Gotowe bibliografie tematyczne / Invisibilité – Au cinéma

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek

Gotowa bibliografia na temat „Invisibilité – Au cinéma”

Autor: Grafiati
Data publikacji: 23 listopada 2024
Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Invisibilité – Au cinéma"

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Kristensen, Stefan. "Vincent Berne, Identité et invisibilité du cinéma. Le vide constitutif de l’image dans Hélas pour moi de J.-L. Godard." 1895, no. 70 (June 1, 2013): 227–29. http://dx.doi.org/10.4000/1895.4718.

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Albera, François. "Godard, philosophe. Vincent Berne, Identité et invisibilité du cinéma. Le vide constitutif de l’image dans Hélas pour moi de J.-L. Godard." 1895, no. 64 (September 1, 2011): 227–28. http://dx.doi.org/10.4000/1895.4423.

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GOERG, ODILE. "VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA áFRICA COLONIAL: revivendo as primeiras cenas." Outros Tempos: Pesquisa em Foco - História 13, no. 22 (2016): 89–102. http://dx.doi.org/10.18817/ot.v13i22.548.

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O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do iná­cio do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestá­gios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concess
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Uva, Christian. "Il cinema italiano intorno aGomorratra visibilità, semivisibilità, invisibilità." Italianist 30, no. 2 (2010): 290–308. http://dx.doi.org/10.1179/026143410x12724449730295.

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Omenetto, Silvia, and Maria Chiara Giorda. "Seppur informali: l'invisibilità urbana dei gruppi religiosi. Un'ipotesi esplorativa per un centro culturale Sikh a Roma." ARCHIVIO DI STUDI URBANI E REGIONALI, no. 132 (November 2021): 177–99. http://dx.doi.org/10.3280/asur2021-132008.

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A partire dall'"informalita" e dall'"invisibilita" urbana che connotano la condizione di alcuni gruppi religiosi in Italia, l'articolo presenta una possibile soluzione architettonica e urbanistica: la conversione di un cinema romano nel primo centro culturale Sikh in Italia attraverso l'adozione di un approccio interdisciplinare basato sui metodi della geografia delle religioni.
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Yoshimoto, Mitsuhiro. "Nuclear disasters and invisible spectacles." Asian Cinema 30, no. 2 (2019): 169–85. http://dx.doi.org/10.1386/ac_00002_1.

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The violence of nuclear catastrophe is fundamentally contradictory. On the one hand, when caused by nuclear weapons, it is highly visible and often spectacular. As is the case with exposure to a large dose of radiation, the consequence of this violence can be instantaneous, too. On the other hand, odourless and invisible, radiation is beyond direct human perception. Furthermore, the deadly effect of radiation often manifests itself gradually over many years or even decades. This paradox of nuclear violence on human lives and the environment, which is simultaneously hypervisible and invisible,
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SALNIKOVA, EKATERINA V. "Diegetic Invisible/Vanishing in Silent Cinema and its Origins." Art and Science of Television 18, no. 1 (2022): 49–78. http://dx.doi.org/10.30628/1994-9529-2022-18.1-49-78.

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The article studies the early silent cinema motif of disappearance or invisibility of bodies in a frame. In adventure and adventure-fantasy films, this motif performs a whole set of functions. Using the example of several films, I uncover its rich semantic potential. Further on, the mythological origins of the motif are analyzed, as are the role of theater, circus, attraction and fairy tale in the prehistory of the diegetic disappearing. Attention is paid to the aesthetics of the trick in Georges Méliès’ films, where the condition and location of the vanishing body remain uncertain. Narrative
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Sandrin, Tamara. "Credere alla carne La funzione del corpo nel cinema di genere e documentario." Altre Modernità, no. 26 (November 29, 2021): 246–61. http://dx.doi.org/10.54103/2035-7680/16809.

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Che cos’è il cinema del corpo? E il cinema del corpo-animale? E ancora: il cinema può darci la presenza del corpo? Sulla scorta del concetto deleuziano di corpo cinematografico in questo saggio cercherò di condurre – con l’ausilio di alcune pellicole esemplari, film di “genere” e d’autore – un’analisi del cinema del corpo e del corpo-animale che, attraverso la raffigurazione di corpi mostruosi e di corpi sacrificabili, di corpi animali e animalizzati, attraverso il divenire animale di corpi visibili e invisibili, possa contribuire a restituire il discorso al corpo, a portare alla luce una nuov
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Fortes, Lucas Bitencourt, and Daniela Ripoll. "Decolonialidade e contravisualidade no cinema de horror negro brasileiro." (Des)troços: revista de pensamento radical 5, no. 2 (2025): e54291. https://doi.org/10.53981/destroos.v5i2.54291.

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This article aims to discuss Brazilian Black horror cinema, connecting it to a decolonial approach and the concept of counter-visuality, through an analysis of the short film Gênesis 22 (1999), directed by Jeferson De. To this end, it draws on the theoretical field of Cultural Studies, using a methodological tripod consisting of screen ethnography, critical visual methodology, and cultural analysis. It is understood that Black individuals, for many years, have faced a series of issues in the audiovisual world, related to invisibility and stereotyping, many of which unfortunately still persist.
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Jesson, Claire. "‘We shall really have to do something about your equipment’: The Projectionist's Negotiation of Obsolescence in The Smallest Show on Earth and Coming Up Roses." Journal of British Cinema and Television 15, no. 1 (2018): 115–30. http://dx.doi.org/10.3366/jbctv.2018.0405.

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This article analyses two British film comedies, The Smallest Show on Earth (1957) and the Welsh-language film Coming Up Roses (Rhosyn a Rhith) (1986), both of which feature projectionists as significant characters. It focuses on the implications of the projectionist as a hero within the narratives, on his portrayal and on the dramatisation of his labour. I examine the paradox of his inhabiting a central narrative role when his professional one requires his isolation and invisibility, when his own attention is funnelled towards the on-screen diegesis he is concerned to project and, moreover, w
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Rozprawy doktorskie na temat "Invisibilité – Au cinéma"

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Ozdil, Yilmaz. "La construction visuelle des identités kurdes : cinema turc, cinéma kurde." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030165.

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Dans les quatre pays dominant le Kurdistan, (Turquie, Iran, Irak et Syrie), la question kurde se traduit avant tout sous forme de visibilité/ invisibilité, autour de la question de la reconnaissance des Kurdes en tant que Nation déniée. Notamment en Turquie, le premier des pays à avoir imposé aux Kurdes son modèle d'Etat-Nation, cette question renvoie aux politiques négationnistes étatiques menées contre la culture et l'identité kurdes, considérées dès 1924, comme des obstacles au processus de création d'une identité nationale turque. Dans ce rapport conflictuel entre le nationalisme turc et l
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Monteiro, Lúcia Ramos. "L'imminence de la catastrophe au cinéma. Films de barrage et films sismiques." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030014.

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Et s’il y avait quelque chose de proprement cinématographique dans l’idée de « catastrophe », dans le mouvement spatio-temporel cycliqueindiqué par son étymologie ? À partir de cette hypothèse, notre recherche a voulu articuler « cinéma » et « catastrophe » sous la perspective del’imminence. Sans ajouter au débat sur l’irreprésentabilité (la Catastrophe impliquerait la ruine de la représentation) ni nous attarder sur lareprésentation de la ruine (ce qui reste après), nous avons décidé d’examiner l’horizon catastrophique.Comment savoir qu’une catastrophe est à venir ? Quelle image le cinéma peu
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Pistone, Marianne. "L’autrement qu’être dans le cinéma d’Apichatpοng Weerasethakul : une étude de l’apparaissant". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMC009.

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Ce travail de thèse se propose de considérer le cinéma d’Apichatpong Weerasethakul sous l’angle du visible et de l’invisible et du mouvement qui va de l’un à l’autre. Cet angle est celui de l’apparaissant, c’est-à-dire de ce qui, entre la divulgation, l’émergence et l’occultation, a lieu ou se retire. Il n’est pas seulement – posément – apparent mais bien apparaissant, c’est-à-dire entrevu dans l’inquiétude de l’acte d’apparition. En se concentrant notamment sur les espaces cruciaux des films que sont les jungles, une prospection mésographique est engagée dans les champs de la spatialité et d
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Burdino, Fanny. "Visible et invisible dans le cinéma d'Ingmar Bergman : la matrice Fanny et Alexandre." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080124/document.

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En 1982, Ingmar Bergman avait pris la décision d’arrêter le cinéma avec une œuvre qu’il voulait ultime : Fanny et Alexandre. Il ne tint pas tout à fait parole et continua à réaliser des œuvres pour la télévision, ce qu’était déjà Fanny et Alexandre. Une fresque de 5h40, film somme et sommet cinématographique. Notre travail souhaite comprendre la complexité d’une œuvre qui renferme à elle seule tous les motifs du cinéaste. Notre désir est de l’étudier sous l’angle de deux notions : le visible et l’invisible. Ces notions viennent d’emblée interroger la présence et l’absence, le plein et le vide,
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Parini, Cecilia <1994&gt. "Così appariscenti da essere invisibili: Il travestitismo nel cinema Italiano dagli anni '60 agli anni '90." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18806.

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L’elaborato finale si occuperà del tema del travestitismo nel cinema italiano dagli anni ’60 agli anni ’90. Si cercherà di analizzare la figura dei personaggi en travesti e la loro funzione all’interno delle pellicole, da spalla comica/grottesca a una funzione più sociale e progressista per i diritti LGBTIQ+. Inoltre vedremo come per via della cultura cinematografica ancora oggi si creda che il crossdressing sia considerata una pratica omosessuale quando invece dai diversi anni risulti essere praticato soprattutto da persone etero sessuali. Nel corso della tesi si analizzeranno diversi momenti
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Zanotto, Luisa <1988&gt. "La traduzione della metafora dall’italiano al cinese. Ricerca nella traduzione a cura di Zhang Mi di “Le Città Invisibili” di Italo Calvino." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2604.

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Questa tesi prende in esame la traduzione in cinese realizzata da Zhang Mi di “Le Città Invisibili” di Italo Calvino, per condurre uno studio sulle tecniche di traduzione di metafora dall’italiano al cinese. Quest’opera letteraria ha un profondo valore allusivo a tre livelli: l’opera intera, i singoli capitoli e le frasi che ne compongono il testo. Poichè la mia analisi è incentrata sul piano linguistico più che sull’interpretazione dell’opera completa, ho preso in esame nel confronto tra prototesto e metatesto le metafore a livello di parole, espressioni e frasi semplici. Questi elementi, est
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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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Linke, Irina. "Gender – Bilder – Sanaa. Eine Ethnographie." Doctoral thesis, Humboldt-Universität zu Berlin, 2017. http://dx.doi.org/10.18452/18196.

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Diese Studie erkundet den Zusammenhang von Gender und Bilderpraktiken in Sanaa vor dem Hintergrund der globalen Zirkulation von Bildern. Von Geschlechtersegregation gekennzeichnet und an der Peripherie globaler Bilderproduktion liegend, bietet sich der Jemen für die Erforschung des Spannungsfelds von Bildern und Gender an. Betrachtet wird insbesondere, wie Jemenitinnen öffentliche Bilder entschleierter Frauen auf eigene Vorstellungen von Sittsamkeit und Unsichtbarkeit beziehen und wie öffentliches Erscheinen von Frauen verhandelt wird. Ein filmischer Zugang führt zur Betrachtung der performati
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ZHANG, MINGYU. "Le città invisibili, Se una notte d’inverno un viaggiatore e Lezioni americane: la critica cinese (1980-2018)." Doctoral thesis, 2021. http://hdl.handle.net/11573/1569387.

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Lo scopo di questo lavoro è di studiare la ricezione di Calvino nel campo della critica letteraria cinese e di esaminare la lettura e la critica di tre opere di Calvino da parte di due gruppi molto diversi di critici: gli italianisti cinesi e i comparatisti cinesi. Il presente lavoro cercherà di interpretare e analizzare i temi esplorati dagli studiosi cinesi nei loro saggi e studi sull'autore ligure e sulle tre opere, così come i giudizi e le critiche sollevate, nel tentativo di delineare l'immagine di Calvino agli occhi negli studiosi cinesi. Cercherà di osservare quali aspetti della lettura
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Książki na temat "Invisibilité – Au cinéma"

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Berne, Vincent. Identité et invisibilité du cinéma: Le vide constructif de l'image dans "Hélas pour moi" de J.-L. Godard. Chromatiques whiteheadiennes, 2010.

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Gli invisibili: 2000-2010, dieci anni di cinema nascosto. Il foglio, 2012.

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Doublures du visible: Voir et ne pas voir en cinéma. Presses universitaires du Septentrion, 2021.

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Corbin, Christophe. Revisiting the French Resistance in Cinema, Literature, Bande Dessinée, and Television (1942–2012). Rowman & Littlefield Publishing Group, 2019. https://doi.org/10.5040/9781978730274.

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Revisiting the French Resistance in Cinema, Literature, Bande Dessinée, and Television (1942–2012) examines how fictional works have contributed to shaping the image of the French Resistance, and offers a key to understanding France’s national psyche. Christophe Corbin explores themes including the making of the myth of an honorable country united against a common enemy, comedies gently poking fun at it and fictional works debunking it straightforwardly, the invisibility and resurfacing of women in films and novels, as well as contemporary depictions of the Resistance on television. Case studi
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Części książek na temat "Invisibilité – Au cinéma"

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Fairfax, Daniel. "Décalages: “Young Mr. Lincoln de John Ford”." In The Red Years of Cahiers du Cinéma (1968-1973). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728508_ch03.

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This chapter discusses Cahiers du cinéma’s collective text “Young Mr. Lincoln de John Ford,” a critical re-reading of a canonical film from the classical era of Hollywood cinema, and places it in the context of the journal’s long relationship with Ford’s oeuvre. Highlighting the article’s status as a truly communal theoretical undertaking and its indebtedness to the structuralist reading method espoused by Roland Barthes in S/Z, this chapter closely scrutinizes the text on Young Mr. Lincoln. While later critics for Screen noted flaws in the political analysis offered by Cahiers, I show that th
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"Introduction: Troubling Invisibility and the Breathing Body." In The Place of Breath in Cinema. Edinburgh University Press, 2012. http://dx.doi.org/10.1515/9780748649006-003.

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"1. Canadian Cinema 1896–1986: Invisibility and Difference." In Canadian Cinema Since the 1980s. University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442698314-006.

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Missero, Dalila. "Introduction." In Women, Feminism and Italian Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.003.0001.

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The introduction outlines the chronological span and methodology of the book, particularly in relation to existent studies in Italian cinema, in New Cinema History and Feminist Film theory. It also looks at the specific challenges of studying women and feminist archives from a position of posterity, calling for an affective and situated approach, which addresses issues of fragmentation and invisibility in archival sources and historiography more broadly. The chapter also illustrates the articulation of the book in three main sections, respectively dedicated to film consumption, representation,
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Missero, Dalila. "Conclusion – Feminist Film Culture(s): Collectivities, Archives and Futures." In Women, Feminism and Italian Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474463249.003.0014.

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Drawing from Iris Marion Young notion of “pragmatic theorising”, this conclusion addresses issues of archival accessibility and historiography, from the point of view of women’s fragmented sources. It argues that a materialist and sensory approach to the archive leads to a notion of collective subjectivity, which goes beyond the ideas of “absence” and invisibility that inform most of the historiography about women in the cinema.
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Brandão, Alessandra Soares, and Ramayana Lira de Sousa. "Domestic Work, Gender, Race, Class and the Ethical Paradox of the Big House in Brazilian Cinema." In Contemporary Screen Ethics, edited by Lucy Bolton, David Martin-Jones, and Robert Sinnerbrink. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474447584.003.0002.

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This chapter explores the recognition, or lack of it, afforded to domestic labour. The chapter takes take a decolonizing feminist approach to representations of the housemaid in films depicting the Big House – an architectural phenomenon synonymous with colonial plantations – in Brazilian cinema, from the 1940s and 1950s to the present. Examining the figure of the black woman housemaid in this cinematic heritage, at the intersection of gender and sexuality, the chapter explores the “invisibility” which is perpetuated today, and which is shown to have roots deep within the colonial history of B
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Luca, Tiago de. "Photographs of the Invisible: Intermedial Figurations of Social Exclusion in Babás and Aquarius." In Towards an Intermedial History of Brazilian Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474452984.003.0005.

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Drawing on Laura Mulvey’s study of photographic stillness, this chapter considers the use of photography as an intermedial device to provoke reflection on that which is only partially visible at the edge of the frame. It argues that this marginal invisibility can act, paradoxically, as the visualisation of social and structural forces of marginalisation. To that end, the chapter explores the short audiovisual essay Babás (Nannies, 2010) and the fiction film Aquarius (2016). While vastly different in themselves, these films are contextualised as part of a prolific recent trend in Brazilian cine
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Avezzù, Giorgio, and Giuseppe Fidotta. "The World Essay Film and the Politics of Traceability." In World Cinema and the Essay Film. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.003.0006.

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Genèse d’un repas(Moullet, 1979), Ananas(Gitai, 1984) and The Forgotten Space (Burch &amp; Sekula, 2010) constitute three cinematic attempts at representing the global production and distribution networks of commodities. Giorgio Avezzù and Giuseppe Fidotta argue in this chapter that these films, due to their central concern with late capitalism and globalisation, can be labelled ‘World Essay Films’. They question, however, the multi-layered dynamics of global economy and cinema from the standpoint of Cultural Geography and Visual Studies. Although the World Essay Film’s central question pertai
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Singer, Robert. "The Body Politic." In Beyond Realism. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781474426336.003.0004.

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This chapter discusses the sex worker, both male and female, as a signifying subject-object in international naturalist cinema. The prostitute, as s/he is linked with paintings, photographs, and literary narratives of the "fallen woman/man"—a corrupted and corrupting sex worker as sympathetic or predatory individual-is reappropriated in naturalist cinema as a gender-specific or transitioning purchased product, an alluring, sexually commodified representation. These films feature the laboring body in states of precarious survival and decline and frequently indicate manifestations of the wound t
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Furtado, Gustavo Procopio. "Tactics of the Invisible, Shadow Archives." In Documentary Filmmaking in Contemporary Brazil. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190867041.003.0005.

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This chapter shifts the reflections on marginalization and visibility discussed in chapter 3 to Brasilia, the modernist capital that was built from scratch in forty-one months and completed in 1960. Embodying a strategic visuality intent on ordering urban space, Brasilia also produced massive forms of invisibility, as illustrated by the forced relocation of workers to peripheral satellite cities and by the repression of marginal histories—histories that are buried beneath the city’s surface like the bodies of workers who died during its construction. Paying special attention to Vladimir Carval
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