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Journal articles on the topic 'Technologie au cinéma'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Gaudreault, André, and Martin Lefebvre. "Cinéma et technologie." Recherches sémiotiques 31, no. 1-2-3 (2011): 3. http://dx.doi.org/10.7202/1027437ar.

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Albera, François. "Thérèse Giraud, Cinéma et technologie." 1895, no. 42 (February 1, 2004): 154–58. http://dx.doi.org/10.4000/1895.1432.

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3

Slock, Ken. "Philosophie de la technologie et esthétique du cinéma." Chiasmi International 18 (2016): 277–92. http://dx.doi.org/10.5840/chiasmi20161825.

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Raynauld, Isabelle. "Le cinématographe comme nouvelle technologie." Cinémas 14, no. 1 (2004): 117–28. http://dx.doi.org/10.7202/008960ar.

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Résumé La « découverte » qui fonde l’avènement d’un média soulève souvent un plus grand intérêt que le contenu transmis par le nouveau média lui-même. En portant son attention sur le cinéma et le multimédia, cet article évalue les impacts de l’avènement d’une technologie nouvelle, en privilégiant une approche comparative et diachronique. On y propose une comparaison entre films des premiers temps et productions interactives récentes, assortie d’une réflexion sur la transparence et l’opacité des médias.

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Houillère, Jérémy. "Colloque « La Magie des effets spéciaux. Cinéma – technologie – réception »." 1895, no. 73 (September 1, 2014): 165–67. http://dx.doi.org/10.4000/1895.4845.

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6

Berthomieu, Pierre. "Le cinéma américain et le parc jurassique : technologie mystique." Revue Française d'Etudes Américaines 76, no. 1 (1998): 84–92. http://dx.doi.org/10.3406/rfea.1998.1731.

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Kościński, Jędrzej. "Rewolucja kina dokumentalnego w Quebecu. O The Days Before Christmas Stanleya Jacksona, Wolfa Koeniga i Terence’a Macartneya-Filgate’a oraz Les Raquetteurs Michela Braulta i Gilles’a Groulx’a." Media - Kultura - Komunikacja Społeczna 2, no. 14 (2019): 57–75. http://dx.doi.org/10.31648/mkks.2898.

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Tematem artykułu jest początek nowego nurtu w filmie dokumentalnym, umożliwionego przez nowe technologie, w którym rejestrowana rzeczywistość jest możliwie niezainscenizowana, a dźwięk jest zasadniczo zsynchronizowany z obrazem. Autor stwierdza, że podział tego nurtu na wariant amerykański (direct cinema) i francuski (cinéma-vérité) jest niesprawiedliwy dla twórców z Kanady, w których upatruje rzeczywistych rewolucjonistów formuły dokumentu. Uzasadnia to analizą dwóch filmów powstałych w prowincji Quebec – The Days Before Christmas (1958, reż. Stanley Jackson, Wolf Koenig i Terence Macartney-F

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Meininger, Sylvestre. "Terminator 2. Technologie et identité sexuelle." Cinémas 5, no. 3 (2011): 131–50. http://dx.doi.org/10.7202/1001151ar.

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À travers l’analyse de la représentation des deux machines créées par le film Terminator 2 (Cameron, 1992), ce travail se propose d’exposer et de comprendre le rapport entre technologie et masculinité dans le cinéma hollywoodien. Ce rapport particulier prenant ses origines au plus profond de la culture occidentale, nous nous appuierons sur l’étude d’un des produits les plus extrêmes de cette culture : le fascisme en Allemagne entre les deux guerres. La perception fasciste des corps, masculin et féminin nous permettra en effet de comprendre les angoisses et les désirs exprimés par la forme des

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Couchot, Edmond. "Au-delà du cinéma. Image et temps numériques." Cinémas 5, no. 1-2 (2011): 69–80. http://dx.doi.org/10.7202/1001005ar.

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L’auteur, en retraçant les statuts temporels du cinéma (re-présentation), des émissions en « direct » (sur-présentation), avance l’idée que l’image numérique (simulation) se distingue essentiellement de celle du cinéma et de la télévision par son caractère dialogique ou interactif. Sont ici mises au jeu deux grandes catégories de temps relatives à l’image, le temps du voir et le temps du faire. L’auteur interroge la technologie numérique en tant qu’elle peut être représentative d’une nouvelle esthétique dans laquelle le temps est uchronique et où l’acte de figuration complet n’a lieu que par l

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Barnier, Martin. "Réception critique et historique des technologies du son au cinéma 1." Cinémas 24, no. 1 (2014): 35–57. http://dx.doi.org/10.7202/1023109ar.

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Autour de 1900, les discours des journalistes et inventeurs concernant les technologies du son cinématographique sont enthousiastes et prophétiques. Cet article analyse l’évolution des écrits, journalistiques puis historiques, concernant ces techniques du son. Le lyrisme associé aux images sonorisées avant 1914 pousse les journalistes vers un langage purement promotionnel. On y trouve une fascination pour « l’illusion » devant des « personnages bien vivants ». Ces exploits techniques ont longtemps été oubliés par les historiens, alors que les séances étaient largement relayées par la presse de

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Kessler, Frank, and Sabine Lenk. "L’écriture de l’histoire au présent. Débuts de l’historiographie du cinéma." Cinémas 21, no. 2-3 (2011): 27–47. http://dx.doi.org/10.7202/1005583ar.

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Dès la fin du xixe siècle, on trouve de nombreux textes qui abordent la cinématographie comme un objet ayant une histoire. Ainsi, les photographies animées sont inscrites dans une, voire plusieurs histoires qui, d’une part, les rattachent à des découvertes techniques ou scientifiques du passé et, d’autre part, en esquissent l’évolution à la fois technique et, parfois du moins, formelle. Les auteurs de l’article qui suit cherchent à distinguer quatre dimensions dans ces écrits. Ces dimensions concernent, respectivement, l’établissement d’une généalogie, les querelles de priorité, l’incorporatio

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Arsenault, Michel. "De la synthèse au synthétique. Histoire de transparence." Cinémas 7, no. 3 (2011): 147–58. http://dx.doi.org/10.7202/1000953ar.

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L’image, qu’on disait hier de synthèse, devient aujourd’hui de plus en plus synthétique. Dans ce passage du visuel de la synthèse lisse et pure au synthétique rugueux et texture, la technologie atteint un nouveau seuil de transparence. Encouragée par le star system hollywoodien, elle infiltre chaque jour un peu plus l’espace écranique québécois. Mais, malgré ce danger culturel, l’identité québécoise trouve quelquefois des solutions de résistance originales. L’étude du film Screamers de Christian Duguay (1996) démontre que le cinéma québécois peut jouer la carte de la transparence hollywoodienn

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Rivest, Johanne. "La représentation des avant-gardes à la Semaine internationale de musique actuelle (Montréal, 1961)." Canadian University Music Review 19, no. 1 (2013): 50–68. http://dx.doi.org/10.7202/1014605ar.

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Les avant-gardes des années 50 et 60 ont été marquées par l’appropriation de la technologie à des fins créatives. Elles visaient également la démocratisation de l’art en favorisant la participation simultanée de plusieurs intervenants et de diverses formes artistiques, d’une part, et en désinvestissant le créateur du pouvoir décisionnel absolu, d’autre part. La Semaine internationale de musique actuelle, organisée par Pierre Mercure à Montréal en 1961, exemplifie ces aspects par le recours à la multidisciplinarité et à la musique électroacoustique, alors en plein essor. Elle accueillait donc c

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Cameron, Douglas M. "La représentation des frontières dans le cinéma contemporain : l’imbrication des cultures dans El Mariachi." Analyses 29, no. 3-4 (2005): 147–61. http://dx.doi.org/10.7202/501177ar.

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Douglas M. Cameron démontre, avec le film El Mariachi (1992) de Robert Rodriguez, qu'une nouvelle sorte de héros est apparue dans les films réalisés pour l'Amérique latine: le héros postmoderne d'aventures, qui devient écrivain et transcende sa culture sans la perdre. Le film, qui a bien des points communs avec les autobiographies fictionnelles de la littérature contemporaine (celles de Cortàzar, Fuentes ou de certains romanciers québécois), démontre comment un mariachi devient écrivain après avoir été remplacé par les synthétiseurs des cantinas du Mexique. Le mariachi survit au traumatisme ca

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Guibert, Joris. "Uscopie électronique. Muabilité & simultanéité." Cinémas 26, no. 2-3 (2017): 73–98. http://dx.doi.org/10.7202/1039367ar.

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Ce texte examine, à travers l’oeuvre de Jean-Christophe Averty, les différences fondamentales entre cinéma et vidéo. La démarche du réalisateur y est mise en parallèle avec les utopies des artistes pionniers de la vidéo, qui visent une picturalité par la malléabilité de l’image vidéographique, tandis qu’Averty en expérimente la plasticité pour inventer une écriture inédite spécifiquement télévisuelle. Prenant en considération la dialectique essentielle réel/artificiel de la vidéo, Averty utilise le signal et le trucage (notamment l’incrustation) comme figures d’expression. Il compose avec la s

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Lévêque, Samuel. "Entre fan service, machinerie commerciale et vision d’auteur." Transcr(é)ation 2, no. 1 (2023): 1–16. http://dx.doi.org/10.5206/tc.v2i1.15644.

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Si la longue histoire des mangas et de l’animation japonaise débutent au début du XXe siècle, l’industrie du manga en tant que telle n’émerge qu’après la Seconde Guerre Mondiale, dans le cadre de la reconstruction du pays. La renaissance du cinéma nippon dans les années 50, l’arrivée du téléviseur dans les foyers dans les années 60 et la naissance progressive d’une industrie de haute technologie vont conduire les éditeurs de mangas à investir le domaine de l’image via des adaptations télévisées, puis via des films d’animation produits localement. Événement initialement rare et prestigieux, l’a

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17

Wade, Diana. "Cinema, the (Digital) Machine of the Imaginary: Revisiting Edgar Morin in the Quest to Create a Theory of Cinema in the Digital Age1." Recherches sémiotiques 31, no. 1-2-3 (2014): 203–21. http://dx.doi.org/10.7202/1027448ar.

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Digital image technology facilitates the production and distribution of images, and at the same time, instills doubt as to the integrity of those images. As a result, spectators today trust and doubt the image while still retaining a need to see a double of the world on screen. Edgar Morin’s work on cinema permits us to speak of cinema in the digital age because he recognizes that from its origins cinema has been a “mirror-machine” that reflects the spectator’s imaginary and practical relationship with images as experienced through new technologies. I will explore Morin and Christian Metz’s wr

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Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.

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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneousl

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Notaro, Anna. "Technologia w poszukiwaniu artysty. Kwestie auteuryzmu/autorstwa a współczesne doświadczenie filmowe." Kwartalnik Filmowy, no. 60 (December 31, 2007): 44–60. https://doi.org/10.36744/kf.3270.

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Autorka koncentruje się na tym, w jaki sposób dzisiaj funkcjonuje koncepcja auteur/autora w kontekście przemian technologicznych i „rewolucji cyfrowej”. Śledzi interesujące ją pojęcie od czasu jego pojawienia się we francuskiej teorii (w „Cahiers du cinéma”), przez jego krytykę ze strony poststrukturalistów, aż do współczesnych form autorstwa – rozproszonego, kolektywnego, wypartego. Porusza też kwestię interaktywności, dzięki której widz może być współautorem danego dzieła. Notaro nie stawia żadnej sztywnej tezy; przedstawia raczej różne postawy wobec obecnej kondycji autora – te, które wiążą

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Artemov, Vladislav Vladimirovich, and Vladislav Artemov. "Digital Technologies in Cinema." Journal of Flm Arts and Film Studies 2, no. 1 (2010): 132–38. http://dx.doi.org/10.17816/vgik21132-138.

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The article is devoted to certain tendencies of digital cinema development. It contains the comparison of tape and modern devices based on Panasonic cameras digital technology. Features of different digital recording formats and AVC-Intra codec application are being described.

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Schuck, Miller, and Gary Sharp. "3D digital cinema technologies." Journal of the Society for Information Display 20, no. 12 (2012): 669–79. http://dx.doi.org/10.1002/jsid.135.

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Rosskam, Jules. "Making Trans Cinema: A Roundtable Discussion with Felix Endara, Reina Gossett, Chase Joynt, Jess Mac, and Madsen Minax." Somatechnics 8, no. 1 (2018): 14–26. http://dx.doi.org/10.3366/soma.2018.0234.

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In conversation with Jules Rosskam, trans filmmakers Felix Endara, Chase Joynt, Reina Gossett, Madsen Minax, and Jess Mac explore the contemporary state of trans cinema production, trans methodologies and social practices, the corporeality of cinema, and the relationship between theory and practice. Like somatechnics complicates the term ‘body modification,’ cinema broadens the ways in which we think and talk about films to include the world around the film – the technologies, power(s), relationships, disciplines, spaces, and techniques. The filmmakers discuss the various ways in which their e

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Tenreiro Uzal, Cibrán, and Marta Pérez Pereiro. "“My Mother’s Not an Actress.” Images of Intimacy in Galician Cinema." Acta Academiae Artium Vilnensis, no. 115 (December 20, 2023): 120–43. https://doi.org/10.37522/aaav.115.2024.272.

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In recent years, different disciplines have experienced what has been labelled as an “affective turn,” where intimate experiences and emotions have gained prominence in both academic research and creative practices. Cinema has not been an exception to this tendency, as digital technologies (and Internet culture) have eased access to self-expression and fostered a renewed interest in portraying previously marginalized and peripheral identities. As a peripheral nation, Galician culture – and cinema in particular – has been substantially involved in processes that show the presence of this affect

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Mututa, Addamms. "Editorial." Journal of African Cinemas 15, no. 2 (2023): 139–43. http://dx.doi.org/10.1386/jac_00098_2.

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In this issue of the Journal of African Cinemas, a mix of transnational and cross-regional scholars discuss documentary cinemas and African stories. Beyond the erstwhile hotly debated question of the positionalities of Global North and Global South in the production of theory, these scholars offer a sutured argumentation that usurps this intellectual duel. The discussions enliven a transnational debate centred on the documentation of Africa in world cinema history, critique and galas. Tangential to this idea of documenting African cinemas is a most respected iconic figure – the late Distinguis

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Szűcs, Judit, and Tibor Guzsvinecz. "The Impact of Self-Service Technologies on Cinemagoing Experiences: A Hungarian Case Study." Electronics 13, no. 20 (2024): 4035. http://dx.doi.org/10.3390/electronics13204035.

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This study investigates the relationship between self-service technologies (SSTs) and cinemagoing experiences. An online questionnaire was created and filled out by 202 respondents to assess their preferences regarding SSTs in Hungarian cinemas. The analysis was conducted in R based on the following factors: gender, age, place of residence, and cinema attendance frequency. The results showed that 78.43% of males and 79.47% of females preferred hybrid systems combining both human staff and SSTs. There was no significant relationship between gender and SST preference. However, respondents aged 2

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Agapov, M. G. "“Screen on the Chum”: Social Reconstruction and Mobile Film Propaganda in the North of the Ob region in the 1930s." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2(61) (June 15, 2023): 190–98. http://dx.doi.org/10.20874/2071-0437-2023-61-2-16.

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Drawing on the example of agitation and propaganda campaigns carried out in the north of the Ob region in the 1930s among the indigenous population, a specific tool of the Soviet ideological indoctrination of the Great Break period — a mobile cinema (installations designed to screen silent and sound films to a small audience in open areas and in premises not equipped with stationary film projectors) — has been comprehensively studied. The mobile cinema is considered as one of the varieties of cultural management technologies that are equally characteristic of all states and empires of the mode

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Zadorozhnyuk, Andriy. "Development of cinematography and functioning of cinemas in Kamianets-Podilskyi in the early twentieth century based on the material of the local Podolianyn newspaper (1910-1911)." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 41 (October 2, 2023): 60–70. http://dx.doi.org/10.32626/2309-2254.2023-41.60-70.

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The purpose of the study is to use the existing source base to cover the proces- ses of formation and development of cinematographic art and the functioning of cinemas in Kamianets-Podilskyi in the early twentieth century on the pages of the local Podolianyn newspa- per. Th e research methodology is based on the principles of a specifi c historical approach, ob- jectivity, comprehensiveness and integrity, as well as the use of methods of analysis and synthe- sis, historical-comparative, and problematic-chronological. Th e scientifi c novelty is the fact that for the fi rst time in historiograp

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MacDonald, Michael, and João Lima. "Devemos apelidá-los de estudos cine-culturais? O cine-mundificar da música popular e dos estudos juvenis." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 5, no. 1 (2022): 10–34. http://dx.doi.org/10.21747/21843805/tav5n1a1.

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This article explorescinematic research-creation, or what I call cine-worlding. Indeed, ccine-worlding has the potential to contribute to a research practice unique to popular music and youth studies, areas of cultural life characterised by their openness and innovation with new media. Being aware of these opportunities means taking advantage of the technologies currently available. But there is an obstacle. Cinematic production must come together with research. Traditional cinematic research methods, due to their costs, difficulties with peer review and lack of institutional support, have not

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Nazir, Sajid, and Mohammad Kaleem. "Optical Network Technologies for Future Digital Cinema." Advances in Optical Technologies 2016 (December 13, 2016): 1–8. http://dx.doi.org/10.1155/2016/8164308.

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Digital technology has transformed the information flow and support infrastructure for numerous application domains, such as cellular communications. Cinematography, traditionally, a film based medium, has embraced digital technology leading to innovative transformations in its work flow. Digital cinema supports transmission of high resolution content enabled by the latest advancements in optical communications and video compression. In this paper we provide a survey of the optical network technologies for supporting this bandwidth intensive traffic class. We also highlight the significance an

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Morley, Steven A., K. S. Thyagarajan, and Chris Irvine. "Balancing the Technologies in Digital Cinema Systems." SMPTE Journal 110, no. 4 (2001): 220–27. http://dx.doi.org/10.5594/j12430.

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Langkjær, Birger. "Spatial Perception and Technologies of Cinema Sound." Convergence: The International Journal of Research into New Media Technologies 3, no. 4 (1997): 92–107. http://dx.doi.org/10.1177/135485659700300408.

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Schuck, Miller, and Gary Sharp. "47.1:Invited Paper: 3D Digital Cinema Technologies." SID Symposium Digest of Technical Papers 43, no. 1 (2012): 629–32. http://dx.doi.org/10.1002/j.2168-0159.2012.tb05860.x.

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Akintunde, FAGBILE, Yinka. "THE FUTURE OF TRADITIONAL CINEMA IN THE ERA OF FILM STREAMING IN NIGERIA." Lagos Journal of Contemporary Studies in Education 2, no. 02 (2024): 164–81. https://doi.org/10.36349/lajocse.2024.v02i02.013.

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Traditional cinema in Nigeria is undergoing positive transformations with the advent of digital technologies, the rise in demand of audiences’ preferences, cultural and economic dynamics, and the bourgeoning film industry landscape. One propelling reason for this is film streaming. Globally, demand for online consumption of digital video-film content has risen thus impacting significantly on the patronage of traditional modes of film distribution and exhibition. Academic and film industry discourses on the future of traditional cinema in the age of film streaming have majorly centered on disru

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Stezhko, Natalia G. "VR technologies in docudrama." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 73–80. http://dx.doi.org/10.17816/vgik11173-80.

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The essay explores the implementation of VR technologies in film production, a development due to which audio-visual content, which is in high demand both in television and on the Internet, has taken a new direction, and which is a topical issue in contemporary film studies. VR technologies allow the viewer who sits on a swivel chair and wears a VR-helmet incorporating 360-degree rotating LCD monitors to watch different areas of action. A characteristic feature of VR content is a multi-sensory experience including sight, hearing, smell and touch. VR creates a digital reality with maximum

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Toporivska, Yaroslava, Nataliya Dyadyukh-Bogatko, Lyudmila Belinska, Nataliia Balan, and Liliia Patsaliuk. "The movement into cinema as a stage in the cinema development." History of science and technology 15, no. 1 (2025): 239–75. https://doi.org/10.32703/2415-7422-2025-15-1-239-275.

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The development of moving images is a multi-layered abstraction of movement in visual space, based on optical, mechanical, photographic and theoretical innovations. Each stage contributed to the creation of modern cinema in its technical and conceptual forms. The main aim of this study is to identify and analyze how scientific and technical discoveries in the fields of optics, physiology of vision, mechanics and chemistry became the basis for the emergence of a new art form – cinema, and also to show how the interaction of science, technology, culture and society contributed to the formation o

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Bernardy, Jean-Pierre. "Chronique cinéma." Allemagne d'aujourd'hui N° 240, no. 2 (2022): 45–52. http://dx.doi.org/10.3917/all.240.0045.

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Bernardy, Jean-Pierre. "Chronique cinéma." Allemagne d'aujourd'hui N° 238, no. 4 (2021): 206–12. http://dx.doi.org/10.3917/all.238.0206.

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Bernardy, Jean-Pierre. "Chronique cinéma." Allemagne d'aujourd'hui N° 239, no. 1 (2022): 57–63. http://dx.doi.org/10.3917/all.239.0057.

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Zonn, Igor S. "Oil Thinking of World Cinema." Post-Soviet Issues 6, no. 2 (2019): 108–28. http://dx.doi.org/10.24975/2313-8920-2019-6-2-108-128.

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Oil and cinema are nearly of the same age: they both appeared in the second half of the 19th century. Oil, and more precisely, oil money has created the movies industry. As a confirmation, take one of the first feature films — it was entitled “In the Kingdom of Oil and Millions.”It was shot on the money of oilmen in 1916 in Azerbaijan — the country supplying oil to thewhole world. V. Mayakovsky wrote that if you believed in good future, this was because theblack dense oil from Baku was pumped into hearts of world capitals.The oil industry developed hand-in-hand with the cinema industry. Today

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Khibadullina, A. S. "Art journalism: film art in the socio-cultural paradigm." Bulletin of L.N. Gumilyov Eurasian National University. JOURNALISM Series 142, no. 1 (2023): 112–20. http://dx.doi.org/10.32523/2616-7174-2023-142-1-112-120.

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The article talks about one of the new directions in the development of modern journalism - art journalism, as well as about the place and development of "film journalism" in providing information within this direction, cinema. Today's film production is available not only in cinemas, but also on TV, tablets and the Internet. Therefore, it is important to take into account the development of modern film production and different methods of studying the film genre, as well as the function of cinema art in the socio-cultural space. The influence of modern technologies on film production is recogn

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Orzel, Charlotte. "“See the Big Picture”: Cineplex Entertainment and Branded Cinemagoing." Canadian Journal of Film Studies 32, no. 1 (2023): 31–60. http://dx.doi.org/10.3138/cjfs-2022-0002.

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Résumé : L’article étudie la transformation historique de la présentation de films en salle depuis le début des années 2000 à travers le cas de Cineplex Divertissement, la plus grande chaine de salles de cinéma au Canada. Suivant la tendance générale du marché des films sur grand écran aux États-Unis et au Canada, Cineplex a réagi à la crise par un mouvement de consolidation et de diversification et par de nouvelles options de projection haut de gamme. En réponse aux changements sectoriels, sa campagne publicitaire de 2016 donnait à son marketing un tour personnel, émotionnel et nostalgique en

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Arsenault, Dominic, and Vincent Mauger. "Au-delà de « l’envie cinématographique » : le complexe transmédiatique d’Assassin’s Creed." Nouvelles vues, no. 13 (2012): 1–24. https://doi.org/10.7202/1117050ar.

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Nous proposons d’aborder dans cet article la question des rapports entre le jeu vidéo et le cinéma à travers une étude de cas spécifique : la franchise Assassin’s Creed, qui s’inscrit dans un contexte techno-historico-culturel bien précis : celui des technologies de l’image numérique au Québec. Plus particulièrement, nous nous questionnerons sur le rôle que joue la trilogie de courts métrages Assassin’s Creed: Lineage, réalisés par Yves Simoneau et Hybride Technologies, et diffusés gratuitement sur YouTube dans le but d’attiser l’intérêt des joueurs avant la sortie du jeu Assassin’s Creed II.

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Mishurova, O. I. "Technologies for Teaching Law Students a Professionally Oriented Foreign Language." Courier of Kutafin Moscow State Law University (MSAL)) 1, no. 11 (2024): 178–85. http://dx.doi.org/10.17803/2311-5998.2023.111.11.178-185.

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The article considers the influence of traditional and innovative technologies on the process of learning a foreign language by law students, investigates their educational potential, identifies advantages and disadvantages. The author presents the prospects of integration of “Foreign Language in Law” and artistic means (literature, music, cinema) as a means of vocabulary expansion, introduction to the socio-cultural reality of the country of the studied language, development of students’ creative potential, removal of psychological barriers to communication in a foreign language. Examples of

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Chabloz, Nadège. "Le cinéma du chamanisme mondialisé." Drogues, santé et société 23, no. 1 (2025): 63–87. https://doi.org/10.7202/1118070ar.

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Cet article porte sur l’évolution des représentations sur les chamans qui sont contenues dans les films, majoritairement documentaires et francophones, depuis les années 1990. Les « films à chamans » des années 1980-1990 les représentant majoritairement isolés dans leur milieu naturel et en tant que figure muette et archaïque tendent à être remplacés par des productions audiovisuelles qui, à partir des années 2000, sont de plus en plus nombreuses à documenter leur inscription dans la mondialisation. L’article, qui s’appuie sur un corpus de quarante films, focalise sur ceux révélant des chamans

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Shchavleva, Aleksandra Sergeevna. "Machines and man: visualization of Artificial intelligence technologies in modern cinema." Человек и культура, no. 1 (January 2025): 50–59. https://doi.org/10.25136/2409-8744.2025.1.73104.

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The relevance of the research topic is due to the fact that currently many aspects of human existence are mediated by any technological solutions and tools included in the general algorithmic environment. The development of artificial intelligence technologies reflects these processes, having a significant impact on a person's daily life. Based on this, the discourse about the interaction of artificial and genuinely human intelligence is becoming increasingly relevant. The object of the study is the image of an "artificially created being": the image of a super-powerful computer or a digital d

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Holliday, Christopher. "Retroframing the Future: Digital De-aging Technologies in Contemporary Hollywood Cinema." JCMS: Journal of Cinema and Media Studies 61, no. 5 (2021): 210–37. http://dx.doi.org/10.1353/cj.2021.a922658.

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ABSTRACT: An emergent current of contemporary Hollywood cinema’s virtual population is the digitally age-regressed body, whereby computer animation “de-ages” star performers in feats of astonishing technological expressivity. This article examines the critical implications of virtual de-aging processes as both an institutional shift and a set of regularized formal practices. While the computerization of stardom by visual effects studios permits the aged star to transcend the limitations of their flesh-and-blood bodies, de-aging technologies intervene into critical discussions surrounding compu

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Vaniuha, Liudmyla, Mariia Kyreia, Natalia Lemishka, Olena Spolska, and Iryna Patron. "History of the evolution of cinema in the context of considering the stages of development of science and technology. The first steps to the birth of cinema." History of science and technology 14, no. 2 (2024): 513–38. https://doi.org/10.32703/2415-7422-2024-14-2-513-538.

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Historiographic works on the history of cinema play an important role in preserving knowledge about the development of this art form. They not only document the key stages of the evolution of cinema, but also provide an opportunity to analyze it as a cultural phenomenon that is closely intertwined with the history of mankind. Historiographic works on the history of cinema cover the study of the development of cinema as an art, a means of communication and an industry. They reflect various aspects of its formation: socio-cultural influences, technological breakthroughs, genre transformations an

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Andrianova, Elena V., Vladimir A. Davydenko, and Anzhelika S. Chernenko. "The sociology of film: existential assessments of audience practices." Tyumen State University Herald. Social, Economic, and Law Research 10, no. 4 (2024): 6–38. https://doi.org/10.21684/2411-7897-2024-10-4-6-38.

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This article describes the current state of the sociology of film theory, organically integrated into the current filmmaking expressive means and practices. The focus of research is directed at the formulation and authorial solution of the problem of audience’s existential sensitivity and related practices, which represent a unique value of both their receptivity and vulnerability in connection with their personal experiences of film consumption. Currently, two new processes are going on simultaneously in global and Russian social science: firstly, the broadening subject-matter of film sociolo

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Faden, Eric S. "Assimilating New Technologies Early Cinema, Sound, and Computer Imagery." Convergence: The International Journal of Research into New Media Technologies 5, no. 2 (1999): 51–79. http://dx.doi.org/10.1177/135485659900500205.

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Boddy, W. "Beyond the Multiplex: Cinema, New Technologies and the Home." Screen 49, no. 1 (2008): 95–98. http://dx.doi.org/10.1093/screen/hjn009.

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