Bibliografías temáticas / Motion picture industry – Nigeria – History and criticism

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Literatura académica sobre el tema "Motion picture industry – Nigeria – History and criticism"

Autor: Grafiati
Publicado: 27 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Motion picture industry – Nigeria – History and criticism"

1

Acland, Charles. "Matinees, Summers and Opening Weekends." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1824.

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Newspapers and the 7:15 Showing Cinemagoing involves planning. Even in the most impromptu instances, one has to consider meeting places, line-ups and competing responsibilities. One arranges child care, postpones household chores, or rushes to finish meals. One must organise transportation and think about routes, traffic, parking or public transit. And during the course of making plans for a trip to the cinema, whether alone or in the company of others, typically one turns to locate a recent newspaper. Consulting its printed page lets us ascertain locations, a selection of film titles and thei
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2

Ahn, Sungyong. "On That <em>Toy-Being</em> of Generative Art Toys." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2947.

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Exhibiting Procedural Generation Generative art toys are software applications that create aesthetically pleasing visual patterns in response to the users toying with various input devices, from keyboard and mouse to more intuitive and tactile devices for motion tracking. The “art” part of these toy objects might relate to the fact that they are often installed in art galleries or festivals as a spectacle for non-players that exhibits the unlimited generation of new patterns from a limited source code. However, the features that used to characterise generative arts as a new meditative genre, s
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Tesis sobre el tema "Motion picture industry – Nigeria – History and criticism"

1

廖志強. "<<中聯>>電影解讀 : 在啓蒙, 批判, 包容之間的意識形態 = Interpretation of 'Zhong Luen' (Union Motion Picture)'s films : the ideology of englightenment, criticism and toleration". HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/212.

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Castillo, Gilbert Gerard. "Gender, Identity, and Influence: Hong Kong Martial Arts Films." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3354/.

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This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through
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3

Burgess, Diane. "Canon busting?: approaching contemporary Canadian cinema." Thesis, 2000. http://hdl.handle.net/2429/10361.

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This thesis explores contemporary Canadian cinema by investigating the convergence of films, policy and criticism as they are implicated in the idea of canon. Both fluid and multiple in its frame(s) of reference, the term canon extends beyond a list or core of privileged texts to include the processes of evaluation. Posited as a performative construct, the national cinema canon can be seen as offering a strategically deployed expression of national cultural identity, with appraisals of each film's value arising from the intersection of critical and governmental discourses; however, narro
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4

Hooton, Fiona Art History &amp Art Education College of Fine Arts UNSW. "The impact of the counterculture on Australian cinema in the mid to late 20th century." 2007. http://handle.unsw.edu.au/1959.4/41008.

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This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting
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Libros sobre el tema "Motion picture industry – Nigeria – History and criticism"

1

Pierre, Barrot, Abdoulaye Ibbo Daddy, and Taylor Lynn, eds. Nollywood: The video phenomenon in Nigeria. James Currey, 2008.

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2

Mgbejume, Onyero. Film in Nigeria: Development, problems, and promise. African Council on Communication Education, 1989.

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3

Shalash, ʻAlī. al- Naqd al-sīnimāʼī fī al-ṣiḥāfah al-Miṣrīyah: Nashʼatuhu wa-taṭawwuruh. al-Hayʼah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 1986.

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4

Arslan, Tunca. 1980 sonrası Türk sineması'nda akla zarar filmler. Kırmızı Kedi Yayınevi, 2009.

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5

Afkhamī, Bihrūz. Hastah-yi ātishʹfashanī-i sīnima. Nashr-i Sāqī, 2000.

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6

Gupta, Shubhra. 50 films that changed Bollywood, 1995-2015. HarperCollins Publishers India, 2016.

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7

Tong xi wen hua chu ban gong zuo shi, ред. 台灣當代影像 : 從紀實到實驗 1930-2003: A retrospective collection of documentary films from Taiwan. Tong xi wen hua chu ban gong zuo shi, 2006.

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8

Koszarski, Richard. An evening's entertainment: The age of the silent feature picture, 1915-1928. University of California Press, 1994.

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9

Jumʻah, al-Sayyid Ḥasan. Kitābāt al-Sayyid Ḥasan Jumʻah. Wizārat al-Thaqāfah, al-Markaz al-Qawmī lil-Sīnamā, 1997.

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Jumʻah, al-Sayyid Ḥasan. Kitābāt al-Sayyid Ḥasan Jumʻah. Wizārat al-Thaqāfah, al-Markaz al-Qawmī lil-Sīnimā, 1998.

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