Zaloguj się

Gotowe bibliografie tematyczne / Noir – Au cinéma / Artykuły w czasopismach

Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Noir – Au cinéma.

Artykuły w czasopismach na temat „Noir – Au cinéma”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 5 lutego 2022

Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych

Wybierz rodzaj źródła:

Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „Noir – Au cinéma”.

Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.

Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.

Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.

1

Boulou Ebanda, De B’béri. "Tactiques scripturaires dans les cinémas d’Afrique noire." Cinémas 11, no. 1 (2007): 11–30. http://dx.doi.org/10.7202/024831ar.

Pełny tekst źródła

Streszczenie:

RÉSUMÉ Notre réflexion sur le cinéma d'Afrique noire trouve son point de départ dans les concepts de stratégie et de tactique, que nous empruntons à Michel de Certeau. Notre hypothèse est que les cinémas d'Afrique noire s'infiltrent dans les structures stratégiques des cinémas dominants, créant ainsi de nouvelles voies d'analyse. Un survol historique des images et discours sur l'Afrique montrera comment s'opèrent la réappropriation et la rappropriation de l'image du Noir par le Noir. La description de deux séquences de films montrera comment la rappropriation s'effectue par des détournements f

Style APA, Harvard, Vancouver, ISO itp.

2

Bailblé, Claude. "Le noir et blanc au cinéma." Cahier Louis-Lumière 1, no. 1 (2003): 6–25. http://dx.doi.org/10.3406/cllum.2003.849.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

3

Bosséno, Christian. "Cinéma noir et blanc en version française." Hommes et Migrations 1132, no. 1 (1990): 43–50. http://dx.doi.org/10.3406/homig.1990.1470.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

4

Barlet, Olivier. "Y a-t-il un cinéma noir français ?" Africultures 92-93, no. 2 (2013): 342. http://dx.doi.org/10.3917/afcul.092.0342.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

5

Corcuff, Philippe. "“Juegos de lenguaje” del género negro: novela, cine y series." Cultura y Representaciones Sociales 11, no. 21 (2016): 9–28. http://dx.doi.org/10.28965/0103(2017).06.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

6

Corcuff, Philippe. ""Jeux de langage" du noir : roman, cinéma et séries." Quaderni, no. 88 (October 5, 2015): 21–33. http://dx.doi.org/10.4000/quaderni.917.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

7

Jonassaint, Jean. "Le cinéma de Sembène Ousmane, une (double) contre-ethnographie." Ethnologies 31, no. 2 (2010): 241–86. http://dx.doi.org/10.7202/039372ar.

Pełny tekst źródła

Streszczenie:

Dans un premier temps, cet article brosse brièvement une biographie intellectuelle de Sembène Ousmane pour faire ressortir les rapports entre sa production et sa trajectoire de sujet sénégalais, Ousmane Sembène de son vrai nom, devenu le romancier et cinéaste Sembène Ousmane. Du même coup, à partir d’une lecture de l’évolution des titres de ses romans du français au wolof, du Docker noir (1956) à Xala (1973), il tente d’expliquer son passage de l’écrit à l’écran. Dans un deuxième temps, ce texte montre la cohérence interne de l’oeuvre cinématographique de La Noire de... (1966) à Moolaadé (2004

Style APA, Harvard, Vancouver, ISO itp.

8

Jost, François. "Du renoncement à la couleur à une esthétique et à une éthique du noir et blanc : Averty dans ses oeuvres." Cinémas 26, no. 2-3 (2017): 99–127. http://dx.doi.org/10.7202/1039368ar.

Pełny tekst źródła

Streszczenie:

Lorsqu’il arrive à la télévision, Averty est saisi par un sentiment de grisaille : alors même qu’elles sont tournées dans des décors en couleurs, les émissions sont filmées en noir et blanc. S’insurgeant contre ce qu’il considère comme une absurdité, il va fonder son esthétique sur le contraste de ces deux couleurs. Les bases en sont jetées parUbu roi, qui s’appuie sur « De l’inutilité du théâtre au théâtre », de Jarry, et sur une conception de l’image qui mêle à la « perspective signifiante » du Moyen Âge l’art du papier découpé de Braque. En résulte une conception de la télévision qui tourne

Style APA, Harvard, Vancouver, ISO itp.

9

Araújo, Mateus, and Cyril Béghin. "Brecht, Glauber, Deus, o Diabo e o Dragão Entrevista com Othon Bastos." Revista ECO-Pós 22, no. 1 (2019): 308–24. http://dx.doi.org/10.29146/eco-pos.v22i1.26394.

Pełny tekst źródła

Streszczenie:

Othon Bastos é, sem favor, um dos maiores e mais completos atores brasileiros dos últimos 60 anos, com carreira muito imponente no teatro, no cinema e na televisão. Iniciada por escrito em fins de dezembro de 2004, e largamente desenvolvida num longuíssimo telefonema internacional de Paris ao Rio de Janeiro em 14 de janeiro de 2005, esta entrevista tinha como foco principal o trabalho cinematográfico de Othon com Glauber Rocha, de cuja retrospectiva integral na França (março de 2005) ele era um dos convidados previstos por nós. De seu itinerário muito rico, deixamos entre parênteses uma série

Style APA, Harvard, Vancouver, ISO itp.

10

Sauvagnargues, Anne. "Le sujet cinématographique, de l’arc sensorimoteur à la voyance." Cinémas 16, no. 2-3 (2007): 96–114. http://dx.doi.org/10.7202/014617ar.

Pełny tekst źródła

Streszczenie:

Résumé La sémiotique de l’image, chez Deleuze, s’appuie sur une cinétique du mouvement, qui renouvelle la philosophie et la théorie du cinéma. La matière comporte l’ensemble des images, tandis que la perception ouvre sur ces images une perspective myope, prenant pour cadre l’image particulière d’un corps. Dans cet univers acentré, la subjectivité agit comme cadrage et coupure, interstice entre les images. Une perception se forme quand une image s’individue, et cette individuation se formule dans les termes d’une genèse cinématographique. L’image-mouvement déplie son éventail subjectif d’images

Style APA, Harvard, Vancouver, ISO itp.

11

Sinda, Thierry. "Le cinéma des Aborigènes d'Australie ou la naissance d'une nouvelle cinématographie du monde noir." Présence Africaine 159, no. 1 (1999): 215. http://dx.doi.org/10.3917/presa.159.0215.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

12

Chedaleux, Delphine. "Des jeunes femmes dans le cinéma français sous l'Occupation : contradictions en noir et blanc." Le Temps des médias 12, no. 1 (2009): 163. http://dx.doi.org/10.3917/tdm.012.0163.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

13

Kuo, Li-Chen. "Le noir du cinéma et sa mise en « boîte » par Janet Cardiffet George Bures Miller." Marges, no. 31 (October 20, 2020): 45–55. http://dx.doi.org/10.4000/marges.2286.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

14

Guyot-Bender, Martine. "Fondu au noir : Passage à l'art, passage à l'oubli dans le cinéma de Rithy Panh." Contemporary French and Francophone Studies 21, no. 3 (2017): 274–81. http://dx.doi.org/10.1080/17409292.2017.1396746.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

15

Laberge, Yves. "Olivier BARROT et Raymond CHIRAT (2000), Noir et Blanc. 250 acteurs du cinéma 1930-1960." Communication, Vol. 22/2 (October 15, 2003): 193–94. http://dx.doi.org/10.4000/communication.4537.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

16

Kolovos, Nikos. "Ο Ορφέας του σκότους (Στον κινηματογράφο του Ζαν Κοκτό)". Σύγκριση 11 (31 січня 2017): 35. http://dx.doi.org/10.12681/comparison.10765.

Pełny tekst źródła

Streszczenie:

Lévénement le plus important de la «vie» d' Orphée fut sa descente dans l'Hadès, à laqualle il se résolut, demeuré inconsolable après la mort de sa bien- aimée Eurydice. La «mort» d' Orphée est le second événement extraordinaire de sa vie. Jean Cocteau s'est limité essentiellement à la description du premier événement pour tourner ses films «Orphée» (1950) et «Le Testament d'Orphée» (1959). Pour Cocteau, le cinéma était poétique par excellence, «un véhicule de poésie», selon ses propres termes. Car l'inventif langage audiovisuel lui donnait la possibilité de dépasser la réalité et de se mouvoi

Style APA, Harvard, Vancouver, ISO itp.

17

Diawara, Manthia. "Noir by Noirs: Towards a New Realism in Black Cinema." African American Review 27, no. 4 (1993): 525. http://dx.doi.org/10.2307/3041886.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

18

Diawara, Manthia. "Noir by Noirs: Towards a New Realism in Black Cinema." African American Review 50, no. 4 (2017): 899–911. http://dx.doi.org/10.1353/afa.2017.0145.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

19

Orozbaev, Kasym N. "Primary Cinema Sources of American Noir." Journal of Flm Arts and Film Studies 8, no. 2 (2016): 108–18. http://dx.doi.org/10.17816/vgik82108-118.

Pełny tekst źródła

Streszczenie:

The article analyses the two main sources of American film noir: the German cinema of the Weimar period (1919-1933) and American gangster film (1920-1930), pointing out the principal stylistic, thematic and conceptual techniques that influenced the forming of the noir style in the American movies of the 1940-1950s.

Style APA, Harvard, Vancouver, ISO itp.

20

Schneider, Adérito. "A DAMA DO CINE SHANGAI, UM NOIR BRASILEIRO." Revista NÓS: Cultura, Estética e Linguagens (ISSN 2448-1793) 3, no. 3 (2018): 73–87. http://dx.doi.org/10.32411/revistanos-2448-1793-v3n3-8339.

Pełny tekst źródła

Streszczenie:

O artigo A dama do Cine Shangai, um noir brasileiroapresenta resultados preliminares de uma tese de doutorado emdesenvolvimento que busca analisar o filme A dama do Cine Shangai(Guilherme de Almeida Prado, 1988) sob diferentes aspectos: primeiro,como um filme noir brasileiro do final do século XX, após décadas denoir enquanto (sub)gênero na literatura, no cinema e outras linguagensartísticas; e também como um filme brasileiro pós-moderno do finaldos anos 1980, numa espécie de “limbo” após o chamado cinemamoderno brasileiro (em especial, o Cinema Novo e o Cinema Marginal)e antes da Retomada (an

Style APA, Harvard, Vancouver, ISO itp.

21

Schneider, Adérito. "Sin City:." História, histórias 4, no. 7 (2016): 167–84. http://dx.doi.org/10.26512/hh.v4i7.10933.

Pełny tekst źródła

Streszczenie:

Este artigo parte do filme Sin City: A cidade do pecado (Robert Rodriguez e Frank Miller, 2005) para analisar o conceito de noir. A hipótese aqui é de que o noir é um (sub)gênero cinematográfico/literário construído a posteriori, fruto de múltiplas e complexas influências por meio de um dialogismo tautológico entre diversas linguagens (literatura, cinema, quadrinhos etc.), consolidando-se apenas no chamado neo-noir. Dessa forma, este artigo é um exercício que busca reconstruir brevemente a trajetória do noir, passando pela literatura policial do século XIX, o romance noir dos anos 1920 e 1930,

Style APA, Harvard, Vancouver, ISO itp.

22

Bulhões, Marcelo Magalhães. "A grande arte: da transgressão do noir ao ilhar “de fora” na adaptação cinematográfica." Revista FAMECOS 26, no. 3 (2019): 32451. http://dx.doi.org/10.15448/1980-3729.2019.3.32451.

Pełny tekst źródła

Streszczenie:

O propósito deste artigo é avaliar a adaptação cinematográfica do romance A Grande Arte no filme lançado em 1991. Mobiliza o artigo o problema: o filme sinaliza um ponto de retificação de uma das marcas identitárias do cinema brasileiro ao comportar uma propositura audiovisual tecnicamente elevada que se afasta da tradição do “cinema pobre”. Uma vez que o romance de Rubem Fonseca realiza uma aclimatação transgressiva do noir em sua matriz norte-americana, que implicações possui o filme de Walter Salles, na trajetória de nosso cinema, ao aliar-se ao padrão do filme policial norte-americano em s

Style APA, Harvard, Vancouver, ISO itp.

23

Berardo Bueno, Murilo Gabriel, and Daniel Christino. "A IMAGINAÇÃO MELODRAMÁTICA E A ESTÉTICA NOIR NO JOGO DE VIDEOGAME HEAVY RAIN." Panorama 6, no. 2 (2016): 121. http://dx.doi.org/10.18224/pan.v6i2.5261.

Pełny tekst źródła

Streszczenie:

O presente artigo analisa de que forma a imaginação melodramática está inserida na narrativa do jogo de videogame Heavy Rain, desenvolvido pela empresa Quantic Dream, e a relação entre a linguagem do jogo escolhido como objeto de estudo e dos filmes do cinema Noir Americano. Por se tratar de um jogo de crime investigativo, alguns elementos da imaginação melodramática como o restabelecimento da ordem e a superioridade do bem foram investigados e contextualizados a fim de identificar de que forma a estrutura do melodrama está presente na narrativa. Outro aspecto investigado são os elementos esté

Style APA, Harvard, Vancouver, ISO itp.

24

Bishop, Elizabeth. "Politics of Cinema in Hashemite Iraq." Oriente Moderno 93, no. 1 (2013): 101–26. http://dx.doi.org/10.1163/22138617-12340004.

Pełny tekst źródła

Streszczenie:

Abstract Hashemite Iraq was better integrated into the global cinema that other Arab countries. Baghdad audiences loved film noir, and the US succeeded in displacing the UK as a source of newsreels, as well. During the Cold War’s first decade, Hollywood continued to pump inexpensive productions and aged celluloid through Iraq, including films made under US government contracts. Local viewers responded thoughtfully to such films, engaging themes such as responsibility and guilt. Against this general background, specific allegations that testing of weapons delivery systems for germ warfare conti

Style APA, Harvard, Vancouver, ISO itp.

25

Augusti, Alexandre Rossato, and Nathalia Lopes Da Silva. "Cinema noir clássico e contemporâneo: influências e construção do imaginário para o gênero." Sessões do Imaginário 22, no. 38 (2017): 209. http://dx.doi.org/10.15448/1980-3710.2017.2.29722.

Pełny tekst źródła

Streszczenie:

O presente trabalho busca investigar como o filme noir clássico influencia o cinema contemporâneo reconhecido como neonoir, e descobrir como essas produções podem estabelecer imaginários sobre a temática do crime. Para tanto, observamos mais detalhadamente os filmes Pacto Sinistro (Strangers on a train), de Alfred Hitchcock, (1951) e Cães de Aluguel (Reservoir Dogs), de Quentin Tarantino (1992). Utilizamos autores como Borde e Chaumeton (1958), Mascarello (2006), Fontes (2011), Silva (2006), Maffesoli (2001) e Metz (2012), com destaque para Rose (2002) no que se refere especificamente à aplica

Style APA, Harvard, Vancouver, ISO itp.

26

Varmazi, Eleni, and Funda Kaya. "Debates about the generic ontology of film noir." Catalan Journal of Communication & Cultural Studies 12, no. 1 (2020): 145–52. http://dx.doi.org/10.1386/cjcs_00019_1.

Pełny tekst źródła

Streszczenie:

This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions. While inhabiting elem

Style APA, Harvard, Vancouver, ISO itp.

27

Zeng, Li. "So Close to Paradise (1999) and The Missing Gun (2002): Hollywood Models and the Production of Film Noir in Chinese Cinema at the Turn of the Twenty-first Century." Journal of American-East Asian Relations 20, no. 1 (2013): 48–67. http://dx.doi.org/10.1163/18765610-02001007.

Pełny tekst źródła

Streszczenie:

Film noir is new to the cinema of the People’s Republic of China. It was not easy for noir’s dark themes and nihilistic tone to get past the state’s strict censorship; however, at the turn of the twenty-first century, a few noir films were produced. Chinese noir has a strong affinity with American film noir in its representation of social and spatial transformation and exploration of critical issues under strict censorship. This essay presents a close analysis of So Close to Paradise (Wang Xiaoshuai, 1999) and The Missing Gun (Lu Chuan, 2002) and argues that Chinese noir is a creative and loca

Style APA, Harvard, Vancouver, ISO itp.

28

Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.

Pełny tekst źródła

Streszczenie:

"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans L

Style APA, Harvard, Vancouver, ISO itp.

29

Żyto, Kamila. "Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns." Literatura i Kultura Popularna 24 (April 18, 2019): 39–54. http://dx.doi.org/10.19195/0867-7441.24.4.

Pełny tekst źródła

Streszczenie:

Detours of absurdity: Coen brothers’ Fargoin the noir melting pot of genre patternsThe idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema and elsewhere. I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen broth

Style APA, Harvard, Vancouver, ISO itp.

30

Moldovan, Raluca. "A Romanian Jew in Hollywood: Edward G. Robinson." American, British and Canadian Studies Journal 22, no. 1 (2014): 43–62. http://dx.doi.org/10.2478/abcsj-2014-0022.

Pełny tekst źródła

Streszczenie:

Abstract The present study aims to investigate the contribution that actor Edward G. Robinson brought to the American film industry, beginning with his iconic role as gangster Little Caesar in Mervyn Le Roy’s 1931 production, and continuing with widely-acclaimed parts in classic film noirs such as Double Indemnity, The Woman in the Window and Scarlet Street. Edward G. Robinson was actually a Romanian Jew, born Emmanuel Goldenberg in Bucharest, in 1893, a relatively little known fact nowadays. By examining his biography, filmography and his best-known, most successful films (mentioned above), I

Style APA, Harvard, Vancouver, ISO itp.

31

Rybina, P. "HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA." Voprosy literatury, no. 2 (September 30, 2018): 38–53. http://dx.doi.org/10.31425/0042-8795-2018-2-38-53.

Pełny tekst źródła

Streszczenie:

The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the

Style APA, Harvard, Vancouver, ISO itp.

32

Durys, Elżbieta. "The potential of Nordic noir: The Pustina miniseries as an example of the transnational usage of the formula." Literatura i Kultura Popularna 24 (April 18, 2019): 155–72. http://dx.doi.org/10.19195/0867-7441.24.12.

Pełny tekst źródła

Streszczenie:

The potential of Nordic noir: The Pustina miniseries as an example of the transnational usage of the formulaThe article discusses Wasteland Pustina, dir. Alice Nellis, Ivan Zachariáš, 2016, a Czech TV miniseries created by Štěpán Hulík and produced by HBO Europe, as an example of the transnational usage of Nordic noir formula. In the article, Nordic noir is recognized and presented as medium-concept cinema Andrew Nestingen. The outline of its characteristics and the analysis of its rhizomatic roots constitute the first part of the article. The second is devoted to Wasteland. Three plotlines ar

Style APA, Harvard, Vancouver, ISO itp.

33

Mouzet, Aurélia. "Les acteurs noirs du cinéma français : de l’ombre à la lumière ?" Voix Plurielles 14, no. 2 (2017): 50–61. http://dx.doi.org/10.26522/vp.v14i2.1640.

Pełny tekst źródła

Streszczenie:

Un tour d’horizon du cinéma français au vingtième siècle signale une présence spectrale de comédiens noirs à l’écran. Présence qui tend d’ailleurs à décroître lorsque l’on considère le nombre de premiers rôles qui leur ont été attribués. En se penchant sur l’influence de ces artistes sur la scène française, l’on remarque que se dégage un paradoxe : s’ils apparaissent certes dans le spectacle français dès le dix-huitième siècle (avec notamment le fameux Chevalier St George), ils demeurent pourtant des figures spectrales dans la mémoire collective. Comment expliquer la présence si disparate de c

Style APA, Harvard, Vancouver, ISO itp.

34

Nestingen, Andrew. "The Nordic noir brand." Journal of Scandinavian Cinema 11, no. 1 (2021): 103–12. http://dx.doi.org/10.1386/jsca_00041_1.

Pełny tekst źródła

Streszczenie:

Editing the volume Nordic Noir, Adaptation, Appropriation with Linda Badley and Jaakko Seppälä made evident historical changes in the role of adaptation in Nordic audio-visual culture. An earlier generation of auteurs such as Aki Kaurismäki used adaptation to align themselves with aesthetic and philosophical bodies of texts, what we might call ‘networks of similarity’, following Luis M. García Mainar. In the rise of Nordic noir since the millennium, Nordic cinema and television’s networks of similarity change. The auteurs used adaptation to establish modernist originality of vision. In the cur

Style APA, Harvard, Vancouver, ISO itp.

35

Dolgopolov, Greg. "Ghosting in the outback Noir." Coolabah, no. 29 (February 28, 2021): 4–16. http://dx.doi.org/10.1344/co2021294-16.

Pełny tekst źródła

Streszczenie:

Who was the ‘jolly swagman’ in Waltzing Matilda, Australia’s unofficial national anthem? In this essay I argue that the ghost of the swagman can be heard in a number of recent de-colonising crime narratives. Outback Noir is a relatively recent genre category that describes a new wave of Australian crime films that highlight Indigenous and white relations and take a revisionist approach to traditional history. These films often feature redemption stories that highlight effective collaborations between Indigenous and white policing practices. Uncovering a rural communities’ dark, repressed secre

Style APA, Harvard, Vancouver, ISO itp.

36

Miguel, Alcebiades Diniz. "Judaísmo e cinema imaginário." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 14, no. 27 (2020): 2–15. http://dx.doi.org/10.35699/1982-3053.2020.25679.

Pełny tekst źródła

Streszczenie:

A iconoclastia, em geral, costuma estar associado acriticamente ao judaísmo como uma espécie de exclusão por preconceito ou por observância excessivamente estrita de dogmas religiosos. Tal associação, surgida na Idade Média – que alimentou vasta literatura antijudaica, focada na conversão dos judeus ao cristianismo – alicerça uma visão do judeu quase como um inimigo das artes visuais, da perspectiva do espectador e do observador. Mas tal perspectiva, evidentemente, é equivocada; pois a iconoclastia no judaísmo possuía muitas outras funções e uma complexidade teórica muito própria. E tal comple

Style APA, Harvard, Vancouver, ISO itp.

37

Shaw, Nathan. "‘Play it Again, Sam’ – intertextuality, authorship and expectations in The Bloody Olive." Short Film Studies 4, no. 1 (2014): 95–98. http://dx.doi.org/10.1386/sfs.4.1.95_1.

Pełny tekst źródła

Streszczenie:

Whether early literary adaptations or postmodern, pop culture stuffed millennium movies, cinema has continually showcased its penchant for intertextuality. Simultaneously, genre films have constructed a network of paradigms allowing discerning audiences to expect the previously unexpected. These interconnecting elements are prevalent, and toyed with, throughout short film noir pastiche The Bloody Olive.

Style APA, Harvard, Vancouver, ISO itp.

38

Pires, Alex Sampaio, and Michele Negrini. "O jornalista e o assessor de imprensa no cinema noir através do filme A Embriaguez do Sucesso." PragMATIZES - Revista Latino-Americana de Estudos em Cultura, no. 12 (June 22, 2017): 158. http://dx.doi.org/10.22409/pragmatizes.v0i12.118.

Pełny tekst źródła

Streszczenie:

Este estudo busca, com base no filme A Embriaguez do Sucesso, entender como o cinema noir mostrou os jornalistas e os assessores de imprensa, e como os reflexos sociais da época, como o fatalismo pós-guerra e o medo do comunismo, influenciaram nesta apresentação. A análise é realizada com o método da Análise de Imagens em Movimento, de Diane Ross. Entre as conclusões, destaca-se que o noir via os jornalistas como seres manipuladores, e que esta construção ocorre por causa do período histórico, de desilusão, vivenciado na América, enquanto os assessores de imprensa aparecem também de forma mani

Style APA, Harvard, Vancouver, ISO itp.

39

Pires, Alex Sampaio, and Michele Negrini. "O jornalista e o assessor de imprensa no cinema noir através do filme A Embriaguez do Sucesso." PragMATIZES - Revista Latino-Americana de Estudos em Cultura, no. 12 (June 22, 2017): 158. http://dx.doi.org/10.22409/pragmatizes2017.12.a10452.

Pełny tekst źródła

Streszczenie:

Este estudo busca, com base no filme A Embriaguez do Sucesso, entender como o cinema noir mostrou os jornalistas e os assessores de imprensa, e como os reflexos sociais da época, como o fatalismo pós-guerra e o medo do comunismo, influenciaram nesta apresentação. A análise é realizada com o método da Análise de Imagens em Movimento, de Diane Ross. Entre as conclusões, destaca-se que o noir via os jornalistas como seres manipuladores, e que esta construção ocorre por causa do período histórico, de desilusão, vivenciado na América, enquanto os assessores de imprensa aparecem também de forma mani

Style APA, Harvard, Vancouver, ISO itp.

40

Bulhões, Marcelo Magalhães. "Noir Dourado da adaptação literária: de Rubem Fonseca ao clichê da minissérie Agosto." Discursos Fotograficos 13, no. 23 (2017): 190. http://dx.doi.org/10.5433/1984-7939.2017v13n23p190.

Pełny tekst źródła

Streszczenie:

O propósito deste artigo é avaliar a adaptação de Agosto, romance de Rubem Fonseca publicado em 1990, produzida pela TV Globo. Tal avaliação buscará acessar a questão da adaptação audiovisual como fenômeno intersemiótico, enfocando um gênero cuja trajetória histórica é exemplar da dinâmica de absorção, transformação e recriação que envolve as relações entre cinema e literatura: o noir.

Style APA, Harvard, Vancouver, ISO itp.

41

Maldonado-Casas, Daniel. "El cine negro español: del spanish noir al policiaco actual [Reseña]." Revista Mediterránea de Comunicación 12, no. 1 (2021): 317. http://dx.doi.org/10.14198/medcom000007.

Pełny tekst źródła

Streszczenie:

The Spanish black cinema: from the Spanish noir to the present police one. It proposes a trip from the background of the Spanish black cinema - 1940s - to the present. The play, broken into 6 chapters - actually 8, although the last two are considered annexes with encyclopedic functions - goes chronologically through the evolution of the gender, making notes about his most relevant feature films and directors. The author guides us through comments and personal opinions, that are based in both critics from professionals of the time - Méndez Leite or Fernandez Santos - and declarations from the

Style APA, Harvard, Vancouver, ISO itp.

42

Misse, Michel. "Chandler no Cinema Noir: algumas reflexões sobre "A simples arte de matar"." Sociologias 15, no. 34 (2013): 140–54. http://dx.doi.org/10.1590/s1517-45222013000300007.

Pełny tekst źródła

Streszczenie:

O artigo trata da adaptação de novelas de Raymond Chandler para o cinema e de suas incursões como roteirista de filmes; na última parte, tendo por referência o ensaio de Chandler intitulado "A simples arte de matar", o autor reconsidera o apelo do crime e do mistério nas representações sociais presentes na estética "noir", que influencia ainda hoje o romance policial e de mistério.

Style APA, Harvard, Vancouver, ISO itp.

43

Lambert, Merlin. "Juifs et pieds-noirs, ou « juifs pieds-noirs » ? L’exemple du cinéma." Diasporas, no. 27 (October 27, 2016): 125–40. http://dx.doi.org/10.4000/diasporas.454.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

44

Keubeung, Gerard. "Noire n'est pas mon métier ou un autre appel des Indigènes de la République." Voix Plurielles 18, no. 1 (2021): 3–15. http://dx.doi.org/10.26522/vp.v18i1.2619.

Pełny tekst źródła

Streszczenie:

Le présent article voudrait analyser L’ouvrage Noire n’est pas mon métier qui regroupe les récits et expériences de seize actrices françaises noires et métisses. S’inscrivant dans le prolongement de la réaction des acteurs afro-américains qui protestaient en 2016 contre leur absence de la liste des nominés pour la cérémonie des récompenses des oscars, les seize contributrices décrivent les discriminations dont elles sont victimes et les difficultés dont elles font face dans l’exercice de leur métier d’actrice. En inscrivant cette publication dans le contexte socio historique de la société fran

Style APA, Harvard, Vancouver, ISO itp.

45

Horbury, Alison. "Postfeminism and the Fatale Figure in Neo Noir Cinema." Australian Feminist Studies 31, no. 87 (2016): 113–15. http://dx.doi.org/10.1080/08164649.2016.1175053.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

46

Ortegosa, Marcia. "A fotografia no cinema noir: uma relação entre-imagens." Significação: Revista de Cultura Audiovisual, no. 14 (November 30, 2000): 177. http://dx.doi.org/10.11606/issn.2316-7114.sig.2000.90626.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

47

Silva, Wesley Martins da, and Saulo Germano Sales Dallago. "UM ESTUDO SOBRE LUZ E FOTOGRAFIA NA EXPRESSÃO DA IMAGEM CINEMATOGRÁFICA." Arte da Cena (Art on Stage) 5, no. 1 (2019): 142–64. http://dx.doi.org/10.5216/ac.v5i1.55420.

Pełny tekst źródła

Streszczenie:

Neste artigo procuramos entender a importância da evolução na utilização da luz na arte cinematográfica, tendo como pano de fundo vários períodos da história do cinema onde ela foi sinônimo de estilo de época. O cinema expressionista alemão, os filmes noir e alguns contemporâneos vão colaborar diretamente com exemplos, que permitem o entendimento de possibilidades da relação entre luz, cor, fotografia e expressividade no ambiente cinematográfico. Partindo da fotografia, enquanto primeria forma estética de cunho técnico, o estudo procura compreender a semiótica da captação de imagens através da

Style APA, Harvard, Vancouver, ISO itp.

48

Balogun, Françoise. "Visages de femmes dans le cinéma d'Afrique noire." Présence Africaine 153, no. 1 (1996): 141. http://dx.doi.org/10.3917/presa.153.0141.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

49

Gadjigo, Samba. "Le cinéma africain et la diaspora noire américaine." Présence Africaine 170, no. 2 (2004): 169. http://dx.doi.org/10.3917/presa.170.0169.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

50

Vincensini, Anne. "Les structures du cinéma en Afrique noire francophone." Netcom 7, no. 1 (1993): 210–25. http://dx.doi.org/10.3406/netco.1993.1168.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

Oferujemy zniżki na wszystkie plany premium dla autorów, których prace zostały uwzględnione w tematycznych zestawieniach literatury. Skontaktuj się z nami, aby uzyskać unikalny kod promocyjny!