Gotowe bibliografie tematyczne / Once upon a time... in Hollywood (Motion picture)

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

Gotowa bibliografia na temat „Once upon a time... in Hollywood (Motion picture)”

Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Once upon a time... in Hollywood (Motion picture)"

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Berg, Charles Ramírez. "Colonialism and Movies in Southern California, 1910-1934." Aztlán: A Journal of Chicano Studies 28, no. 1 (2003): 75–96. http://dx.doi.org/10.1525/azt.2003.28.1.75.

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Once the film industry moved to Los Angeles fiom the East Coast in the 1910s, Hollywood became the source of the negative stereotyping of Latinos in mainstream American cinema. This article argues that the anti-Mexican American discourse in Southern California during the motion picture industry’s formative years provided the social context for those derogatory film images. In doing so, the essay synthesizes two bodies of literature that rarely comment on one another: early Hollywood studio history and works treating the Mexican American experience in Southern California. Three main elements th
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Lane, Christina. "The Politics of Feminism, Race, Community, and Place in the Florida Film Once Upon a Time (1922)." Feminist Media Histories 3, no. 4 (2017): 69–101. http://dx.doi.org/10.1525/fmh.2017.3.4.69.

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This essay examines the making of the independent (and no longer extant) film Once Upon a Time (1922), which was produced, directed, and written by Coconut Grove, Florida, resident Ruth Bryan Owen. As a historical and cultural prism, the film grants us a unique view of Owen as an independent filmmaker and someone who, in the late 1920s, would become the first woman elected to the US Congress from the Southern states. It also offers insights into Coconut Grove and Miami as a dynamically charged field of gender, race, and class relations during the early 1920s. For Owen, these years were filled
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Susik, Abigail. ""The Man of these Infinite Possibilities": Max Ernst’s Cinematic Collages." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 61–87. http://dx.doi.org/10.5195/contemp.2011.27.

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On more than one occasion in his critical writings of the 1920’s, surrealist leader André Breton compared Max Ernst’s collages to cinema. In his first essay on the artist in 1921, Breton aligned Ernst’s collages with cinematic special effects such as slow and accelerated motion, and spoke of the illusionistic ‘transformation from within’ that characterized Ernst’s constructed scenes. For Breton, Ernst’s collages employing found commercial, scientific and journalistic images approximated the naturalistic movement of film, and thereby contributed to the radical obsolescence of traditional two-di
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Imran, Muhammad. "Marginalization of the Indians in Bollywood Motion Picture ‘Lagaan: Once Upon a Time in India." Journal of Development and Social Sciences 3, no. II (2022). http://dx.doi.org/10.47205/jdss.2022(3-ii)49.

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Joseph, Kaela. "Gays Burying Ourselves." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3140.

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Introduction Jane Schoenbrun’s I Saw the TV Glow (ISTTVG) is a psychological science fiction/horror film which draws upon audiences’ associations between serialised television and queer identity development to ask a terrifying question: would you bury yourself alive to solve the mystery of a parallel life not yet lived? The film is an allegory for queer experiences of internalised heteronormativity and concealment in which the villain is not the typical monster of the week, but our own selves, suffocating under the mundanity of surroundings we have yet to break free from. Neon noir elements ar
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Miletic, Sasa. "‘Everyone Has Secrets’: Revealing the Whistleblower in Hollwood Film in the Examples of Snowden and The Fifth Estate." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1668.

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In one of the earliest films about a whistleblower, On the Waterfront (1954), the dock worker Terry Malloy (Marlon Brando), who also works for the union boss and mobster Johnny Friendly (Lee J. Cobb), decides to testify in court against him and uncover corruption and murder. By doing so he will not only suffer retribution from Friendly but also be seen as a “stool pigeon” by his co-workers, friends, and neighbours who will shun him, and he will be “marked” forever by his deed. Nonetheless, he decides to do the right thing. Already it is clear that in most cases the whistleblowers are not simpl
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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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S, Eli. "Unboxing the New Barbie." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3060.

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Introduction “Unboxing the New Barbie” explores Barbie’s new image in Greta Gerwig’s 2023 film, Barbie, where Barbie appears initially in a perfect shape and enjoys her ideal life in Barbie Land. The film presents Barbie Land as a female-dominated space with Barbies at the centre of authority, with a utopic lifestyle of freedom and joy. However, the film immediately troubles this utopia through a set of cinematic devices. First, the stereotypical Barbie’s life appears as a series of monotonous routines within the pink plastic structures, and later, her utopic body image and Barbie Land are dis
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Morris, Ieuan. "Interruption/Interaction/Collaboration: A Critical Appraisal of the Textual @traction Interactive Event." M/C Journal 9, no. 2 (2006). http://dx.doi.org/10.5204/mcj.2622.

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This article reflects upon the process of the making and screening of an interactive short film called Textual @traction, which I wrote and directed. The film is 12 minutes long, 35mm film, and shows how a series of messages sent to a lost mobile phone inadvertently allows two gay men to declare their love for each other. In the form of a puzzle, the film denies sight of the crucial messages sent between the characters, messages which motivate their actions. However, through the simple use of SMS (Short Message System) text technology, the audience can receive each of these messages on their o
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Rozprawy doktorskie na temat "Once upon a time... in Hollywood (Motion picture)"

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Whitehurst, Katherine F. "Adapting Snow White : tracing female maturation and ageing across film, television and the comic book." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24054.

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This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (
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Książki na temat "Once upon a time... in Hollywood (Motion picture)"

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Falkiner, Zelma. Once upon a time. Linford, 2009.

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Taraborrelli, J. Randy. Once Upon a Time. Grand Central Publishing, 2003.

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Ōbayashi, Nobuhiko. Wansu apon a taimu in Onomichi =: Once upon a time in Onomichi. Firumu Ātosha, 1987.

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Mathur, Alok. Lagaan: Once upon a time in India, the story--. Egmont Imagination (India), 2001.

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Cumbow, Robert C. Once upon a time: The films of Sergio Leone. Scarecrow Press, 1987.

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Frayling, Christopher. Once upon a time in Italy: The westerns of Sergio Leone. Harry N. Abrams, in association with the Autry National Center, 2005.

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Samocki, Jean-Marie. Il était une fois en Amérique de Sergio Leone: Le temps où nous rêvions. Yellow Now, 2010.

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Hazanavicius, Michel, and Juliette Michaud. Once upon a Time in Hollywood. Flammarion et Cie, 2013.

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Foster, Charles. Once upon a Time in Paradise: Canadians in the Golden Age of Hollywood. Dundurn Press, 2003.

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Foster, Charles. Once upon a Time in Paradise: Canadians in the Golden Age of Hollywood. Dundurn Press, 2003.

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Części książek na temat "Once upon a time... in Hollywood (Motion picture)"

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Naremore, James. "Style and Meaning in Citizen Kane." In Orson Welles ’s Citizen Kane. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0005.

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Abstract According To Orson Welles ‘s one-time producer John Houseman, Welles was “at heart a magician, whose particular talent [lay] not so much in his creative imagination (which is considerable) as in his proven ability to stretch the familiar elements of theatrical effect far beyond their normal point of tension.” ‘ Left-handed as the compliment may seem, Welles was, among other things, a professional magician (“You know an awful lot of tricks,” Susan Alexander says to Charles Foster Kane during their first meeting, as he casts shadows on the wall to amuse her. “You ‘re not a professional
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Glancy, Mark. "Chapter 19." In Cary Grant, the Making of a Hollywood Legend. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0020.

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By 1943, Cary Grant was eager to escape from the contract he had signed six years earlier with Columbia Pictures. It was a non-exclusive contract, but studio boss Harry Cohn exercised an options clause that prolonged Grant’s obligations to the studio. Cohn was incensed when Grant delayed returning to Columbia in favour of working at Warner Brothers, where he was cast in the patriotic war drama Destination Tokyo (1943). Grant’s performance as an upstanding yet gentle submarine captain was one of the most earnest and restrained of his career. He returned to Columbia to make Once Upon a Time (194
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