Bibliografías temáticas / Cinema organ

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Literatura académica sobre el tema "Cinema organ"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Cinema organ"

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Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.

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Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the
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Bigosiński, Adam Konrad. "Muzyczne tajemnice Poznania – kino Słońce i jego wyjątkowe organy." Przegląd Archiwalno-Historyczny 7 (2020): 27–44. http://dx.doi.org/10.4467/2391-890xpah.20.002.14636.

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Niniejszy artykuł jest kolejnym przyczynkiem do dziejów muzycznych Poznania, a skupia się na opisie i charakterystyce najbardziej wyjątkowych w skali Polski organów „Muza”, które od 1927 r. znajdowały się w kinie Słońce. Najnowocześniejsze kino w Poznaniu mogło poszczycić się pierwszymi organami typu kinowego na terenie Polski, które w dodatku zostały zbudowane na wzór instrumentów amerykańskich przez polską firmę Dominika Biernackiego (braci Biernackich). Posiadały one szereg urządzeń imitujących odgłosy przyrody czy życia codziennego, m.in. burzę, syrenę czy kukułkę. Niestety, powojenny los
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Zwart, Hub. "Transplantation medicine, organ-theft cinema and bodily integrity." Subjectivity 9, no. 2 (2016): 151–80. http://dx.doi.org/10.1057/sub.2016.1.

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Presseisen, Filip. "Organ accompaniment in silent films, part 1 – the process of cinematic art creation." Notes Muzyczny 2, no. 14 (2020): 59–72. http://dx.doi.org/10.5604/01.3001.0014.5748.

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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on th
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5

Presseisen, Filip. "Organ accompaniment to silent films, part 3 – the activity of Robert Hope-Jones and its importance." Notes Muzyczny 2, no. 16 (2021): 87–100. http://dx.doi.org/10.5604/01.3001.0015.5491.

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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the third part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on th
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6

KIM, Hong Jung. "Schizoanalysis of the Catastrophe and Hope without Organ: On the Cinema of Kelly Reichardt." In/Outside: English Studies in Korea 55 (November 15, 2023): 154–82. http://dx.doi.org/10.46645/inoutsesk.55.5.

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Kolmogorova, A. V., A. V. Migal, and M. O. Sergeeva. "QUANTITATIVE ANALYSIS OF GESTURES IN SOVIET CINEMA PRESENTED IN THE RUSSIAN MULTINEDIA SPEECH CORPUS." Culture and Text, no. 57 (2024): 181–91. http://dx.doi.org/10.37386/2305-4077-2024-2-181-191.

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This article is dedicated to exploring the correlation between the emotional tone of gestures and their localizati on through the conduct of content analysis of gestures presented in the multimedia subcorpus of spoken Russian language, annotated by E. A. Grishina and including video fragments of Soviet and late Soviet cinema. The paper aims at determining the prevailing tonality of a gesture depending on its localization. Corpus linguistic analysis, multimodal sentiment analysis and correlational analysis are presented in the paper to state the possible connection between the active organ of g
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Presseisen, Filip. "Organ accompaniment to silent films, part 2." Notes Muzyczny 1, no. 15 (2021): 57–66. http://dx.doi.org/10.5604/01.3001.0014.9690.

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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the second part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on t
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9

Coëgnarts, Maarten, and Peter Kravanja. "A study in cinematic subjectivity." Metaphor and the Social World 4, no. 2 (2014): 149–73. http://dx.doi.org/10.1075/msw.4.2.01coe.

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This article offers a metaphorical and embodied examination of the representation of perception in narrative cinema. Using insights from Conceptual Metaphor Theory we argue that the perceptual states of characters can be represented cinematically via audio-visual expressions of metaphors related to the physical functioning of human bodies. More specifically, we show how a predominant pair of conceptual mappings, namely the metonymy perceptual organ stands for perception and the metaphor perception is contact between perceiver and perceived, plays a crucial role in the non-verbal representation
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Trifan, Aurelia. "Integrative reflections in the contemporary approach of the architecture of buildings for shows." Arta 30, no. 1 (2021): 118–23. http://dx.doi.org/10.52603/arta.2021.30-1.17.

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The current approaches, materialized in studies and research programs, further explain and complete the general picture regarding the identity of buildings for shows in the Republic of Moldova. The need to update existing information and correct errors and unconfirmed assumptions arises as a result of identifying new data. The research carried out in the field of buildings for shows focuses both on the detailing of its constitution and on the revelation of the architectural-artistic value – starting with the 19th century. The first buildings for shows (the Nobles’ Meeting Club and the „Pushkin
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Tesis sobre el tema "Cinema organ"

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Carlon, Beatrice <1993&gt. "THE HISTORY OF CHINA'S RELATIONS WITH THE UNITED STATES: Analysis of bilateral relations through some of the main organs of the Chinese Communist Party." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17901.

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What used to be an undisputed leadership status is now threatened by the inexorable force: China, today, is a superpower at the level of the United States. This study will describe the events and agreements that have contributed to the evolution of bilateral relations, from the events in Tiananmen to the economic and trade agreement ceremony on 15 January 2020. During this time the relations have been of ups and downs, of cooperation but also of competition on several fronts. The thesis will analyze also the risks and modalities of a possible conflict that could upset the hierarchies and the w
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MACCAFERRI, CAMILLA. "IL CORPO NELL'ERA DIGITALE: DAL SIMULACRO ALLA PERFORMANCE CAPTURE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1992.

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Dopo l’avvento del sonoro e quello del colore, la settima arte sta attraversando una terza, forse più radicale, fase di rivoluzione: un vero e proprio tsunami che corrisponde all’avvento del digitale, dove il video insidia il primato della pellicola e la Computer Grafica è sempre più dilagante nel campo degli effetti speciali. Muovendosi all’interno di questo quadro di sostanziale cambiamento la presente ricerca, intitolata "Il corpo nell’era digitale: dal simulacro alla Performance Capture", si sofferma in particolare sull’analisi delle nuove prospettive che il corpo (attoriale) deve affronta
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MACCAFERRI, CAMILLA. "IL CORPO NELL'ERA DIGITALE: DAL SIMULACRO ALLA PERFORMANCE CAPTURE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1992.

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Dopo l’avvento del sonoro e quello del colore, la settima arte sta attraversando una terza, forse più radicale, fase di rivoluzione: un vero e proprio tsunami che corrisponde all’avvento del digitale, dove il video insidia il primato della pellicola e la Computer Grafica è sempre più dilagante nel campo degli effetti speciali. Muovendosi all’interno di questo quadro di sostanziale cambiamento la presente ricerca, intitolata "Il corpo nell’era digitale: dal simulacro alla Performance Capture", si sofferma in particolare sull’analisi delle nuove prospettive che il corpo (attoriale) deve affronta
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4

Checa, Bañuz Christian. "Los Cuerpos del cine: conceptos-límite y el audiovisual contemporáneo." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/370095.

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El cine trabaja sobre los cuerpos porque él mismo es un cuerpo y, como todo cuerpo, opera de dos maneras: como el cine-organismo, cuerpo-engranaje en una cadena de montaje de partes ensambladas y firmes, o como el cuerpo heterogéneo cuyas partes exceden lo conjuntable, van más allá del lenguaje. El organismo cinematográfico opera convergencias en función de normas de escritura, enmascara la sutura. El Cuerpo cinematográfico sin Órganos condensa en torno a la sutura misma como punto límite, como singularidad divergente; opera la apertura del intervalo y explora las regiones entre los elementos,
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Libros sobre el tema "Cinema organ"

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Fisher, Roger C. From Wirral to Wurlitzer: The story of Robert Hope-Jones (1859-1914), his first organ at St. Luke's Church, Tranmere, and the birth of the "might Wurlitzer" cinema organ. Classfern, 2001.

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Turley, Fred. Mighty music at the movies: The cinema organ in Sheffield and the surrounding area. Sheaf Pub., 1990.

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Clarke, C. Charles. Crossroads 1900-1950 vintage music catalog: Original stock, cinema condensed conductors scores : piano/organ/solo instruments/vocal. Crossroads Productions "Special Music Library", 1997.

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Clarke, C. Charles. Crossroads 1900-1950 vintage music catalog: Original stock, cinema, condensed, conductors scores : piano/organ/solo instruments/vocal. Crossroads Productions "Special Music Library", 1997.

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Inkster, Donald. Union Cinemas Ritz: A story of theatre organs and movie variety shows. Wick Book Publishers, 1999.

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Puliatti, Martina. La rivoluzione interiore: Corpi senza organi nel cinema di David Cronenberg. Aracne editrice, 2020.

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Gueye, Nicole Symonnot. L'orgue, un singulier pluriel: Approche de l'orgue à travers ses représentations dans la littérature et le cinéma européens depuis la fin du XIXe siècle. Delatour France, 2010.

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Kinoorgeln: Installationen der Gegenwart in Deutschland = Theatre organs, cinema organs. E. Bochinsky, 1998.

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Wijdicks, Eelco F. M. Cinema, MD. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780190685799.001.0001.

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Cinema, MD argues that within cinema there is a history of medicine—one version in the many different histories of medicine. How did filmmakers write a history of medicine? This book discusses how cinema depicts medicine, in all its glory and all its failures, and what can we learn from it. It offers an account of all the major films with medical themes. The book asks a number of critical questions, such as why scriptwriters and directors chose the subjects, the plots, the cast, and the images that they did. Films have covered a wide range of medical topics, depicting not only physicians, nurs
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Fisher, Roger C. From Wirral to Wurlitzer: The story of Robert Hope-Jones (1859-1914), his first organ at St. Luke's Church, Tranmere, and the birth of the 'Mighty Wurlitzer' cinema organ. Classfern Ltd, 2001.

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Capítulos de libros sobre el tema "Cinema organ"

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Zwart, H. A. E. "An Oblique Perspective: Organ Transplant Cinema." In Purloined Organs. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05354-3_17.

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Pelligra, Edoardo. "Bodies without Organs in Bertrand Mandico's Cinema." In Personified Body Parts in Cinema, Literature, and Visual Culture. Routledge, 2025. https://doi.org/10.4324/9781003541882-5.

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Mathias, Nikita. "Cinema – A Medium of the Sublime?" In Disaster Cinema in Historical Perspective. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch05.

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I set out to explore cinema in terms of its potential function as a medium of the sublime. Burke and Kant’s accounts of the sublime are employed to examine their correlation with cinema’s technological, formal, and receptive repertoire. This encompasses intrinsic features such as cinematography’s innovation of putting in motion photographic images, aspects of the montage, the aesthetic potential of the camera as cinema’s central organ of expression and perception, sound effects, and multimedia interplay as well as external features of cinema which constitute the medium as a concrete space for
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Wijdicks, Eelco F. M. "Transplantation." In Cinema, MD. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780190685799.003.0008.

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For many of us the heart is still symbolic of the soul. Therefore, the advent of heart transplantation opened up new avenues for movie plots. The experience of the transplant recipient has captured screenwriters’ attention. Screenwriters are intrigued by the complexity of heart transplantation and, with it, themes based on the centrality of the heart in emotions, the possibility of a donor’s personality traits being transmitted to the recipient, quests to find the donor’s family and cloning organ donors to treat complex disease. Transplant tourism and trafficking are other commonly covered top
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Harper, Sue, and Vincent Porter. "Ealing Studios." In British Cinema of the 1950s. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198159346.003.0004.

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Abstract DURING the Second World War, Michael Balcon, the head of Ealing Studios, had been the most vociferous opponent of Rank’s business activities. Like many other liberals in the trade, he viewed Rank’s influence as overweening, with a dangerous tendency to monopoly. When Balcon became a powerful presence on the Palache Committee, Rank bought him off by offering him a deal which seemed too good to refuse; he would cover half Ealing’s production costs, in return for world-wide distribution rights. This was all very well while Rank ran his business in a laissez fairemanner, but once John Dav
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"“ Good Evening “ Alfred Hitchcock Talks to Fran,ois Truffaut about “ Pure Cinema,” Playing His Audience Like an Organ, and Psycho." In Alfred Hitchccocks’ Psycho, edited by Robert Kolker. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195169195.003.0001.

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Abstract Once a week for ten years, beginning in 1955, Hitchcock introduced his popular television show with a formal “ good evening, ladies andgentlemen” spoken in an exaggerated British accent, sounding something like a movie version of an English butler. He was sarcastic and ironic; he mocked his sponsors and himself. He had, in short, a good time at every-one’s expense, his own included. The publicity and public exposure his appearances provided was invaluable. Despite the fact that Hitchcock coveted a quiet, creative life, he wanted everyone to know who was respon-sible for the films he c
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Fairfax, Daniel. "Bernard Eisenschitz: Cinema, Communism and History." In The Red Years of Cahiers du Cinéma (1968-1973). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728508_ch12.

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This chapter focuses on Bernard Eisenschitz’s activities as a film critic and historian after he was expelled from Cahiers du cinéma in 1972. A member of the Parti communiste français throughout the 1970s, he initially wrote for the party’s cultural journal La Nouvelle Critique as well as communist publications such as Révolution and L’Humanité, and he exposed the readership of these organs to a wide array of films influenced by Cahiers’ own cinematic canon. Later, his lifelong passion for film history manifested itself in a prolific series of books, written with a meticulous care for detail,
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Strukov, Vlad. "Body in Crisis and Posthumous Subjectivity: Igor’ Voloshin’s Nirvana (2008)." In Contemporary Russian Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407649.003.0008.

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Symbolisation is not about providing symbols as naïve interruptions of the moving image but rather opening the cinematic production to pro-nomination, that is, meaning-making before all names and terms. This process is similar to ex-scription (from Latin ‘exscriptus’, meaning ‘a copy, a transcript’). According to Nancy, it means ‘that the thing’s name, by inscribing itself, inscribes its property as name outside itself’ (1993: 175), or what I called above, strategies of externalisation. Here cinematic work is about writing as ‘ex-scribing’, or working from another edge, or describing states wh
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O’Farrell, Tim. "‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul." In World Cinema and the Essay Film. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.003.0008.

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This chapter argues for a complex spatialisation of time and memory in Grant Gee’s essay film Innocence of Memories (2019). Focusing on issues of narrative, the indexical and memory, the author sees Gee’s film functioning in multiple registers, principally as a kind of palimpsest, referring to and writing over Nobel Laureate Orhan Pamuk’s novel The Museum of Innocence (2009) and also referencing in multi-layered and intricate ways the real museum of the same name, located prominently in the centre of Istanbul. Both film and novel, as Tim O’ Farrell shows in an extended reading of the works, st
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Catinella, A. Peter, and Jennifer Paul Leiser. "Family Medicine." In Handbook of Primary Care Psychology. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195149395.003.0005.

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Abstract Family practice is an official medical specialty under the jurisdiction of the American Board of Family Practice. To qualify as a specialty, a field carries a unique focus of care and special training to justify that designation. Specialties define their unique focus of care using several criteria. Some specialties, such as pediatrics or internal medi-cine, focus on patients of a certain age. Some, like obstetrics and gynecology, care for patients of one gender. Some care for patients experiencing cer-tain kinds of disease or disease of certain organs, such as oncology or cardiology.
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Actas de conferencias sobre el tema "Cinema organ"

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Bolshakova, Anastasia Sergeevna. "Elusive corporeality: the utopian potential of contemporary cinema in the light of Michel Foucault's ideas." In International Research-to-practice conference. Publishing house Sreda, 2023. http://dx.doi.org/10.31483/r-107683.

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In the context of the modern super-technological, technofetishist paradigm, the category of corporeality is fundamentally transformed, and the phenomenon of the body is increasingly conceptualised and interpreted through notions of formless, structureless formations that exist as a configuration of surfaces (screen body, antibody, body without organs, zero body, body without space). In the context of a technologised, digital environment, with the development and spread of transhumanist ideas, a number of philosophical problems become particularly relevant, among them going beyond the limits of
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