11/1/2022 0 Comments Filmer une palette sans machine![]() ![]() FILMER UNE PALETTE SANS MACHINE PROFESSIONALOur core businesses produce scientific, technical, medical, and scholarly journals, reference works, books, database services, and advertising professional books, subscription products, certification and training services and online applications and education content and services including integrated online teaching and learning resources for undergraduate and graduate students and lifelong learners. Wiley is a global provider of content and content-enabled workflow solutions in areas of scientific, technical, medical, and scholarly research professional development and education. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film-texts. ![]() Drawing both directly on the work of Maurice Merleau-Ponty and on some recent film- and feminist-theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It proposes that two aspects of Varda's cinema-her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment-make a feminist existential-phenomenological approach to her films particularly fruitful. ![]() D, “Lucian Blaga”University, Sibiu- Théâtralité et ciné- matographicité dans « La Vénus à la fourrure » de Roman Polanski Efstratia OKTAPODA, professor, Université de Paris IV-Sorbonne (France) - Pour une sociologie de la chanson et de la danse.Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra-Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. Cultural Studies Greek imaginary in contemporary forms Linda Maria BAROS, Linda Maria BAROS, Ph.D, Paris-SorbonneUniversity, - Traductions visuelles du modèle vénusien Diana NECHIT, Ph. Tallinn University, Estonian Institute of Humanities - Deconstructing The Musical Genre In ‘The Commitments’ (1991) Monica ILIE-PRICA, Ph.Dc., National University of Political Studies and Public Administration, Bucharest - Rediscovering the treasures of the Romanian cine- matographic art of the 1930s through the Cinema magazines. Haneke et Jelinek : entre image et texte Sedat YILDIRIM, Ph. „Lucian Blaga” University, Sibiu - La Pianiste ou l’homme-objet. Caragia- le” (UNATC), Bucharest - Editorial: Text and Its Worlds – Texture and Its Lights Alex IORDĂCHESCU, Producer Elephant Film -De l’importance du cinéma en tant qu’outil d’exploration de la conscience Andrei C. ![]() SUMMARY Sergiu ANGHEL, professor, National University of Drama and Film "I.L. ![]()
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