Bibliografías temáticas / Auteur Cinema / Libros
Siga este enlace para ver otros tipos de publicaciones sobre el tema: Auteur Cinema.

Libros sobre el tema "Auteur Cinema"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 27 de abril de 2022

Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros

Elija tipo de fuente:

Consulte los 50 mejores mejores libros para su investigación sobre el tema "Auteur Cinema".

Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.

También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.

Explore libros sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.

1

Olinto, Domenichini, ed. Cinema italiano d'autore. Verona: Centro mazziano di studi e ricerche Sommacampagna (Verona), 2006.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Cinema d'autore degli anni Sessanta. Milano: Il castoro, 2011.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Morreale, Emiliano. Cinema d'autore degli anni Sessanta. Milano: Il castoro, 2011.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

The global auteur: The politics of authorship in 21st century cinema. New York: Bloomsbury Academic, 2016.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Silvia, Cantarini, ed. Free cinema, British renaissance: Due momenti del cinema d'autore in Inghilterra. Roma: Aracne, 2003.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Un'idea di cinema: Itinerari d'autore fra eccesso e stupore. Alessandria: Falsopiano, 2010.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Bernardet, Jean Claude. O autor no cinema: A política dos autores : França, Brasil anos 50 e 60. São Paulo, SP: Editora Brasiliense, 1994.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Body double: The author incarnate in the cinema. New Brunswick, N.J: Rutgers University Press, 2012.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

L'incanto della visione: Cinema d'autore tra Jane Campion e Clint Eastwood. [Rome, Italy]: Prospettive, 2010.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Il secolo della regia: La figura e il ruolo del regista nel cinema. Venezia: Marsilio, 1999.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
11

L' auteur au cinéma. Paris: Harmattan, 2002.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
12

Cinema stories. New York: New Directions, 2007.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
13

Cinema interval. New York: Routledge, 1999.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
14

Réinvestir la musique: Autour de la reprise musicale et de ses effets au cinéma. Paris: Harmattan, 2011.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
15

Sister Suzie cinema: The collected poems and performances, 1976-1986. New York: Theatre Communications Group, 1987.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
16

La nouvelle vague et le cinéma d'auteur: Socio-analyse d'une révolution artistique. [Paris]: Seuil, 2006.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
17

Sontag, Susan. Styles of radical will. New York: Anchor Books, 1991.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
18

Sontag, Susan. Styles of radical will. New York: Picador USA, 2002.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
19

Visy, Gilles. Le Colonel Chabert au cinema: Variation sémiologique autour de la transformation du texte en film: théorie, pratique, et didactique sur 'Le Colonel Chabert' et autres textes. Paris: Publibook, 2003.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
20

Brisset, Stéphane. Le cinéma des années 80: De Diva au Grand Bleu, les 1200 films français des années 80, leurs auteurs, leurs acteurs et leur histoire. Paris: M.A. Editions, 1990.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
21

Dellmann, Sarah. Images of Dutchness. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983007.

Texto completo
Resumen
Why do early films present the Netherlands as a country full of canals and windmills, where people wear traditional costumes and wooden shoes, while industries and modern urban life are all but absent? Images of Dutchness investigates the roots of this visual repertoire from diverse sources, ranging from magazines to tourist brochures, from anthropological treatises to advertising trade cards, stereoscopic photographs, picture postcards, magic lantern slide sets and films of early cinema. This richly illustrated book provides an in-depth study of the fascinating corpus of popular visual media and their written comments that are studied for the first time. Through the combined analysis of words and images, the author identifies not only what has been considered Ÿtypically DutchŒ in the long nineteenth century, but also provides new insights into the logic and emergence of national clichés in the Western world.
Los estilos APA, Harvard, Vancouver, ISO, etc.
22

Carol Geronès, Lídia. Un bric-à-brac de la Belle Époque. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-434-9.

Texto completo
Resumen
Fortuny (1983) by Pere Gimferrer is the only novel (at least to date) that the author has written in Catalan and it represents one of the most unique novels of contemporary Hispanic narrative. The aims of the present study are mainly two: to shed light on one of the most important, but least studied, works by Pere Gimferrer, the greatest representative of Hispanic creativity for the Post-War Generation, and to analyse critical reception of the work and show how the novel has evolved from the time of publication in 1983 until today. This essay consists of three major parts: the study of critical reception, the narratological analysis of the text and the unveiling of the textual, but above all visual, references that make up the novel. The latter allows us to explain two essential elements of the novel: the imaginary Fortuny on the one hand and, on the other, the novel’s intertextual concrete figure of speech, its ekphrasis. The study of this intentionally visual character of the novel not only wanted to highlight the importance of two arts to which Gimferrer has always paid special attention – we refer to cinema and painting – but has also demonstrated the desire of the writer to innovate the Catalan narrative scene, using different literary devices to push the limits of the genre novel.
Los estilos APA, Harvard, Vancouver, ISO, etc.
23

The Cinema of Louis Malle: Transatlantic Auteur. Wallflower Press, 2018.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
24

The Cinema of Louis Malle: Transatlantic Auteur. Wallflower Press, 2018.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
25

Politique des auteurs et theories du cinema. L'Harmattan, 2003.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
26

Szaniawski, Jeremi y Seung-Hoon Jeong. Global Auteur: The Politics of Authorship in 21st Century Cinema. Bloomsbury Publishing Plc, 2017.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
27

Alkassim, Samirah. The Cinema of Muhammad Malas: Visions of a Syrian Auteur. Palgrave Pivot, 2019.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
28

Alkassim, Samirah y Nezar Andary. The Cinema of Muhammad Malas: Visions of a Syrian Auteur. Palgrave Pivot, 2018.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
29

Hodsdon, Barrett. Elusive Auteur: The Question of Film Authorship Throughout the Age of Cinema. McFarland & Company, Incorporated Publishers, 2017.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
30

Omnibus Films: Theorizing Transauthorial Cinema. Edinburgh University Press, 2014.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
31

Omnibus Films: Theorizing Transauthorial Cinema. Edinburgh University Press, 2014.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
32

Performing authorship: Self-inscription and corporeality in the cinema. I.B. Tauris, 2013.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
33

Perks, Sarah, Isabelle Vanderschelden y Andy Willis. Studying French Cinema. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733162.001.0001.

Texto completo
Resumen
Taking a text-led approach, with the emphasis on more recent popular films, Studying French Cinema is directed at non-specialists such as students of French, film studies, and the general reader with an interest in post-war French cinema. Each of the chapters focuses on one or more key films from the ground-breaking films of the nouvelle vague (Les 400 coups, 1959) to contemporary documentary (Etre et avoir, 2002) and puts them into their relevant contexts. Depending on the individual film, these include explorations of childhood, adolescence and coming of age (Les 400 coups, L'Argent de poche); auteur ideology and individual style (the films of Jean-Luc Godard and Agnes Varda); the representation of recent French history (Lacombe Lucien and Au revoir les enfants); transnational production practices (Le Pacte des loups); and popular cinema, comedy and gender issues (e.g. Le Diner de cons). Each film is embedded in its cultural and political context. Together, the historical discussions provide an overview of post-war French history to the present. Useful suggestions are made as to studies of related films, both those discussed within the book and outside.
Los estilos APA, Harvard, Vancouver, ISO, etc.
34

Self-projection: The director's image in art cinema. University of Minnesota Press, 2014.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
35

Signs and Meaning in Cinema BFI Silver. British Film Institute, 2012.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
36

Hogan, Erin K. The Two cines con niño. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474436113.001.0001.

Texto completo
Resumen
The Two cines con niño is the first genre study of Spanish-language child-starred cinemas. It illuminates continuities in the political use of the child protagonist in over fifty years of cinema from Spain and how the child-starred genres use the concept of childhood to define the nation’s past, present, and future. From Francoist popular to oppositional auteur films, and including Latin American cinema, this monograph examines dialogism in aesthetics, narratives, and genre functions. It demonstrates the impact of these narratives within Spanish film history and Francoist biopolitics, as well as providing a broader transatlantic perspective on the genre in select productions from Chile and Argentina. In-depth inquiry within its pages examines films by Pedro Almodóvar, Antonio del Amo, Montxo Armendáriz, Benjamín Ávila, Juan Antonio Bayona, José Luis Cuerda, Guillermo del Toro, Víctor Erice, Manuel Gutiérrez Aragón, Arantxa Lazkano, Luis Lucía, Paula Markovtich, Javier Ruiz Caldera, Carlos Saura, Imanol Uribe, Ladislao Vajda, Agustí Villaronga, and Andrés Wood.
Los estilos APA, Harvard, Vancouver, ISO, etc.
37

John, Caughie y British Film Institute, eds. Theories of authorship: A reader. London: Routledge, 2001.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
38

O'Meara, Jennifer. Engaging Dialogue. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.001.0001.

Texto completo
Resumen
This book examines the centrality of dialogue to American independent cinema, arguing that it is impossible to separate small budgets from the old adage that ‘talk is cheap’. Focusing on the 1980s until the present, particularly on films by writer-directors like Jim Jarmusch, Noah Baumbach and Richard Linklater, the book demonstrates dialogue’s ability to engage audiences and bind together the narrative, aesthetic and performative elements of selected cinema. When compared to the dialogue norms of more mainstream cinema, the verbal styles of these independent writer-directors are found to be marked by alternations between various extremes, particularly those of naturalism and hyper-stylization, and between the poles of efficiency and excess. More broadly, these writer-directors are used as case studies that allow for an understanding of how dialogue functions in verbally experimental cinema, which, this book contends, is more often found in ‘independent’ or ‘art’ cinema. In questioning the association of dialogue-centred films with the ‘literary’ and the ‘un-cinematic’, the book highlights how speech in independent cinema can instead hinge on what is termed ‘cinematic verbalism’: when dialogue is designed and executed in complex, medium-specific ways. More broadly, the book provides a framework for analysing dialogue design and execution that can be readily applied to other films and filmmakers. It also highlights how speech can be central to cinema without overshadowing its medium-specific components. In so doing, the book develops new connections between film dialogue, reception studies, independent cinema and auteur studies.
Los estilos APA, Harvard, Vancouver, ISO, etc.
39

Insdorf, Annette. An Eye for an “I”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036859.003.0001.

Texto completo
Resumen
Philip Kaufman’s cinema is stylistically and philosophically rich, but he has not received the kind of acclaim routinely showered on his peers. One reason is that the movies of directors such as Woody Allen, Robert Altman, or Quentin Tarantino are easier to categorize as belonging to one person. Because Kaufman’s versatility is greater than his recognizability, he is considered less of an auteur. But close analysis of his twelve films reveals a true auteur at work. They are connected first by formal majesty: if Flaubert invoked “le mot juste” (the exact word), Kaufman finds “l’image juste”—the precise cinematic device appropriate to the story. Second, they are linked by an exploration of recurring and resonant themes. No other living American director has so consistently and successfully made movies for adults, tackling sensuality, artistic creation, and manipulation by authorities (governmental as well as technological)....
Los estilos APA, Harvard, Vancouver, ISO, etc.
40

Gemünden, Gerd. Lucrecia Martel. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042836.001.0001.

Texto completo
Resumen
This book provides an overview of the films of the Argentine filmmaker Lucrecia Martel, who counts as one of the most accomplished filmmakers from Latin America and as a leading female global auteur. It situates Martel’s cinema in the context of a post-dictatorship, neoliberal democracy, as well as within the emergence of a new wave realism (New Argentine Cinema), which profits from and is critical of the privileged role cinema assumes in this new economy. The book argues that Martel’s films challenge the primacy of the visual by emphasizing modes of perception such as hearing, feeling, and smelling to question not only the veracity of what we see but, more fundamentally, the epistemological foundations on which the visual is built. Focusing on her native region of northwestern Argentina, Martel’s Salta trilogy employs a heightened realism, combined with aspects of genre cinema, to articulate a powerful critique of dominant power relations and forms of entitlement. Her radical aesthetics force viewers to rethink privileges of race and class associated with Argentine bourgeois society. Martel’s more recent literary adaptation, Zama, traces the origins of the exploitation of indigenous populations to colonial times and unearths its long-lasting legacies.
Los estilos APA, Harvard, Vancouver, ISO, etc.
41

Kluge, Alexander. Difference and Orientation. Editado por Richard Langston. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739200.001.0001.

Texto completo
Resumen
This book's author is one of contemporary Germany's leading intellectuals and artists. A key architect of the New German Cinema and a pioneer of auteur television programming, who has also written books and articles, and continues to make films. However, his reputation outside of the German-speaking world still largely rests on his films of the 1960s, 1970s, and 1980s. This book assembles thirty of the author's essays, speeches, glossaries, and interviews, revolving around the capacity for differentiation and the need for orientation toward ways out of catastrophic modernity. The volume brings together some of the author's most fundamental statements on literature, film, pre- and post-cinematic media, and social theory, nearly all for the first time in English translation. Together, these works highlight a career-spanning commitment to unorthodox, essayistic thinking.
Los estilos APA, Harvard, Vancouver, ISO, etc.
42

Murphet, Julian. Todd Solondz. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042768.001.0001.

Texto completo
Resumen
This book is a comprehensive study and appraisal of the career of Todd Solondz, one of the key figures of independent cinema in the 1990s, whose box office fortunes have been in decline ever since that heyday. The book argues that this decline is a fitting analogue for the story of American independent cinema more generally and the declining rate of US corporate profit at large. Tracking the long arc of Solondz's seven major feature-length films, the book isolates certain persistent motifs and themes—the fascination with suburban “junkspace,” the logic of repetition with disappointing variations, the stylistic and formal category of “left classicism,” the indulgence of subjective fantasy counterpointed by an insistence on discomfiting long takes, and the thematic obsession with the “gift of shit”—to account for Solondz's art of diminishing returns under the rubric of satire. The book is more than a simple auteur study in that it establishes a new understanding of the stakes of independent cinema in today's context of economic crisis and decline. It argues that no other contemporary film artist has explored as astutely and perversely the contradictions of aesthetics under the conditions of senile capitalism.
Los estilos APA, Harvard, Vancouver, ISO, etc.
43

1001 activités autour du cinéma. CASTERMAN, 2008.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
44

Moore, Michelle E. y Brian Brems, eds. ReFocus: The Films of Paul Schrader. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474462037.001.0001.

Texto completo
Resumen
Paul Schrader’s unique relationship to the role of the author (as screenwriter, director and critic) has long informed his cinema, and raises complicated questions about the definition of the auteur. This volume of essays – the first collection to assess Schrader’s contributions to directing, screenwriting and criticism – includes the first original appraisals of his much-lauded masterpiece First Reformed (2017), as well as a chapter-length interview with Schrader himself, conducted by the editors, in which Schrader examines the arc of his career for the first time and revises previous statements about filmmaking and film criticism. Providing a comprehensive exploration of his groundbreaking achievements in cinema, the book considers Schrader’s more overlooked films and provides new insights to their connection with his celebrated work in direction and screenwriting such as Taxi Driver (1976), Cat People (1982) and The Comfort of Strangers (1990). In doing so, it provides a valuable update to previous texts on Schrader and contains chapters on Schrader’s work since 2008, the publication date of the last book on his filmmaking. Where this study distinguishes itself fully is in its inclusion of a serious treatment of Schrader’s own film criticism and analytical writing. This collected writing provides unique access into how Schrader approaches the analysis of films and provides insight into his own work and others as “transcendental” filmmakers.
Los estilos APA, Harvard, Vancouver, ISO, etc.
45

Walker, Elsie. Hearing Haneke. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.001.0001.

Texto completo
Resumen
Haneke’s films are sonically charged experiences of disturbance, desperation, grief, and many forms of violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and defined by aggressive dialogue. Haneke is among the most celebrated of living auteurs: he is two-time receipt of the Palme d’Or at Cannes Film Festival (for The White Ribbon [2009] and Amour [2012]), and Academy Award winner of Best Foreign Language Film (for Amour), among numerous other awards. The radical confrontationality of his cinema makes him a most controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define his living legacy as an aural auteur. Hearing Haneke provides close sonic analyses of The Seventh Continent, Funny Games Code Unknown, The Piano Teacher, Caché, The White Ribbon, and Amour. The book includes several sustained theoretical approaches to film sound: including postcolonialism, feminism, genre studies, psychoanalysis, adaptation studies, and auteur theory. From these various theoretical angles, Hearing Haneke shows that the director consistently uses all aural elements (sound effects, dialogue, silences, and music) to inspire our humane understanding. He expresses faith in us to hear the pain of his characters’ worlds most actively, and hence our own more clearly. This has profound social and personal significance: for if we can hear everything better, this entails a new awareness of the “noise” we make in the world at large. Hearing Haneke will resonate for anyone interested in the power of art to inspire progressive change.
Los estilos APA, Harvard, Vancouver, ISO, etc.
46

Richardson, John. The Neosurrealist Musical and Tsai Ming-Liang’s the Wayward Cloud. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0034.

Texto completo
Resumen
This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter theorizes an important new development in auteur cinema, the neosurrealist metamusical, through Jan Assman’s idea of “figures of memory,” which are aspects of cultural memory that are differentiated from everyday experiences by their ritualized and temporally displaced nature. Musical numbers in this view become figures of memory that highlight reflectivity. Tsai Ming-Liang’sThe Wayward Cloud (Tian bian yi duo yun, 2005) is a classic example of a neosurrealist metamusical, a surrealist sensibility manifesting itself in the film’s collage-like assemblage of genres-art house cinema, film musicals, and hard-core pornography-combined with an element of absurdism. The use of vintage popular songs as found objects is central in negotiating cultural meanings, including tensions between local Taiwanese culture and mainland China, the mediatized West and the local everyday. Although the film contains potent critical messages, its dominant modality is playful camp aestheticism, which is theorized by means of Eve Kosofsky Sedgwick’s idea of “reparative reading.”
Los estilos APA, Harvard, Vancouver, ISO, etc.
47

The Cinema of Michael Mann (Genre Film Auteurs). Lexington Books, 2007.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
48

Rybin, Steven. The Cinema of Michael Mann (Genre Film Auteurs). Lexington Books, 2007.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
49

Ercolani, Eugenio y Marcus Stiglegger. Cruising. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348363.001.0001.

Texto completo
Resumen
When William Friedkin’s psycho thriller Cruising was shown at the Berlin International Film Festival and hit cinemas worldwide in 1980 it was mainly misunderstood: the upcoming gay scene dismissed it as an offence to their efforts to open up to society and a distorted image of homosexuality, prompting the distributors to add a disclaimer that preceded the picture: Genre audiences were confused about the idea of a sexualized cop thriller with procedural drama that frequently turns into a horror film with the identity of the killer changing with each murder. Seen from today’s perspective, Friedkin’s film turned out to be an enduring cult classic documenting the gay leather scene of the late 1970s as well as providing a stunning image of identity crisis and an examination of male sexuality in general. In the fading years of the New Hollywood era (1967–1976), William Friedkin—the ‘New Hollywood Wunderkind’, with an Academy Award for his cop drama, The French Connection (1971), and following the tremendous success of his horror film, The Exorcist (1973)—proves once more the strength of his unique approach in combining genre and auteur cinema to create a fascinating film that turns 40 in 2020. This book dives into the phenomenon that is Cruising: it examines its creative context and its protagonists, as well as explaining its ongoing popularity.
Los estilos APA, Harvard, Vancouver, ISO, etc.
50

Marsh, Leslie L. Brazilian Women’s Filmmaking and the State during the 1970s and 1980s. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0002.

Texto completo
Resumen
This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.
Los estilos APA, Harvard, Vancouver, ISO, etc.
También puede estar interesado en las bibliografías sobre el tema "Auteur Cinema" para otros tipos de fuentes:
Artículos de revistas Tesis
Ofrecemos descuentos en todos los planes premium para autores cuyas obras están incluidas en selecciones literarias temáticas. ¡Contáctenos para obtener un código promocional único!

Pasar a la bibliografía