Results for 'French cinema'

999 found
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  1.  47
    Intercultural Discourse Ethics: Testing Trompenaars' and Hampden-Turner's Conclusions About Americans and the French[REVIEW]Warren French, Harald Zeiss & Andreas Georg Scherer - 2001 - Journal of Business Ethics 34 (3-4):145 - 159.
    Are culture driven ethical conflicts apparent in the discourse of the protagonists? A multi-year, multi-cultural study of managers by Trompenaars and Hampden-Turner resulted in two conclusions relevant to business ethics. The first is that intercultural business conflicts can often be traced to a finite set of cultural differences. The second is that enough similarities exist between cultures to provide the grounds for conflict resolution. The research reported here gives credence to their study when applied to an ethical conflict viewed from (...)
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  2.  27
    A Principle of Responsive Adjustment: Peter A. French.Peter A. French - 1984 - Philosophy 59 (230):491-503.
    I. On the morning of 28 November 1979 flight TE-901, a DC-10 operated by Air New Zealand Limited, took off from Auckland, New Zealand, on a sightseeing passenger flight over a portion of Antarctica. The pilot in command was Captain Collins. The following are paragraphs from the official Report of the Royal Commission that inquired into the events surrounding that flight.
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  3.  50
    Cristina Johnston (2010) French Minority Cinema.Jehanne-Marie Gavarini - 2012 - Film-Philosophy 16 (1):287-291.
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  4.  29
    Interpreting Intouchables: Competing Transnationalisms in Contemporary French Cinema.Charlie Michael - 2014 - Substance 43 (1):123-137.
    The main publicity poster for Olivier Nakache’s and Eric Toledano’s recent film Intouchables (The Intouchables [2011]) features two men side-by-side, grinning ear-to-ear. The image is oddly difficult to interpret. For French cinema initiates, the contrast should be striking. Seated to the left is François Cluzet, long one of the France’s more versatile leading actors; huddled over him on the right is Omar Sy, a French-born comedian of Senegalese and Mauritanian descent who, prior to playing this role, was (...)
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  5.  24
    Prosody, Topicalization and V2 in the History of English and French.Middle French - unknown
    • Why does topicalization decline in Middle English but not disappear? If the change a parametric one, it should go to completion. Otherwise, topicalization, a clear case of stylistic variation might be expected to be stable in frequency over time.
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  6.  7
    Flinn, Margaret C.The Social Architecture of French Cinema: 1929–1939. Liverpool University Press, 2014. 244pp. [REVIEW]Schilling Derek - 2017 - Substance 46 (1):184-189.
    Conversion to sound at the close of the 1920s ushered in a decade-long period of French film production that standard accounts by Alan Williams and Colin Crisp cast as all but unparalleled in aesthetic impact and thematic scope. Despite chronic underfunding and structural disarray in an industry that never fully rebounded after the Great War, French audiences enjoyed a robust domestic culture of stars, screenwriters, and directors whose concern for richly detailed narratives and moody “atmospherics” laid the foundations (...)
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  7.  10
    Identification of a Journal: Studies in French Cinema.Jerome Cornette - 2002 - Film-Philosophy 6 (2).
    Studies in French Cinema, Volume 1 Number 1 Bristol: Intellect Press, 2001. ISSN 1471-5880.
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  8.  3
    André Bazin, Film Critic for Le Parisien Libéré : An Enlightened Defender of French Cinema.Geneviève Sellier - 2013 - Paragraph 36 (1):118-132.
    This article examines a neglected dimension of Bazin's work, namely his writings for the daily newspaper Le Parisien libéré. Four key points emerge from this corpus. First, Bazin goes beyond the film-reviewing norms of the day to analyse the intentions and achievements of the film-makers. Second, Bazin foregrounds the capacity of cinema to address the concerns of contemporary society. Third, as a result, he ascribes a particular value to films that actively engage with the new social realities of post-war (...)
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  9. The Foundations of Analytic Philosophy / Editors, Peter A. French, Theodore E. Uehling, Jr., Howard K. Wettstein, Associate Editor, Jeffery Johnson. [REVIEW]Peter A. French, Theodore Edward Uehling & Howard K. Wettstein - 1981
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  10. Contemporary Perspectives in the Philosophy of Language Edited by Peter A. French, Theodore E. Uehling, Jr., Howard K. Wettstein. --. [REVIEW]Howard K. Wettstein, Theodore Edward Uehling & Peter A. French - 1979 - University of Minnesota Press.
     
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  11.  23
    Hope and Indignation in Fortress Europe: Immigration and Neoliberal Globalization in Contemporary French Cinema.Will Higbee - 2014 - Substance 43 (1):26-43.
    Over the past twenty years, in France, as elsewhere in Europe, cinema has produced an increasing number of films that engage with the thematics of immigration (both legal and illegal) and represent the living and working conditions of first-generation immigrants. In France, such films have also tended to focus on questions of citizenship and nationality as they pertain to the French-born descendants of immigrants, whose presence within the nation demands a reconsideration of previously fixed notions of community, origins (...)
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  12.  22
    French Cinema.A. J. Scott - 2000 - Theory, Culture and Society 17 (1):1-38.
    The article opens with a brief discussion of the cultural economy of cities. A framework for investigating this phenomenon is then proposed, paying special attention to the interconnections between the system of production, its geographic milieu and the logistics of distribution. An overview of the structure and logic of the French film industry is laid out in which the fragmentation of production activities and labor markets is stressed. The policy system governing the French film industry is described in (...)
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  13.  18
    Introduction: From Engagé to Indigné: French Cinema and the Crises of Globalization.Nathalie Rachlin & Rosemarie Scullion - 2014 - Substance 43 (1):3-12.
    In 2010, two years after the global financial collapse that triggered the worst economic crisis since the Great Depression of the 1930s, the best-selling publication in France was not that year’s Prix Goncourt,1 Michel Houellebecq’s La carte et le territoire (The Map and the Territory), a novel published by Flammarion, one of Paris’s leading publishing houses. That honor went to Indignez-vous! (Time for Outrage!), a 32-page pamphlet authored by 93-year-old Stéphane Hessel, a former hero of the French Resistance, a (...)
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  14.  45
    Landscapes of Loss: The National Past in Postwar French Cinema.Leah D. Hewitt & Naomi Greene - 2000 - Substance 29 (2):112.
  15.  11
    Child of Paradise: Marcel Carne and the Golden Age of French Cinema.Charles O'Brien & Edward Baron Turk - 1994 - Substance 23 (2):141.
  16. French Cinema's Left Turn.A. Violent Peace & Robert Guédiguian’S. - 2002 - Historical Materialism 10 (2):219-227.
     
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  17.  35
    Tim Palmer (2011) Brutal Intimacy: Analyzing Contemporary French Cinema.Caroline Walters - 2012 - Film-Philosophy 16 (1):303-306.
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  18.  6
    Ahistory of French Cinema: Pioneering Film-Makers and Their Heritage.Susan Hayward - 1992 - Paragraph 15 (1):19-37.
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  19.  12
    The Woman at the Keyhole: Feminism and Women's CinemaTo Desire Differently: Feminism and the French Cinema.Georgiana M. M. Colvile, Judith Mayne & Sandy Flitterman-Lewis - 1991 - Substance 20 (2):112.
  20.  4
    The Wake of Daedalus: Further Discontents of an Ever More Pervasive CivilizationThe Cinematic Muse: Critical Studies in the History of French Cinema[REVIEW]David I. Grossvogel - 1980 - Diacritics 10 (3):67.
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  21.  3
    Cinema and Sensation: Contemporary French Film and Cinematic Corporeality1.This Article is Part of a Larger Research Project Published in 2007 by Edinburgh University Press as a Monograph Entitled Cinema and Sensation: French Film and the Art of Transgression. [REVIEW]Martine Beugnet - 2008 - Paragraph 31 (2):173-188.
    One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, (...)
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  22.  9
    Landscapes of Loss: The National Past in Postwar French Cinema (Review).John Anzalone - 2000 - Philosophy and Literature 24 (1):242-244.
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  23.  7
    The Shifting Identities of French Popular Cinema.Martin O'Shaughnessy - 2002 - Film-Philosophy 6 (2).
    _France on Film: Reflections on Popular French Cinema_ Edited by Lucy Mazdon London: Wallflower Press, 2001 ISBN 1 903364-08-6 pbk 180 pp.
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  24.  28
    Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema.Jenny Chamarette - 2013 - Palgrave-Macmillan.
    Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.
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  25. Gender and French Cinema.Alex Hughes & James S. Williams - 2001
     
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  26. French Cinema in Search of Itself-the Poetic Thriller.C. Liscia - 1991 - Cahiers Internationaux de Sociologie 91:315-330.
     
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  27.  61
    Loving/Thinking and the (French) New Wave: Cinema as is Philosophy.Soumitra Ghosh - 2010 - The European Legacy 15 (5):565-581.
    In recent years, there has been a resurgent interest in the philosophical dimension of cultural products—cinema, in particular. Rather than analyzing the production, dissemination and reception of particular films through literary, cultural, sociological or psychological theories, one considers film as “doing the work” of theory/philosophy. This essay argues that cinema's possibility of being/becoming philosophy will emerge only if one remains open to the inconsistencies of the cinematic text, rather than seek to posit a mythical point of origin that (...)
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  28. Selfless Cinema?: Ethics and French Documentary.Sarah Cooper - 2006 - Legenda.
  29.  10
    From Charcot to Charlot: Unconscious Imitation and Spectatorship in French Cabaret and Early Cinema.Rae Beth Gordon - 2001 - Critical Inquiry 27 (3):515-549.
  30.  63
    Martin O'Shaughnessy (2007) The New Face of Political Cinema: Commitment in French Film Since 1995.Tom Whittaker - 2009 - Film-Philosophy 13 (1):199-205.
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  31.  5
    Reframing Reality: The Aesthetics of the Surrealist Object in French and Czech Cinema[REVIEW]Timothy White - 2017 - The European Legacy 22 (5):642-644.
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  32. Demystifying Deleuze: French Philosophy Meets Contemporary U.S. Cinema.David Martin-Jones - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge.
     
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  33.  31
    Mick LaSalle The Beauty of the Real: What Hollywood Can Learn From Contemporary French Actresses.Richard Lindley Armstrong - 2015 - Film-Philosophy 19 (1).
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  34.  9
    Douglas Keesey Contemporary Erotic Cinema.Troy Michael Bordun - 2015 - Film-Philosophy 19 (1).
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  35.  8
    In Search of Frenchness Lost?Greg Hainge - 2002 - Film-Philosophy 6 (2):28.
    _French Cinema in the 1990s: Continuity and Difference_ Edited by Phil Powrie Oxford: Oxford University Press, 1999 ISBN 0-19-815958-7 286 pp.
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  36. The Perils of Aphrodite.Arnold Cusmariu - manuscript
    Cinema is an effective medium for communicating the Platonist attitude toward Beauty as an attribute worthy of moral respect, as case studies can illustrate. Mine focuses on the work of the French actress Carole Bouquet, who launched her career in Buñuel’s Cet obscur objet du désir (That Obscure Object of Desire). Part 1 shows sins against Beauty to be a unifying theme of Bouquet’s films, which leave no doubt as to the appropriate response. Part 2 combines Plato’s distinction (...)
     
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  37.  44
    Guilt and Shame: Essays in French Literature, Thought and Visual Culture.Jenny Chamarette & Jennifer Higgins (eds.) - 2010 - Peter Lang.
    This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...
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  38.  61
    Andrew Asibong (2008) François Ozon.Ger Zielinski - 2010 - Film-Philosophy 14 (2):146-152.
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  39. Promised Lands: Cinema, Geography, Modernism.Sam Rohdie - 2001 - British Film Institute.
    This book is an innovative attempt by a leading film theorist to locate cinema--from the earliest experiments, via the work of Federico Fellini, Alfred Hitchcock, Roberto Rossellini, Orson Welles and many others, to contemporary European art cinema-- alongside philosophy, painting, geography and travel in terms of a history of modernism. The focal point of Promised Lands is a vast collection of geographical and ethnographic films and photographs made around the world, The Archives of the Planet . Based in (...)
     
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  40.  12
    The Cinema of Agnès Varda: Resistance and Eclecticism by Delphine Bénézet.Vonderheide Leah - 2017 - Substance 46 (2):192-197.
    Varda's longtime moniker, "Grandmother" of the French New Wave, conjures the image of a "little old woman, pleasantly plump and talkative"–a description that Varda herself uses in Les Plages d'Agnès. In The Cinema of Agnès Varda: Resistance and Eclecticism, Delphine Bénézet contends that this persona is merely one of many alter egos that Varda puts forward in her attempt to debunk "the myth of the all mighty male auteur". Furthermore, Bénézet's exploration of Varda's oeuvre reveals that the filmmaker's (...)
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  41.  23
    Review Essay: Daniel Morgan, Late Godard and the Possibilities of Cinema.Andrew Ryder - 2013 - Journal of French and Francophone Philosophy 21 (2):158-162.
    A review of Daniel Morgan, Late Godard and the Possibilities of Cinema (Berkeley, CA: University of California Press, 2013).
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  42.  15
    The Ethics of Uncovering Something Else in Histoire du Cinema.Jiewon Baek - 2014 - Journal of French and Francophone Philosophy 22 (1):40-60.
    In lieu of an abstract, here is the essay's opening paragraph: Marguerite Duras prefaces the second edition of Le navire night , from which an excerpt is cited above, by explaining that after writing the story of a man named J.M., everything came too late, including the realization of the film version of Le navire night. Once the event has been written and the common night of history been closed up, did she have the right to flash a light into (...)
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  43.  15
    The Last Working Class City in France: Gheerbrant's La République Marseille and Post-Global Cinema.Nathalie Rachlin - 2014 - Substance 43 (1):44-62.
    The title of this essay is not to be taken literally: I will not be making the case that Marseille is actually the last working class city in France. My title is a reference to Chris Marker’s 1993 film The Last Bolshevik (Le Tombeau d’Alexandre), a film about Alexander Medvedkin, one of the pioneers of early Soviet cinema. Medvedkin was the inspiration for the Groupe Medvedkine, a film collective founded by Chris Marker and made up of French militant (...)
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  44. Introduction to a True History of Cinema and Television.Jean-Luc Godard - 2018 - Caboose.
    In 1978, just before his return to the international stage, the world’s most renowned art-film director Jean-Luc Godard improvised a series of fourteen one-hour talks at Concordia University in Montreal. These talks, part of a projected video history of cinema, were published in French in 1980. In this definitive English-language volume, translator Timothy Barnard has worked from the original footage to carefully revise and correct the faulty French transcription. The result is the most extensive and revealing account (...)
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  45. Camera Historica: The Century in Cinema.Ninon Vinsonneau & Jonathan Magidoff (eds.) - 2012 - Cambridge University Press.
    Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scène to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," (...)
     
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  46. Film Worlds: A Philosophical Aesthetics of Cinema.Daniel Yacavone - 2014 - Cambridge University Press.
    _Film Worlds_ unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and (...)
     
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  47. Sensuous Presencing and Artistic Creation: The Aesthetic Legacy of Merleau-Ponty’s Thought [on Emmanuel Alloa & Adnen Jdey, Du Sensible À L'Oeuvre. Esthétiques de Merleau-Ponty, 2012]. [REVIEW]Véronique M. Fóti - 2014 - Comparative and Continental Philosophy 6 (2):203-210.
    While the French phenomenologist Maurice Merleau-Ponty remained engaged with artistic creation throughout his entire work, which continues to inspire artists today in manifold ways, no systematic and artistically inclusive study of this dimension of his thought has existed so far. Du sensible à l’œuvre fills this gap by offering not only an in-depth study of Merleau-Ponty’s aesthesiology and aesthetics by international Merleau-Ponty scholars spanning three generations, but also a rich selection of essays by art critics and theorists who assess (...)
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  48.  3
    The Politics of Hair: Girls, Secularism and the Veil in Mustang and Other Recent French Films.Fiona Handyside - 2019 - Paragraph 42 (3):351-369.
    This article explores art cinema's association of long, straight, shimmering hair with an idealized white, secular, agentic version of girlhood in Deniz Ergüven's Mustang. With reference to...
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  49.  47
    Philosophy as a Kind of Cinema: Introducing Godard and Philosophy.John E. Drabinski - 2010 - Journal of French and Francophone Philosophy 18 (2):1-8.
    "Jean-Luc Godard is nothing if not an enigma. His image has a life of its own, especially in its younger form: cigarette, sunglasses, smirk, rambling revolutionary slogans, and important books. It wasn’t just an image, we all know, for it reflected perfectly in iconic image the more substantial revolutionary recklessness with the camera we see from Breathless forward. Filmmaking is never the same after Godard. Images and their sequencing – Godard cloaked them in sunglasses and made them smirk. He made (...)
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  50.  39
    Happiness is Not Fun: Godard, the 20th Century, and Badiou.Michael Walsh - 2010 - Journal of French and Francophone Philosophy 18 (2):29-42.
    "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, the much-discussed Histoire du Cinèma 2 x 50 Years of French Cinema, The Old Place, On the Origin of the Twenty-First Century, Dans Le Noir du Temps, and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was (...)
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