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1	Alternativ Hollywoodestetik : En studie över fyra filmers förhållande till Classical Hollywood Cinema Gruffman, Mathias January 2007 (has links) <p>This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.</p> Film Hollywood Alternativt Estetik New Hollywood Independent Classical Hollywood Cinema Film Filmvetenskap
2	Alternativ Hollywoodestetik : En studie över fyra filmers förhållande till Classical Hollywood Cinema Gruffman, Mathias January 2007 (has links) This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part. Film Hollywood Alternativt Estetik New Hollywood Independent Classical Hollywood Cinema Studies on Film Filmvetenskap
3	Figures de l'extase. Une esthétique des limites de la représentation filmique de Serguei M. Eisenstein à Orson Welles / Figures of Ecstasy. An Aesthetics of the Limits of Cinematic Representation, from Sergei Eisenstein to Orson Welles Olivero, Massimo 18 October 2014 (has links) Ce travail se propose d'interroger le problème des limites de la représentation du cinéma de l'âge classique (1920-1960) à partir de l'esthétique organique-pathétique conçue par Sergueï Eisenstein dans la Non-Indifférente Nature, qu'il nomme « formule de l'extase ». Après avoir montré l'existence d'une double nature de l'extase chez Eisenstein (en même temps eidétique et régressive), ce travail montre les analogies de cette formule avec la mise en forme de l'excès de pathos (thématique et formel) dans l’œuvre de trois cinéastes hollywoodiens, King Vidor, Josef von Sternberg et Orson Welles. / This piece of work aims to inquire the topic of the limits of representation in the cinema of classical era (1920-1960) on the basis of the organic-pathetic esthetics conceived by Sergei Eisenstein in The Nonindifferent nature, which he names “formula of ecstasy”. After having shown the existence of a double (that is, eidetic and regressive at the same time) nature of ecstasy in Eisenstein, this piece of work will focus on the analogies between this formula and the shaping of the excess of (thematic and formal) pathos in the works by three Hollywood filmmakers: King Vidor, Josef von Sternberg and Orson Welles. Extase Pathos Dialectique Eisenstein Welles Cinéma classique hollywoodien Cinéma soviétique Limites de la représentation Avant-Garde Ecstasy Pathos Dialectic Eisenstein Welles Classical Hollywood Cinema Soviet Cinema Limits of representation Avant-Garde
4	Strutture drammaturgiche e tecniche di scrittura del cinema americano classico : casi di intertestualità tra teatro e cinema / Dramaturgic Structures and Screenwriting Techniques in the Classical American Cinema. Intertextuality Cases Between Theatre and Cinema. CHIARULLI, RAFFAELE ROSARIO 26 June 2012 (has links) Questa tesi è un’esplorazione dei rapporti tra il segno teatrale e il segno cinematografico attraverso la prospettiva degli sceneggiatori e della sceneggiatura nel cinema hollywoodiano classico. Presenta problematiche che riguardano la sceneggiatura come pratica, forma d’arte, oggetto di discussione, mezzo di espressione e risultato di una messa in campo di propositi, valori e significati. / This doctoral thesis is an analysis of the relationships between the "theatrical sign" and the "cinematographic sign" from the perspective of screenwriters and of Classic Hollywood screenwriting. It introduces issues related to screenwriting as practical activity, form of art, subject of discussion, system of communication, and as the result of a negotiation of aims, values and meanings. L-ART/05: DISCIPLINE DELLO SPETTACOLO

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