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mémoire, l’histoire, l’oubli . [Memory, History, Forgetting], Paris: Éditions du Seuil. Royoux, Jean; Marina Warner and Germaine Greer. 2006. Tacita Dean . London: Phaidon. Saltzman, Lisa. 2006. Making Memory Matter: Strategies of Remembrance in Contemporary Art . Chicago: University of Chicago Press. Tilly, Charles. 2001. Historical Analysis of Political Processes. In Handbook of Sociological Theory , ed. Jonathan H. Turner, 567–588. New York: Kluwer Academic. Trodd, Tamara. 2008. Lack of Fit: Tacita Dean, Modernism and the Sculptural Film. Art History vol. 31, no

References Badsey, S. D. 1983. Battle of the Somme: British War-Propaganda. Historical Journal of Film, Radio and Television vol. 3, no. 2: 99–115. Bardi, Ugo. 2014. The WWI and the Rise of Propaganda. . Last accessed 30. 06. 2015. Bauman, Zygmunt. 1989. Modernity and the Holocaust . Cambridge: Polity Press. Bauman, Zygmunt and Riccardo Mazzeo. 2012. On Education: Conversations with Riccardo Mazzeo . Cambridge: Polity Press. Bazin, André. 1967. What is Cinema? Vol I

References Anderson, Joseph D. 1998 [1996]. The Reality of Illusion: An Ecological Approach to Cognitive Film Theory. Carbondale: Southern Illinois University Press. Boltz, Marilyn G. 2004. The Cognitive Processing of Film and Musical Soundtracks. Memory & Cognition vol. 32 no. 7: 1194-1205. Bordwell, David & Kristin Thompson. 2008. Film Art: an Introduction. Boston: McGraw-Hill. Chion, Michel 1994 [1990]. Audio-Vision: Sound on Screens. New York: Columbia University Press. Cohen, Annabel J. and Sandra K. Marshall 1988. Effects of Musical Soundtrack on Attitudes

Loans, Credit, and Insurance: An Historical and Empirical Analysis of Consumers Who Sued Lenders and Insurers in Federal and State Courts, 1950–1995. San Diego Law Review vol. 33. . Last accessed 12. 01. 2019. Rubin, Gayle. 1975. The Traffic in Women: Notes on the Political Economy of Sex . New York: Monthly View Press. Seger, Linda 2003. When Women Call the Shots: The Developing Power and Influence of Women in Television and Film . Lincoln, NE: iUniverse Publishing. Tanrıöver, Hülya T. 2000. Medya sektöründe kadın işgücü. Toplum

References Bazin, André. 1971. The Western, or the American Film par excellence . In What is Cinema? Volume II , ed. Hugh Gray, 140–48. Berkeley: University of California Press. Bennett, Jane. 2010. Vibrant Matter: A Political Ecology of Things . Durham: Duke University Press. Bryant, R. Levy. 2014. Onto-Cartography: An Ontology of Machines and Media . Edinburgh: Edinburgh University Press. Cage, John. 1973 [1961]. Silence: Lectures and Writings . Hanover: University Press of New England. Gunning, Tom. 2006. The Cinema of Attraction[s]: Early Film, Its

References Beck, Jerry, ed. 2004. Animation Art: From Pencil to Pixel, the Historyr of Cartoon. Anime & CGI. New York: Harper Design International. Bendazzi, Giannalberto. 1994. Cartoons. One Hundred Years of Cinema Animation. London: John Libbey. David. Gabor Csaba. 1984. Egven es hatalom. Szoboszlay Peter animacios filmjeinek elemzese. [Person and Power. The Analysis of Peter Szoboszlay’s Animated Films]. In Kortdrsunk, a film [Our Contemporary, the Film], ed. Daniel Ferenc, 193-205. Budapest: Muzs^k Kozmfivel6d6si Kiadd. Dizseri. Eszter. 1999. Kockdrol kockara

References Arthur, Paul. 2000. The Status of Found Footage. Spectator. The University of Southern California Journal of Film and Television vol. 20, no. 1: 57–69. Assmann, Aleida. 1996. Texts, Traces, Trash: The Changing Media of Cultural Memory. Representations no. 56: 123–134. Assmann, Jan. 2011. Cultural Memory and Early Civilization. Writing, Remembrance, and Political Imagination . Cambridge UK [etc.]: Cambridge University Press. Balsom, Erika. 2017. One Hundred Years of Low Definition. In Indefinite Visions: Cinema and the Attractions of Uncertainty

References Anderson, J. D. (1996). The reality of illusion: An ecological approach to cognitive film theory . Carbondale and Edwardsville, US: Southern Illinois University Press. Arnheim, R. (1957). Film as art . Berkeley, CA: University of California Press. Arnheim, R. (1974) [1954]. Art and visual perception: A psychology of the creative eye . Berkeley, CA: University of California Press. Arnheim, R. (1997). Visual thinking (2nd ed.). Berkeley, CA: University of California Press. Berliner, T., & Cohen, D. (2011). The illusion of continuity: Active

References Askari, Kaveh. 2014. Making Movies into Art: Picture Craft from the Magic Lantern to Early Hollywood . London: Palgrave Macmillan. Balázs, Béla. 2010 [1924/1930]. Early Film Theory: Visible Man and the Spirit of Film . Oxford, New York: Berghahn. Blom, Ivo. 2001. Quo Vadis? From Painting to Cinema and Everything in Between. In La decima musa: Il cinema e le altre arti [ The Tenth Muse: Cinema and other Arts ], eds. Leonardo Quaresima and Laura Vichi, 281–292. Udine: Forum. Bottomore, Stephen. 1996. ‘Nine Days’ Wonder’: Early Cinema and its Sceptics

References Adamczak, Marcin. 2012. Polish Cinema after 1989. A Quest for Visibility and a Voice in the Market. Iluminace vol. 31, no. 4: 45–59. Allen, Jessica, Sonia Livingstone and Robert Reiner. 1998. True Lies: Changing Images of Crime in British Postwar Cinema. European Journal of Communication vol. 13, no. 1: 53–75. Andrews, David. 2013. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond. Austin: University of Texas Press. Balogh, Gyöngyi. 2000. History of the Hungarian Film, from the Beginning until 1945. Filmkultúra https