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Books on the topic 'Transe – Au cinéma'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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1

Germany) CineFest (7th 2010 Hamburg. Cinema trans-alpino: Deutsch-italienische Filmbeziehungen. CineGraph, 2010.

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2

Corrado, Andrea. Cinema e autori sulle tracce delle migrazioni. Ediesse, 2013.

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3

Gianni, Canova, ed. Nirvana: Sulle tracce del cinema di Gabriele Salvatores. Zelig, 1996.

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4

Carla, Ceresa, and Pesenti Campagnoni Donata, eds. Tracce: Documenti del cinema muto torinese nelle collezioni del Museo nazionale del cinema. Museo nazionale del cinema, Fondazione Maria Adriana Prolo, 2007.

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5

Lebrun, Dominique. Trans Europe Hollywood: Les Européens du cinéma américain. Bordas, 1992.

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6

Kim, Soyoung. Korean Cinema in Global Contexts. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463729147.

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Offering the most comprehensive analysis of Korean cinema from its early history to the present, and including the films of Park Chan-wook, Bong Joon-ho and Kim Ki-young, Korean Cinema in Global Contexts: Postcolonial Phantom, Blockbuster and Trans-Cinema situates itself in the local, Inter-Asian, and transnational contexts by mobilizing the critical frameworks of feminism, postcolonial critique and comparative film studies. It is attentive to an enmeshment of the cinematic, aesthetics, politics and cultural history.

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7

Paola, Nannicini Maria, ed. Il cinema e la matematica: Sulle tracce di una promettente amicizia. Erickson, 2010.

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8

Česálková, Lucie, Johannes Praetorius-Rhein, Perrine Val, and Paolo Villa. Non-Fiction Cinema in Postwar Europe. Amsterdam University Press, 2024. https://doi.org/10.5117/9789463725583.

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After WWII, cinema was everywhere: in movie theatres, public squares, factories, schools, trial courts, trains, museums, and political meetings. Seen today, documentaries and newsreels, as well as the amateur production, show the kaleidoscopic portrait of a changing Europe. How did these cinematic images contribute to shaping the new societies emerging from the ashes of war, both in the Western and in the Eastern bloc? Why were they so crucial in framing and regulating new places and practices, political systems, economic dynamics, educational frameworks, and memory communities? This edited vo

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9

Tang, Pao-chen. The Animist Imagination in East Asian Cinema. Amsterdam University Press, 2025. https://doi.org/10.5117/9789048563999.

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Whispering winds, speeding trains, wandering balloons, and swirling snowflakes—these are the living entities that humans find themselves enmeshed with in their ecological co-flourishing in contemporary East Asian cinema. Pao-chen Tang theorizes and analyzes this animist imagination—a new mode of filmmaking that delves into both the definition of the cinematic medium and how to live with the nonhuman. Moving images are animate beings and the animism of cinema further compels an eye-opening vision to examine East Asian history and ecological anxieties of our times. The shamanic protagonists of t

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10

Özgen, Aslı. The Aesthetics and Politics of Cinematic Pedestrianism. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724753.

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The Aesthetics and Politics of Cinematic Pedestrianism: Walking in Films offers a rich exploration of the cinematic aesthetics that filmmakers devised to reflect the corporeal and affective experience of walking in the city. Drawing from literature in urban studies, film theory, and aesthetic philosophy, it is the first monograph to approach the history of cinema from the perspective of walking. A series of case studies providing nuanced analyses of widely referenced figures, such as the flaneur/flâneuse, vagabond, and nomad, reveal how filmmakers articulated their objection to repressive stru

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11

Cowan, Michael. Film Societies in Germany and Austria 1910–1933. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463725477.

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This study traces the evolution of early film societies in Germany and Austria, from the emergence of mass movie theaters in the 1910s to the turbulent years of the late Weimar Republic. Examining a diverse array of groups, it approaches film societies as formations designed to assimilate and influence a new medium: a project emerging from the world of amateur science before taking new directions into industry, art and politics. Through an interdisciplinary approach—in dialogue with social history, print history and media archaeology—it also transforms our theoretical understanding of what a f

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12

Cinema, Trance and Cybernetics. Amsterdam University Press, 2017.

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13

Ford, Akkadia. Trans New Wave Cinema. Taylor & Francis Group, 2021.

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14

Ford, Akkadia. Trans New Wave Cinema. Taylor & Francis Group, 2021.

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15

Ford, Akkadia. Trans New Wave Cinema. Taylor & Francis Group, 2021.

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16

Trans New Wave Cinema. Taylor & Francis Group, 2021.

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17

Terra em transe: Ética e estética no cinema português. AVM Edition, 2012.

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18

Korean Cinema in Global Contexts: Post-Colonial Phantom, Blockbuster and Trans-Cinema. Amsterdam University Press, 2022.

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19

Kim, Soyoung. Korean Cinema in Global Contexts: Post-Colonial Phantom, Blockbuster and Trans-Cinema. Amsterdam University Press, 2022.

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20

Oliveira, Rodrigo Cássio. Razão em transe: o barroco e o cinema de Glauber Rocha. Editora Fi, 2021. http://dx.doi.org/10.22350/9786559171620.

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21

Tracce di Novecento : storia, letteratura e cinema. Edizioni Scientifiche Italiane, 2017.

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22

Steinbock, Eliza. Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change. Duke University Press, 2019.

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23

Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change. Duke University Press, 2019.

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24

Steinbock, Eliza. Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change. Duke University Press, 2019.

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25

Smith, Frances, and Niall Richardson. Trans Representation in Contemporary Popular Cinema: The Transgender Tipping Point. Routledge, 2022.

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26

Smith, Frances, and Niall Richardson. Trans Representations in Contemporary Popular Cinema: The Transgender Tipping Point. Routledge, 2022.

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27

Smith, Frances, and Niall Richardson. Trans Representation in Contemporary Popular Cinema: The Transgender Tipping Point. Taylor & Francis Group, 2022.

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28

Smith, Frances, and Niall Richardson. Trans Representation in Contemporary Popular Cinema: The Transgender Tipping Point. Taylor & Francis Group, 2022.

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29

Smith, Frances, and Niall Richardson. Trans Representation in Contemporary Popular Cinema: The Transgender Tipping Point. Taylor & Francis Group, 2022.

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30

The Popular French Cinema: From the Classical to the Trans-national. I. B. Tauris, 2008.

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31

The Popular French Cinema: From the Classical to the Trans-national. I. B. Tauris, 2008.

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32

Sulle tracce del vero: Cinema, antropologia, storie di foto. Bompiani, 2011.

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33

Nirvana: Sulle tracce del cinema di Gabriele Salvatores (Futura). Zelig, 1996.

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34

Papadimitriou, Lydia, and Ana Grgić, eds. Contemporary Balkan Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458436.001.0001.

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The first inclusive collection to examine post-2008 developments in Balkan cinema, this book brings together a number of international scholars working within and beyond the region to explore its industrial contexts and textual dimensions. Exploring both mainstream and arthouse cinemas, the authors identify patterns, trends and common characteristics in the subject matter and aesthetics of films produced and distributed since the global economic crisis. With a focus on transnational links, global networks and cross-cultural exchanges, the book addresses the role of national and supranational i

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35

Kinēma: Il cinema sulle tracce del cinema : dal film alle arti elettroniche, andata e ritorno. Exòrma, 2013.

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36

Maclay, Willow, and Caden Gardner. Corpses, Fools and Monsters: An Examination of Trans Film Images in Cinema. Watkins Media Limited, 2023.

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37

Hill, John. Cinema and Northern Ireland. Bloomsbury Publishing (UK), 2006. http://dx.doi.org/10.5040/9781838711238.

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Traces the history of film production in Northern Ireland from the beginnings of a local film industry in the 1920s and 1930s, when the first Northern Irish 'quota quickies' were made, through the propaganda films of the 1940s and 1950s and on to the cinema of the 'Troubles'.

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38

Kim, Soyoung. Korean Cinema in Global Contexts. Amsterdam University Press B.V., 2022. http://dx.doi.org/10.5040/9789048561933.

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Offering the most comprehensive analysis of Korean cinema from its early history to the present, and including the films of Park Chan-wook, Bong Joon-ho and Kim Ki-young, Korean Cinema in Global Contexts: Postcolonial Phantom, Blockbuster and Trans-Cinema situates itself in the local, Inter-Asian, and transnational contexts by mobilizing the critical frameworks of feminism, postcolonial critique and comparative film studies. It is attentive to an enmeshment of the cinematic, aesthetics, politics and cultural history.

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39

Sulle tracce di Maya Deren: Il cinema come progetto e avventura. Lindau, 2003.

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40

Ahmed, Omar. Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.001.0001.

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This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, aud

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41

Austin, Thomas, and Angelos Koutsourakis, eds. Cinema of Crisis. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448505.001.0001.

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Cinema of Crisis: Film and Contemporary Europe explores the politics and aesthetics of filmmaking across a continent in flux. This urgent and necessary collection brings together scholars from Spain to Estonia, Hungary to Britain, in order to trace European filmmakers’ diverse responses to the interlinked upheavals and emergencies of the past three decades. Covering topics such as the collapse of the eastern bloc; deindustrialisation; the 2008 crash and the eurozone debt crisis; austerity and neoliberalism, as well as 'Fortress Europe' and the 'refugee crisis', this book investigates a range o

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42

Chion, Michel. Sensory Aspects of Contemporary Cinema. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.024.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film in the digital era is increasingly developing as a sensory experience. Sounds and images together yield sensations that can approximate senses other than sight and hearing. Cinema can thusrender(as distinct fromreproduce) the coolness of the wet spray experienced by a fountain, for example, or speed, force, materiality, hollowness, heaviness, and so forth. At the same time, the nature of recording and filming takes sounds and images out of their real mul

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43

Rybin, Steven. Cinema of Michael Mann. The Rowman & Littlefield Publishing Group, Inc., 2007. https://doi.org/10.5040/9781978732209.

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Few other contemporary Hollywood filmmakers fit the category of 'genre stylist' as well as Michael Mann, the director of such films as Heat, The Insider, Ali, Collateral, Manhunter, Thief, and Miami Vice. Mann's film style marks him as a director who chooses the iconographic backdrop of a genre as a canvas upon which he and his collaborators can craft a unique cinematic vision. The Cinema of Michael Mann traces the innovative and under-explored stylistic contours of Mann's work, the director's inflection upon and innovation within preexisting genre frameworks, and the relationship of both styl

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44

Phillips, Kendall R. Controversial Cinema. Greenwood Publishing Group, Inc., 2008. http://dx.doi.org/10.5040/9798400631719.

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At the heart of any history of controversial films is a strange paradox: while films, especially popular and mainstream films, are often portrayed as meaningless products of popular culture, those popular films involved in public controversies become the focal point of enormous cultural energy, political attention, and profoundly conflicting sets of principles. The ongoing culture wars continue to shape the American political landscape, and controversial films continue to be a major point of conflict. Controversial Cinema: The Films that Outraged America traces the history of controversial fil

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45

Shim, Elizabeth. North Korea’s Nuclear Cinema. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350259515.

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North Korea’s Nuclear Cinemaexamines why and how North Korea has transitioned to an image-based nuclear power in the changing context of a post-Cold War world.What exactly is the North Korean nuclear threat? Why is North Korea engaging in hostilities when its erstwhile adversaries have offered a diplomatic exit ramp? Chapter by chapter, it explains how North Korea’s footage-based nuclear politics is presented as military practice, but ultimately traces its lineage to cinematic propaganda, a tradition that blurs the line between image and reality. By leveraging cinematic resources in place of p

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46

Player, Mark. Japanese Cinema and Punk. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350378599.

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In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japan’s film industry. Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film) tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shin’ya, and Fukui Shozin, Player explores how punk’s bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street perform

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47

Rollberg, Peter. Cinema of Soviet Kazakhstan 1925–1991. Lexington Books, 2021. https://doi.org/10.5040/9781978727014.

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This monograph traces the history of Kazakh filmmaking from its conception as a Soviet cultural construction project to its peak as fully-fledged national cinema to its eventual re-imagining as an art-house phenomenon. The author’s analysis places leading directors—Shaken Aimanov, Abdulla Karsakbaev, Sultan-Akhmet Khodzhikov, Mazhit Begalin—in their sociopolitical and cultural context.

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48

Barefoot, Guy. The Drive-In. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781501365898.

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The Drive-In meaningfully contributes to the complex picture of outdoor cinema that has been central to American culture and to a history of US cinema based on diverse viewing experiences rather than a select number of films. Drive-in cinemas flourished in 1950s America, in some summer weeks to the extent that there were more cinemagoers outdoors than indoors. Often associated with teenagers interested in the drive-in as a ‘passion pit’ or a venue for exploitation films, accounts of the 1950s American drive-in tend to emphasise their popularity with families with young children, downplaying th

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49

Barr, Charles. British Cinema: A Very Short Introduction. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/actrade/9780199688333.001.0001.

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Abstract British Cinema: A Very Short Introduction discusses cinema in Britain, considering its films and film-makers as well as its studios and sponsorships. It does this against the backdrop of changing artistic, socio-political, and industrial climates up to the present day. Cinema is indeed a powerful cultural medium, both reflecting and influencing society. The role of British cinema has been particularly controversial; it is sometimes derided, but also vigorously celebrated, especially for specific films and film-makers. This VSI traces how British cinema has developed its own unique pat

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50

Barker, Thomas. Indonesian Cinema after the New Order. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.001.0001.

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In the two decades since the fall of the New Order regime in 1998, Indonesia cinema has become one of the most productive and exciting film industries in Asia. From a position in the 1990s when local films were on the cultural periphery, they are now part of the mainstream with two new films in the cinemas every week. This book traces how the film industry reformed and returned to popularity and conceptualises it as a process of going mainstream. It overturns long held paradigms of national cinema and statism to see the film industry as pop culture in which market mechanisms are determinant. I

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