta que se reflete através de manifestações culturais, como o cinema<br>The film Viva Zapata! (1952) is the central axis of the present study, through which we tried to highlight the relationships among North American cinema, culture and politics in the 1950s, as well as to question how this cinema forms the view about the other – in this case, the Mexicans. Produced and launched in the United States during McCarthyism – opposition and persecution to communists due to Cold War –, that film was directed by the filmmaker Elia Kazan and had as writer John Steinbeck, an important North American novelist. Its themes dialogue with the culture and the politics of that period, which we tried to rescue through this study. In addition, it is a North-American film about Mexico, which allows us to question how this country and its people are represented – as well as to analyze how the view about the others is formed in the North American imagination, since this view is reflected through cultural manifestations such as cinema
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De, Fazio Andréa Helena Puydinger. "Cultura, política e representações do México no cinema norte-americano : Viva Zapata! de Elia Kazan /." Assis : [s.n.], 2010. http://hdl.handle.net/11449/93334.
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Orientador: Carlos Alberto Sampaio Barbosa<br>Banca: Mariana Martins Villaça<br>Banca: Carlos Eduardo Jordão Machado<br>Resumo: Temos no filme Viva Zapata! (1952) o eixo central desta pesquisa, através da qual buscamos iluminar as relações entre cinema, cultura e política norte-americana dos anos cinqüenta, além de questionar como este cinema forma uma visão sobre o outro - nesse caso, os mexicanos. Produzido e lançado nos Estados Unidos em meio ao macartismo - oposição e perseguição aos comunistas, decorrente da Guerra Fria - é dirigido pelo cineasta Elia Kazan e tem como roteirista John Steinbeck, importante romancista norte-americano. Suas temáticas dialogam com a cultura e a política da época, os quais buscamos resgatar através deste estudo. Ainda, sendo um filme norte-americano sobre o México, nos possibilita questionar como este país e seu povo são representados - e ir além, analisando como se formam as visões dos outros no imaginário norte-americano, visão esta que se reflete através de manifestações culturais, como o cinema<br>Abstract: The film Viva Zapata! (1952) is the central axis of the present study, through which we tried to highlight the relationships among North American cinema, culture and politics in the 1950s, as well as to question how this cinema forms the view about the other - in this case, the Mexicans. Produced and launched in the United States during McCarthyism - opposition and persecution to communists due to Cold War -, that film was directed by the filmmaker Elia Kazan and had as writer John Steinbeck, an important North American novelist. Its themes dialogue with the culture and the politics of that period, which we tried to rescue through this study. In addition, it is a North-American film about Mexico, which allows us to question how this country and its people are represented - as well as to analyze how the view about the others is formed in the North American imagination, since this view is reflected through cultural manifestations such as cinema<br>Mestre
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Andrade, Patrícia Mourão de. "A invenção de uma tradição: caminhos da autobiografia no cinema experimental." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-22092016-153733/.
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No final da década de 1960 e início da seguinte, dentro do contexto que se convencionou chamar de cinema experimental ou de vanguarda norte-americano, um número sem precendetes de cineastas dedicou-se à elaboração de filmes-diário ou autobiografias filmadas. Esse movimento é acompanhado, no caso de alguns dos realizadores, por um interesse por outras formas (literárias ou pictóricas) de autorre- presentação e escrita de vida e por um esforço reflexivo sobre as possibilidades, usos e potências dessas formas no cinema. Partindo do entendimento que a autobiografia transforma-se em um campo de interesses para cineastas, críticos e público apenas a partir deste momento, esta tese pretende abordar como ela é formulada e inventada por cineastas como uma forma possível para o cinema. A partir da análise de textos e filmes de três cineastas centrais para essa elaboração, notadamente Stan Brakhage, Jonas Mekas e Hollis Frampton, demonstramos o papel do gênero na transformação de um panorama artístico e criativo. De um lado, como se verá, a autobiografia afirma-se e inventa-se como uma tentativa de dialogar e responder a uma história artística que incluí o próprio cineasta, de outro, ela propõe-se como um lugar de singularização e transformação dessa história.<br>On the threshold of the seventies, the autobiographical genre emerged as one of the main tendencies of the north-american avant-garde film. This event was followed by a growing interest in other forms of self representation and life narratives in painting and literature and by an intellectual effort to reflect on the uses, qualities, possibilities and predecessors of the new form in film. Understanding that autobiography becomes a field of interest for filmmakers, critics and public alike only at this moment in time, this dissertation intends to broach how autobiography is fashioned by filmmakers into a form viable for cinema. Relying on a vast documentation of writings by Jonas Mekas, Stan Brakhage and Hollis Frampton, three filmmakers whom we consider to be central to the understanding of the genre as such, and on close readings of their autobiographical films we demonstrate the role played by the genre in the transformation of a creative and artistic environment. As will be seen, the emergence of the genre responds to a historical and aesthetic transformation in experimental films and offers itself as a peronal narrative for this changing history.
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Modesto, Ana Lucia. "Imagens do mal : a etica no cinema norte-americano contemporaneo." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280772.
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Previous issue date: 2004<br>Resumo: O trabalho tem como meta discutir a relação entre o cinema americano contemporâneo e seus possíveis efeitos éticos tomando como objeto de análise o filme O Silêncio dos Inocentes (The Silence of the Lambs, 1991, EUA, J. Demme).
O filme foi escolhido por representar um exemplo de uma nova concepção de mundo que emerge no cinema americano no final do século xx. Tendo como fundamento teórico o estudo antropológico do significado das representações do mal na cultura, o estudo demonstra as transformações que a categoria sofreu dentro da história do cinema norte-americano, analisando, por último, as relações existentes entre as formas do monstruoso no filme escolhido e a ética do consumidor no capitalismo tardio<br>Abstract: The work has as a goal to discuss the relationship between the contemporary American cinema and their possible ethical effects taking as object of analysis the film: The Silence of the Lambs, 1991, USA, by J. Demme. The film was selected
for it can represent an example of a new conception of the world that becomes manifest by the end of the XX century in the American cinema. Having as theoretical basis the anthropological study of the meaning of evil representations in the culture, the study demonstrates the transformations which the category has suffered within the history of the North American movies,
researching, in the final, the actual relationships among the forms of the monstrous in the film and the ethics of consumer in the Iate capitalism<br>Doutorado<br>Doutor em Ciências Sociais
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Anjos, Ana Paula Bianconcini. "A cidade cartão-postal no cinema de Woody Allen." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-29062016-124522/.
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Este trabalho examina a representação das cidades na obra de Woody Allen. No intuito de compreender a saída do cineasta patrimônio da cidade de Nova York para a Europa, retoma-se criticamente a questão da Era da Lista Negra, das runaway productions e dos blockbusters. Para analisar os filmes de Allen na Europa considera-se importante entender como a cidade de Nova York configura-se no início da carreira do diretor, notadamente, em filmes que estabelecem um contraponto entre o Brooklyn e Manhattan. Em seguida, examina-se a questão crítica fundamental do trabalho: o cartão-postal corporativo na Europa. Nesse sentido, propõe-se a análise dos cartões-postais de Barcelona, Paris e Roma. O filme Vicky Cristina Barcelona adquire centralidade nesta pesquisa por apresentar de maneira exemplar a paisagem postiça da cidade encarcerada sob intervenção corporativa.<br>This research examines the representation of cities in Woody Allens work. In order to understand Allens European sojourn, it discusses the Blacklist Era, the runaway production and the impact of the blockbuster productions in the industry. The work understands New York as the quintessential frame of Allens depiction of cities overseas, notably in the early films that juxtapose Brooklyn and Manhattan. Henceforth, the key critical core of this work is presented: the corporate postcard in Europe. In this sense, it proposes an analysis of the postcards of Barcelona, Paris and Rome. The film Vicky Cristina Barcelona presents in an exemplary manner the cityscape under corporate intervention.
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Cunha, Paulo Roberto Ferreira da. "American way of life : representação e consumo de um estilo de vida modelar no cinema norte-americano dos anos 1950." Escola Superior de Propaganda e Marketing, 2017. http://tede2.espm.br/handle/tede/277.
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Previous issue date: 2017-03-13<br>This thesis aims to understand the context and the articulations related to the consumption of
model images of a lifestyle pattern – named as American way of life –, through the
dissemination of mass communication, in particular, of North American cinema in the 1950‟s.
Such mediatization of images made sense to viewers and adhered to the common sense of
United States citizens. However, in parallel with the pedagogical action of the diffusion of
said model, contradictions and contextual factors that did not conform to pattern and which
continued to be presented in that society – as well as in the films – have dialogued with
diverse portions of the population and have generated verisimilitude to the referenced
displayed on the screen. In this way, after the film analysis of production launched in the
aforementioned decade, this project will have a responsibility to understand the process, the
elements, the strategies and the plural representations implemented by film industry in order
to include in the films features of the model and non-model – after all, making sense is a way
of working on the order to of customer loyalty. The research carried out through the
contemporaneousness of the theme is justified, since a significant part of the cultural and
media production of the United States in the 20th century crossed frontiers and reached the
world, taking with it the image of a country and of exemplary citizens whose form of living
should be a reference – as it still is in certain instances.<br>A presente Tese possui como objetivo central compreender o contexto e as articulações
relacionadas ao consumo de imagens modelares de um padrão de estilo de vida – denominado
como American way of life –, através da disseminação da comunicação de forma massiva, em
particular, do cinema norte-americano nos anos 1950. Tal midiatização de imagens fez
sentido para espectadores e aderiram ao senso comum dos cidadãos dos Estados Unidos.
Entretanto, em paralelo à ação pedagógica da difusão do referido modelo, contradições e
fatores contextuais que não compunham o padrão e que continuavam presentes na sociedade –
assim como nos filmes –, dialogavam com parcelas distintas da população e geravam
verossimilhança às referências exibidas na tela. Desta forma, ao final, após a realização de
análise fílmica de produções lançadas na já citada década, este projeto terá a responsabilidade
de compreender o processo, os elementos, as estratégias e as representações plurais
implementadas pela indústria cinematográfica para contemplar as características do modelo e
do não-modelo nos filmes – afinal, fazer sentido é trabalhar na ordem da manutenção de
espectadores. Justifica-se, assim, a pesquisa realizada pela contemporaneidade do tema, posto
que parte significativa da produção cultural e midiática dos Estados Unidos no Século XX
ultrapassou suas fronteiras e alcançou o mundo, levando consigo a imagem de um país e de
cidadãos exemplares, cuja forma de viver deveria ser uma referência – como ainda o é em
determinadas instâncias.
10
Sarno, Fabrizio Di. "Efeitos do Teremin no imaginário cinematográfico norte-americano." Universidade Anhembi Morumbi, 2011. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1442.
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Previous issue date: 2011-12-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>O objetivo desta pesquisa é estudar o papel do Teremin (considerado o primeiro instrumento musical eletrônico da história) na trilha sonora do cinema norteamericano. Para tanto, procuramos fazer um levantamento desde o princípio de seu uso na indústria cinematográfica dos Estados Unidos. Constatamos cinco momentos cruciais do uso do Teremin nesta cinematografia: os três primeiros compreendem, respectivamente, as décadas de 1930, 1940 e 1950; no quarto período, iniciado em 1966, o uso do instrumento entra em decadência ao perder a força de representação que vinha tendo até então; o quinto período tem início no princípio dos anos 90, neste momento o uso do instrumento é recuperado pelo cinema norte-americano sob uma nova perspectiva. O Teremin é visto de duas maneiras nesta pesquisa: 1) como instrumento melódico; 2) como produtor de efeitos sonoros. Nos dois casos procuramos entender as estratégias utilizadas
pelas trilhas sonoras que levam a representação do estranho, do desconhecido, do monstruoso. O percurso histórico do instrumento pelo cinema norte-americano aponta para motivações que o fazem lugar ideal para representar efeitos sonoros que tem seu uso associado a um território governado por fenômenos inexplicáveis. O processo de representação ao qual o Teremin foi associado acompanha um período histórico singular, que vai do nazi-fascismo, passa pela Guerra Fria e
desemboca na queda do muro de Berlim. No entanto, no início dos anos 60, o instrumento perde seu poder de sedução no momento em que, por exemplo, as viagens espaciais começam a se tornar realidade. Além de catalogar os filmes mais importantes que fazem uso do Teremin como instrumento melódico ou como instrumento responsável pela execução de efeitos sonoros, estudamos os tipos de uso do som do instrumento, para que se possa entender a sua influência no
imaginário cinematográfico norte-americano.
Books on the topic "North American cinema"
1
Orellana, Margarita De. Filming the Revolution: North American Cinema and Mexico, 1911-1917. Verso Books, 2003.
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2
Förster, Annette. Women in the Silent Cinema. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462989955.
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This magisterial book offers comprehensive accounts of the professional itineraries of three women in the silent film in the Netherlands, France and North America. Annette Förster presents a careful assessment of the long career of Dutch stage and film actress Adriënne Solser; an exploration of the stage and screen careers of French actress and filmmaker Musidora and Canadian-born actress and filmmaker Nell Shipman; an analysis of the interaction between the popular stage and the silent cinema from the perspective of women at work in both realms; fresh insights into Dutch stage and screen comedy, the French revue and the American Northwest drama of the 1910s; and much more, all grounded in a wealth of archival research.
3
Annette, Jaimes M., ed. Fantasies of the master race: Literature, cinema and the colonization of American Indians. Common Courage Press, 1992.
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4
Fantasies of the master race: Literature, cinema, and the colonization of American Indians. City Lights Books, 1998.
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5
Ty, Eleanor Rose. The politics of the visible in Asian North American narratives. University of Toronto Press, 2004.
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6
Voegtlin, David J. Catalog of the Cinara species of North America (Homoptera: Aphididae). Illinois Natural History Survey, 1988.
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7
Navajo talking picture: Cinema on native ground. University of Nebraska Press, 2012.
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8
Levi, Pavle. Jolted Images. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462983618.
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Jolted Images brings together a large cast of mainstream and avant-garde cineastes, artists, photographers, comics creators, poets, and more, to reflect on a wide range of phenomena from the realms of cinema and visual culture in the Yugoslav region, broader Europe, and North America. Far from a staid monograph, the book takes a cue from filmmaker Du¿an Makavejev, who once wrote that there are times when it is necessary "to jolt art, no matter what the outcome"; to that end, the book infuses its analysis with playful, creative transfiguration of the material at hand.
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Motherhood and representation: The mother in popular culture and melodrama. Routledge, 1992.
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10
Gene, Mailes, ed. Hollywood's other blacklist: Union struggles in the studio system. British Film Institute, 1995.
Find full textBook chapters on the topic "North American cinema"
1
Pilný, Ondřej, Ruud van den Beuken, and Ian R. Walsh. "Introduction: Cultural Convergence at Dublin’s Gate Theatre." In Cultural Convergence. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_1.
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Abstract The pioneering efforts of the Dublin Gate Theatre (est. 1928) stimulated the influx of experimental plays from the European Continent and North America to Ireland and inspired Irish theatre-makers to revolutionize their dramaturgy. This book examines the Gate’s poetics over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre and of Hollywood cinema and popular culture. It also investigates cultural exchanges pertaining to the development of Irish-language theatre and the politics of the Gate. The introduction summarizes existing research about the Gate, outlines the book’s concept of cultural convergence and its overall approach – which is intent on the exploration of wider global contexts of the work of the Gate – and outlines the argument of the authors in the subsequent chapters.
2
Lehtisalo, Anneli. "The Finnish Cinema Colony in North America, 1938−1941." In Nordic Film Cultures and Cinemas of Elsewhere. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0018.
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This chapter addresses how Finnish films were exported and travelled to the United States and Canada between 1938-1941. Although resources were scarce and Finnish films were mainly targeted to domestic audiences, there existed vibrant niche markets for Finnish films among Finnish immigrants, in particularly during the late 1930s and the early 1940s. The chapter explores the distribution and exhibition practices within these diasporic communities, and discusses the significance of the North American niche markets both for the Finnish film industry and for Finnish immigrants. After this promising start was ruptured by the Second World War, the postwar circulation of Finnish films had only a marginal economic influence. Yet Finnish films of this era offered important means for the Finnish diasporic colonies and communities to sustain and negotiate national identities.
3
Chinh, Kiều. "The Cinema Industry." In The Republic of Vietnam, 1955-1975. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501745126.003.0015.
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This chapter embarks on a history of Vietnamese cinema as it developed during the Republic of Vietnam period. Due to historical circumstances, Vietnam was deeply influenced by French culture. After the French left, the Republic of Vietnam was assisted by the United States, and American films and English-language films entered the country. In the South, with nearly a million recent migrants from the North, ethnic cultural heritage still remained its unified identity. Talents came from all regions of the country. With these proper first steps, South Vietnam in the First Republic period properly inked the very first page in the history of the national film industry. In addition, the Southern government provided support to help the private cinema industry to recover. International studios were invited into Vietnam to cooperate and help develop the private cinema industry.
4
Tierney, Dolores. "Mexico: Introduction." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0002.
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This introductory section acts as a platform for the director-centred film analyses of chapters 1, 2 and 3. As well as looking at Iñárritu, Cuarón and del Toro’s ongoing connections to Mexico’s national film culture and ‘industry,’ the section offers an account of their beginnings in feature filmmaking in Mexico and the industrial, political, legislative and production model changes propelled by neoliberalism (North American Free Trade Agreement, ticket price de-regulation, private production models) that have been instrumental in shaping both the failures (reduction in production numbers, exhibition crisis) and successes (1999-2002 critical renaissance) in Mexican cinema from 1990 to the present moment. These changes are key to understanding both Iñárritu, Cuarón and del Toro’s early features and the circumstances that propelled these directors’ periods of deterritorialized filmmaking in the United S+tates and Europe.
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Tierney, Dolores. "Epilogue: Gravity (Alfonso Cuarón 2013), Birdman (Alejandro G. Iñárritu 2014), The Revenant (G. Iñárritu 2015) and Crimson Peak (Guillermo Del Toro 2015)." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0011.
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The Epilogue draws together the major arguments of the book in its focus on art cinema realism and the use and manipulation of genres (the Western, the [space] disaster film, the horror film) in some of the recent films by the transnational auteurs: Cuarón’s Gravity, Iñárritu’s Birdman, and The Revenant and del Toro’s Crimson Peak. It looks at the shifting contexts of their production and settings now situated in the ideological, institutional and industrial complex of Hollywood studio filmmaking and located narratologically for the most part in the Global North or off planet. It explores whether it is possible to think of Gravity, Birdman, The Revenant and Crimson Peak as speaking, in the way the book has argued these directors’ previous films speak, from a position rooted in a peripheral, Global South or Latin American perspective.
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Conde, Maite. "Beyond Hollywood." In Foundational Films. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520290983.003.0006.
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This chapter examines Brazilian director Humberto Mauro’s 1927 film Thesouro Perdido, which was influenced the North American film Tol'able David, directed by Henry King in 1921. The chapter examines discussions regarding mimicry, bringing them to bear specifically on early Brazilian cinema and Brazilian film theory and what has been dismissed as its imitative relationship to Hollywood movies. Analyzing the structure and aesthetics of Mauro’s film, the chapter discusses the differences between it and its Hollywood template, and it locates this difference in the country’s material reality, that is, the remnants of traditional patriarchal structures in Brazil and their roots in slave labor.
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Hirano, Kyoko. "A Case Study of Japanese Film Exhibition in North America." In Routledge Handbook of Japanese Cinema. Routledge, 2020. http://dx.doi.org/10.4324/9781315534374-19.
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Conde, Maite. "Toward New Cinematic Foundations." In Foundational Films. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520290983.003.0012.
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Adalberto Kemeny and Rodolfo Lustig’s dependency on São Paulo’s industrial and political elite to produce São Paulo, Symphony of a Metropolis was not exceptional. By the late 1920s American films occupied 80 percent of the Brazilian market, leaving little space for local production. Without full access to the domestic market, producers could not achieve adequate returns on their investments, and consequently the process of capital accumulation within the industry was stifled, as was production. Even the temporary disruption of the coming of sound did not end Hollywood’s ubiquity in Brazil. In fact, the arrival of the talkies further entrenched US cinema’s presence. The high costs of acquiring synchronized equipment meant that local investment lagged behind Hollywood and allowed the North American industry to maintain its hegemony. By the early 1930s, North American dubbing and subtitling techniques had proved popular among Brazilian audiences, and Hollywood increased its presence in the country. In the face of North America’s dominance, domestic production was unstable and unprofitable, and local producers were mostly unable to attain a sufficient return on their investments to allow them to develop on a larger scale. ...
Conference papers on the topic "North American cinema"
1
Rincón, Aintzane. "POPULAR CINEMA AND HUMANITIES. NORTH AMERICAN RECENT HISTORY AND THE MEANINGS OF ITS DEPICTION IN FORREST GUMP (ROBERT ZEMECKIS, 1994)." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/iceri.2016.1473.
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Terezani, João Henrique Tellaroli, Myrna De Arruda Nascimento, Ralf José Castanheira Flores, and Luciana Chen. "En movimiento: las (im) posibilidades de las imágenes flagradas entre múltiples (im)previsibles." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9542.
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Como Primeiras Experiências com cinetismo aplicado como Artes Visuais ocorreu NAS décadas Primeiras do Século XX, Quando composições objetos COM e Estruturas Foram Móveis desenvolvidas que pretendem explorar, controle e multiplicai-vos Efeitos Desses elementos e gerados recursos para estética Uma ambientes vida e Espaços para Interações corpora Os espectadores que vivenciaram essas experiências, tiveram a coragem de memorizar os vestígios do jantar em movimento, sabiam que era uma imagem impossível de ser totalmente apreendida e nunca definitiva. Assim como as sensações viviam e reflexos germinavam sobre o que testemunharam, choque chocante, era impreciso e ambíguo. Entre OS Pioneiros Desse tipo de arte que encontramos ou artista Lazlo Moholy-Nagy, autor de Produções MUITAS você experimenta, cuja Abstrata Natureza serviu de referência para INTERESSADOS em explorar Manipulação dois Meios de Comunicação e Não convencionais técnicas, como Investigação estratégia Uma artístico e científico. Seus estudos sobre imagem incluíram o uso da luz como meio de gerar possíveis composições a serem apreendidas apenas em movimento. Portanto, ele explorou a fotografia eo cinema, não como um meio para produzir imagens, mas como áreas transdisciplinares, telhas, cuja altera a percepção sensorial dos observadores, o que lhes permite imaginar, através da desmaterialização de efeitos de iluminação sobreposição, como " Veja se movendo. " Este artigo apresenta dois produtos de pesquisa que os estudos tríade balé bauhausiano de Oskar Schlemmer, em diálogo com a produção de professores não ensino iniciativa centenária alemão. ELES discutidos à luz de curadores e teóricos da arte da, Taís como premissas e materialidades empirismo exploratório de Moholy-Nagy poluídas artistas contemporâneos como ou norte-americano Bill Viola, que investiga como Obter Percepção da da imprecisão tudo de Imagens em Movimento.