標(biāo)題: Titlebook: Behind the Screen; Inside European Prod Petr Szczepanik,Patrick Vonderau Book 2013 Petr Szczepanik and Patrick Vonderau 2013 Europe.film.fi [打印本頁] 作者: 存貨清單 時(shí)間: 2025-3-21 16:36
書目名稱Behind the Screen影響因子(影響力)
書目名稱Behind the Screen影響因子(影響力)學(xué)科排名
書目名稱Behind the Screen網(wǎng)絡(luò)公開度
書目名稱Behind the Screen網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Behind the Screen被引頻次
書目名稱Behind the Screen被引頻次學(xué)科排名
書目名稱Behind the Screen年度引用
書目名稱Behind the Screen年度引用學(xué)科排名
書目名稱Behind the Screen讀者反饋
書目名稱Behind the Screen讀者反饋學(xué)科排名
作者: Jubilation 時(shí)間: 2025-3-21 21:11
Global Cinemahttp://image.papertrans.cn/b/image/182940.jpg作者: 寄生蟲 時(shí)間: 2025-3-22 00:44
2634-5951 f practice, the languages, grammars, and poetics of film, practical theories of production systems such as film dramaturgy, and the self-theorizing of European auteurs and professionals.978-1-349-44851-7978-1-137-28218-7Series ISSN 2634-5951 Series E-ISSN 2634-596X 作者: Thrombolysis 時(shí)間: 2025-3-22 06:56
Magdalena Kazubowski-Houston,Mark Auslander Production Culture. Industrial Reflexivity and Critical Practice in Film and Television 作者: Eructation 時(shí)間: 2025-3-22 12:37 作者: facetious 時(shí)間: 2025-3-22 15:36 作者: conquer 時(shí)間: 2025-3-22 19:26
A Flexible Mode of Production: Internationalizing Hollywood Filmmaking in Postwar Europen May of 1961, director Vincente Minnelli was preparing the production of ., part of which he planned to shoot in Rome. Hollywood filmmaker Jean Negulesco wrote to Minnelli, offering some advice on working in Italy, where Negulesco had made portions of . and ., and was at the time producing his next film, . Negulesco wrote:作者: 有助于 時(shí)間: 2025-3-23 00:00
Book 2013Conceptualizing production studies from a European perspective, the book evaluates the history of European thought on production: theories of practice, the languages, grammars, and poetics of film, practical theories of production systems such as film dramaturgy, and the self-theorizing of European auteurs and professionals.作者: 包裹 時(shí)間: 2025-3-23 04:07 作者: 鞠躬 時(shí)間: 2025-3-23 07:57 作者: Handedness 時(shí)間: 2025-3-23 13:21 作者: 失望未來 時(shí)間: 2025-3-23 17:57
Magdalena Kazubowski-Houston,Mark Auslandere of artworks.. As sociologists have begun to emphasize the organizational implications of material products, film studies have started to highlight the social dimensions of the way production is organized. In this chapter, I aim to pursue and combine these lines of thought to suggest that the socia作者: 裝入膠囊 時(shí)間: 2025-3-23 21:36 作者: 值得尊敬 時(shí)間: 2025-3-23 23:36 作者: 組成 時(shí)間: 2025-3-24 02:39
https://doi.org/10.1007/978-3-030-14600-9ions of the past, I believed it was necessary to go back to the creative process, enter the “black box” of the “film under construction,” and unearth its layers of writing.. This first task was centered on several predefined phases of the genesis of films such as the commission, funding, and screenp作者: 輕彈 時(shí)間: 2025-3-24 10:32 作者: 盤旋 時(shí)間: 2025-3-24 10:42
’ self-determination’ and Violencethey provide universally applicable models. These studies therefore tend to disregard earlier historical precedents and alternative modes of production. One such alternative is provided by the screen industries of East-Central Europe. This region’s production systems were influenced heavily by the s作者: menopause 時(shí)間: 2025-3-24 16:44 作者: Flat-Feet 時(shí)間: 2025-3-24 21:58 作者: Meander 時(shí)間: 2025-3-25 01:15
Le Verrier’s Unfinished Business—Mercurylass, age, disability, sexuality, and location. It is perhaps not surprising, then, that these inequalities are also evident in the cultural and media industries. Across film, broadcasting, advertising, and new media, women, minority ethnic groups, and people from lower socioeconomic backgrounds are作者: Hypomania 時(shí)間: 2025-3-25 04:09
Le Verrier’s Unfinished Business—Mercurys are made as creative subjects, subjects who negotiate with commissioners and other filmmakers and creative workers, negotiate their relationships with Hollywood, and negotiate their rights and positions. The first section will begin to build a framework for analyzing screenwriting careers in Londo作者: photopsia 時(shí)間: 2025-3-25 10:05 作者: 技術(shù) 時(shí)間: 2025-3-25 14:17 作者: Panther 時(shí)間: 2025-3-25 18:37 作者: Handedness 時(shí)間: 2025-3-25 20:42 作者: 得體 時(shí)間: 2025-3-26 03:03
Exporting Nollywood: Nigerian Video Filmmaking in Europewithout any support from the government. It created independent and informal systems of production, distribution, and exhibition, which enabled the production of low-budget films that were released straight to video and watched in most cases at home or in informal neighborhood screening venues..作者: jet-lag 時(shí)間: 2025-3-26 06:09 作者: 煩憂 時(shí)間: 2025-3-26 09:48 作者: Wallow 時(shí)間: 2025-3-26 13:32
Giving Meaning and Finding Meaning,user-generated content has been “to acquire content for little or nothing and to get everyone to work for free.”. Consider how this mantra resonates with the following recent disclosure by an Indian worker, who describes current working conditions for VFX “artists” in South Asia:作者: spondylosis 時(shí)間: 2025-3-26 17:39 作者: 旅行路線 時(shí)間: 2025-3-27 00:33
Stress Aesthetics and Deprivation Payroll Systemsuser-generated content has been “to acquire content for little or nothing and to get everyone to work for free.”. Consider how this mantra resonates with the following recent disclosure by an Indian worker, who describes current working conditions for VFX “artists” in South Asia:作者: MIR 時(shí)間: 2025-3-27 05:02 作者: Ophthalmoscope 時(shí)間: 2025-3-27 06:29 作者: 泄露 時(shí)間: 2025-3-27 12:20 作者: conformity 時(shí)間: 2025-3-27 14:32 作者: 鋼筆尖 時(shí)間: 2025-3-27 19:25
Pacts of Embodiment: A Comparative Ethnography of Filmmakers’ Gestures, explained several times, corrected, and modified. And most of the time, this is achieved by means of relays (assistants, stand-ins) who rarely appear in the finished film. These moments of rehearsal and demonstration are always very intense but relatively difficult to describe in a simple notebook作者: cognizant 時(shí)間: 2025-3-27 22:18 作者: habile 時(shí)間: 2025-3-28 04:03
The State-socialist Mode of Production and the Political History of Production Culturenternationally competitive strategies. At the same time, Czech films and Polish films have attracted sizable audiences in their respective domestic markets, and production facilities located in the Czech Republic and Hungary have become important destinations for the runaway productions of American,作者: Graphite 時(shí)間: 2025-3-28 06:28
Subjects at Work: Investigating the Creative Labor of British Screenwritersossibilities for screenwriting work in London. The chapter will then drill down into the daily working lives of a group of London-based screenwriters. Micro-level subjective experiences of this group of writers will be analyzed using the anchoring term disinvestment, which, I argue, signals a set of作者: Psa617 時(shí)間: 2025-3-28 12:06
Policy or Practice? Deconstructing the Creative Industries and performing arts. In this chapter, I consider how creative industries policies might be positioned within studies of production cultures and influenced by policy subventions such as tax credits and urban planning. In my analysis, I want to suggest that policy discourses do not simply attempt to 作者: ETCH 時(shí)間: 2025-3-28 16:56
Magdalena Kazubowski-Houston,Mark Auslandere laboratory and the studio for instance.. By considering artworks as objects, the socio-material perspective questions the traditional distinction between the sociology of art and art studies. I will therefore begin this chapter by outlining this distinction and by suggesting that it should be tran作者: 縫紉 時(shí)間: 2025-3-28 19:04
Alexandrine Boudreault-Fourniern one’s further work opportunities. Or, the converse, career considerations can affect how films are made in terms of who works on them and what resources, skills, tastes, and perspectives are brought into and used in a production. Sometimes the interrelation of these considerations remains latent. 作者: GLEAN 時(shí)間: 2025-3-28 23:16
In Search of Marie-Antoinette in the 1930s, explained several times, corrected, and modified. And most of the time, this is achieved by means of relays (assistants, stand-ins) who rarely appear in the finished film. These moments of rehearsal and demonstration are always very intense but relatively difficult to describe in a simple notebook作者: escalate 時(shí)間: 2025-3-29 05:31
https://doi.org/10.1007/978-3-030-14600-9ns of the images of the camps, study the multiple references of the musical score, and enter the film editing room? These problems had to be solved with time. As well as the archives I was used to analyzing—contracts, budgets, various stages of screenplay development, correspondence—I also had to an作者: 傳染 時(shí)間: 2025-3-29 08:50
’ self-determination’ and Violencenternationally competitive strategies. At the same time, Czech films and Polish films have attracted sizable audiences in their respective domestic markets, and production facilities located in the Czech Republic and Hungary have become important destinations for the runaway productions of American,作者: 的闡明 時(shí)間: 2025-3-29 13:19 作者: 松果 時(shí)間: 2025-3-29 19:31 作者: Indolent 時(shí)間: 2025-3-29 23:28
Introduction, derived from the original Latin term ., the first one broadly referring to the resulting work of human labor, while the second being the equivalent of a famously influential Marxian theorem describing an ensemble of operations that facilitate, by way of combination and transformation, a reproducti作者: 使人入神 時(shí)間: 2025-3-30 00:59 作者: Functional 時(shí)間: 2025-3-30 06:05 作者: cultivated 時(shí)間: 2025-3-30 10:34
Pacts of Embodiment: A Comparative Ethnography of Filmmakers’ Gesturesedits at the end of a film shows how many people have been involved and gives the historian clues to investigate the collective nature of filmmaking. For the ethnographer, focusing on the working gestures of filmmakers when they are devising a shot is a good way of opening the black box of the filmm作者: 我邪惡 時(shí)間: 2025-3-30 13:42
Film Production as a Palimpsestions of the past, I believed it was necessary to go back to the creative process, enter the “black box” of the “film under construction,” and unearth its layers of writing.. This first task was centered on several predefined phases of the genesis of films such as the commission, funding, and screenp作者: alcoholism 時(shí)間: 2025-3-30 20:23 作者: GENUS 時(shí)間: 2025-3-30 23:11 作者: PALMY 時(shí)間: 2025-3-31 04:38 作者: PTCA635 時(shí)間: 2025-3-31 05:41 作者: defuse 時(shí)間: 2025-3-31 11:16 作者: galley 時(shí)間: 2025-3-31 14:16
Subjects at Work: Investigating the Creative Labor of British Screenwriterss are made as creative subjects, subjects who negotiate with commissioners and other filmmakers and creative workers, negotiate their relationships with Hollywood, and negotiate their rights and positions. The first section will begin to build a framework for analyzing screenwriting careers in Londo作者: 有毒 時(shí)間: 2025-3-31 17:59 作者: 排他 時(shí)間: 2025-3-31 21:42
Nonnormal Operatorsthat, that is, we mean in particular those operators which are in some sense connected or bear a certain resemblance to normal ones. Moreover, most of these classes coincide with normal operators on finite-dimensional spaces.
