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Littérature scientifique sur le sujet « Stagecoach (Motion picture : 1939) »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Stagecoach (Motion picture : 1939)"

Kelly Hopfenblatt, Alejandro, and Ivan Morales. "La Circulación internacional del cine clásico argentino: El caso de la Film Society of Southern California (1939)." Aniki: Revista Portuguesa da Imagem em Movimento 9, no. 1 (2022): 202–28. http://dx.doi.org/10.14591/aniki.v9n1.845.

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En 1939, Donald Gledhill, presidente de la Southern California Film Society y secretario ejecutivo de la Academy of Motion Picture Arts and Sciences, se contactó con el Instituto Nacional de Cine argentino dando lugar al primer encuentro institucional entre el cine argentino y Hollywood. El contacto resultó en la proyección de dos films argentinos en el New Review Theater de Los Ángeles: Puerta cerrada (Luis Saslavsky, 1939) y Alas de mi patria (Carlos Borcosque, 1939). En el presente artículo proponemos reconstruir este olvidado episodio de la historia del cine (trans)nacional a partir de doc

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Ameti, Lirije. "THE PORTRAIT OF THE AMERICAN WOMAN IN MARGARET MITCHELL'S NOVEL "GONE WITH THE WIND"." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (2019): 1749–53. http://dx.doi.org/10.35120/kij31061749a.

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This theme, The Portrait of the American Woman in Margaret Mitchell's Novel " Gone With The Wind " is broad, challenging, interesting and among many contradictory to one another's point of view, at different social grounds , periods of time simply or merely of the fact that a female writer of this tremendous saga read mostly by women represents multi dimensional themes. It is an interweave of tradition, history , war, social classes, Reconstruction, transition and more. All these and many other themes written with a masterful disciplined imagination put in the longest novel in history. A maste

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Michele Guerra. "Cinema as a form of composition." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 51–57. http://dx.doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to “Techne”, I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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Michele, Guerra NA. "Cinema as a form of composition." November 17, 2021. https://doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to "Techne", I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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Thèses sur le sujet "Stagecoach (Motion picture : 1939)"

Street, Sarah. "Financial and political aspects of state intervention in the British film industry, 1925-1939." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:aeedf404-aa82-4a7e-a1b7-feb626ffff81.

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During this period the state's interest in the film industry took several different forms. The area of films policy explored in this thesis is the economic protection of the commercial film industry against the high percentage of American films screened in Britain and the Empire. I begin in 1925 because it was not until then that active steps were taken by the government, in response to agitation from producers and those who saw film as a bond of Empire and advertisement for British goods and 'way of life', leading to the Cinematograph Films Act, 1927. This proposed, for political, cultural, m

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Gutierrez, III Jose. "Investigating Kracauerian cinematic realism through film practice and criticism: Life-world series (2017) and selected films of Lino Brocka." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/525.

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This dissertation is an investigation on the realist film theory of Siegfried Kracauer. It was principally conducted through film practice as exemplified by the ten short films that compose the omnibus film project, Life-world Series (dir. Joni Gutierrez, 2017, 118 minutes). To supplement the study's examination of Kracauerian cinematic realism (KCR), film criticism of selected works of Lino Brocka was also accomplished. The methodology involved three components: (1) research-based production of Life-world Series; (2) textual analyses of the said film collection and selected Brocka films; and

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Dodds, Cori Lyn. "Will this picture help win the war? A textual thematic analysis of recruiting themes in Guadalcanal Diary." Thesis, 2006. http://hdl.handle.net/10057/336.

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This study is a textual thematic analysis that sought to identify recruiting themes embedded in a World War II combat film, Guadalcanal Diary (1943). The film was chosen on the basis of its representative ness of the combat films of the era. The study was completed through a deconstruction of the film, identifying scenes that contained either manifest or latent, recruiting appeals. The appeals were those Padilla and Laner’s 2001 study identified as the predominant themes used in 1942 recruiting posters. Additionally, the study examined the film using Carey’s (1989) theory of a ritual view of c

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Falk, Andrew Justin. "Staging the Cold War negotiating American national identity in film and television, 1940-1960 /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120292.

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Livres sur le sujet "Stagecoach (Motion picture : 1939)"

Pizzuto, Maurizio. Cinema: L'influenza del doppiaggio cinematografico sulla lingua italiana del Ventennio : l'esempio di Ombre rosse. Lampi di stampa, 2022.

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Jean-Louis, Capitaine, and Charton Balthazar J. M, eds. Stars: Hollywood, 1929-1939. Hazan, 1985.

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Vera, Pascual. Empresa y exhibición cinematográfica en Murcia (1895-1939). Real Academia Alfonso X el Sabio, 1991.

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Dovz͡henko, Oleksandr Petrovych. Dnevnikovye zapisi, 1939-1956: Shchodennykovi zapysy, 1939-1956. "Folio", 2013.

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(Egypt), Ṣundūq al-Tanmiyah al-Thaqāfīyah, ред. al-Sīnimā al-Miṣrīyah fī al-thalāthīnīyāt (1930-1939). Wizārat al-Thaqāfah, Ṣundūq al-Tanmiyah al-Thaqāfīyah, 2002.

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Castillo, Humberto, and Marisol Sanz. Filmografía venezolana 1939-1953. Fundación Cinemateca Nacional, 2014.

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Abel, Richard. French film theory and criticism: A history/anthology, 1907-1939. Princeton University Press, 1988.

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Balio, Tino. Grand design--Hollywood as a modern business enterprise, 1930-1939. Scribner, 1993.

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Fernández, Emilio C. García. El cine español entre 1896 y 1939: Historia, industria, filmografía y documentos. Ariel, 2002.

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Vieira, Mark A. Hollywood portraits: Classic scene stills, 1939-1951. Bison Group, 1991.

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Chapitres de livres sur le sujet "Stagecoach (Motion picture : 1939)"

Yogerst, Chris. "Hollywood and Anti-Fascism, 1939–1940." In Hollywood Hates Hitler! University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829757.003.0003.

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By February of 1939, Motion Picture Pictures and Distributors Association (MPPDA) President Will Hays argued that movies needed more realism connecting to the types of problems that face average Americans. With growing anti-Nazi sentiment in Hollywood, the release of Confessions of a Nazi Spy on May 6<sup>th</sup> would become a watershed moment for an industry largely cautious of how they should approach the growing unrest in Europe. At the same time, Hitler’s Minister of Propaganda, Joseph Goebbels, discontinued the shipment of official Nazi war films to the United States. Producer Walter Wa

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Dowbiggin, Ian. "Breakthrough, 1920–1940." In A Merciful End. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195154436.003.0002.

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Abstract By the 1920s, euthanasia was no longer a secret in America. The popular and medical press had run stories on mercy killing, the first signs of a debate that would mark much of American life for the rest of the century. A motion picture, titled The Black Stork, about withholding surgery from a deformed newborn, had been released and was being shown commercially throughout the country. Clarence Darrow ,Jack London, Eugene Debs, Helen Keller, and the editorial board of the New Republic had spoken out in favor of euthanasia. Popular attitudes toward euthanasia also showed signs of movemen

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Papp, Susan M. "The Politics of Exclusion." In Polin: Studies in Polish Jewry Volume 31. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764715.003.0014.

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THIS CHAPTER seeks to present a comparative examination of the film industries in Hungary and Poland from the invention of the first motion picture cameras in the 1890s up to and including the Second World War, and the important role played in this industry by Jews from both countries. Throughout the period, Hungary had a vibrant film industry, yet, from the end of the First World War, each successive government tried to politicize and shape it. In Poland, government interference was less intrusive until the late 1930s, and Jews continued to play an important role in the film industry until th

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