1,721,204 research outputs found
A MORTE DE ERIC ROHMER
No full textMorreu Eric Rohmer. Ele nascera a 4 de Abril de 1920.Recordo o que aqui escrevi sobre ele 20 de Julho de 2008 e o seu filme Os amores de Astrea e Celedon.Os amores de Astrea e de Celedon serão, com certeza, o testamento de Eric Rohmer. Velho e doente, talvez ele não filme mais.Por isso, o filme já traz em si uma grande nostalgia pelos tempos perdidos, pela inocência desaparecida, pela levada pureza de sentimentos. A lembrar Manoel de Oliveira no modo teatral da representação, o filme não é ve..
ERIC ROHMER
No full textOs amores de Astrea e de Celedon serão, com certeza, o testamento de Eric Rohmer. Velho e doente, talvez ele não filme mais.Por isso, o filme já traz em si uma grande nostalgia pelos tempos perdidos, pela inocência desaparecida, pela levada pureza de sentimentos. A lembrar Manoel de Oliveira no modo teatral da representação, o filme não é verosímil. Druídas, ninfas, pastores e cavaleiros (estes não presentes) são os seres humanos e espirituais que povoam a história. Filmado num sítio que não ..
Eric Rohmer: Film as theology
No full textEric Rohmer has been a major figure in French cinema as a critic, writer and director since the 1950s. The films that he has directed and written are well-known for their sense of place, their conversations andmisunderstandings, and their focus on the tragicomedy of love. The characters in the films are usually very proud of their sophistication and cleverness: but Rohmer raises the question that perhaps they are so wrapped up in themselves that they miss everything that is important. The films are also impeccably realist, very simple, andvery straightforward - or are they?In this new study, Keith Tester argues thatRohmer's workdeals with complex theological questions. The films encourage the audience to look carefully at the screen and the world outside of the cinema, in the hope that traces of the lurking God might be noticed. Eric Rohmer: Film as Theology is a groundbreakingexploration of a major film-maker, and an investigation into how theological issues can be expressed in contemporary culture
Percorsi circolari e spazi medievali nel Perceval di Eric Rohmer
No full textLa rappresentazione dello spazio nella traduzione intersemiotica dal testo allo schermo nel film di Eric Rohmer, Perceval
Eric Rohmer: Polygraph
Full text linkLuego de la muerte de André Bazin, Eric Rohmer ocupa su lugar en la jefatura de redacción de "Cahiers du cinéma" junto con Jacques Doniol-Valcroze. Es el momento en el que los jóvenes turcos comienzan a dirigir sus primeras películas. De los antiguos miembros de la revista, solo Rohmer permanece activamente en la redacción garantizando una continuidad: el rescate de la sensibilidad baziniana pero aplicada a una idea de cine propuesta por los hitchcocko-hawksianos. Desde una perspectiva clásica, Rohmer insiste en que la mise en scène posee un carácter revelador y que no debería ser más que una leve estilización respecto de lo real.After the death of André Bazin, Eric Rohmer took his place in the editorial office of "Cahiers du cinéma" together with Jacques Doniol-Valcroze. It is the moment when young Turks begin to direct their first films. Of the former members of the magazine, only Rohmer remains actively in the newsroom, guaranteeing continuity: the rescue of the Bazinian sensibility but applied to a film idea proposed by the Hitchcocko-Hawksians. From a classical perspective, Rohmer insists that the mise en scène has a revealing character and that it should be no more than a slight stylization of the real.Dossier: Variaciones sobre el ensayo en cine y artes audiovisuales: parte 1Facultad de Bellas Arte
Eric Rohmer : Les nuits de la pleine lune
No full textCollin Françoise. Eric Rohmer : Les nuits de la pleine lune . In: Les Cahiers du GRIF, n°29, 1984. l'africaine sexe et signe. p. 109
Eric Rohmer y John Cassavetes: las formas de ver la realidad.
No full textEsta investigación se basa primero en el interés personal de generar un estudio sobre el cine realista. Y por otro analizar la manera en que conciben el cine Eric Rohmer y John Cassavetes e indagar en este tema teniendo como objetivo general: El descubrir y describir las diferencias y similitudes que existen en el realismo en el cine de Eric Rohmer y John Cassavetes. Estableciendo para esto los siguientes objetivos específicos:
1. Establecer las ideas básicas del Realismo.
2. Definir las características básicas de la Nouvelle Vague y el New American Cinema.
3. Establecer un marco filmográfico de los dos directores en estudio.
4. Realizar un análisis comparativo con el trabajo de Eric Rohmer y John Cassavetes.
Como metodología de estudio me he basado en el estudio fílmico de Eric Rohmer y John Cassavetes, asi también en un análisis puntual de una obra de cada uno de los realizadores, “Shadows” de Cassavetes y “El rayo verde” de Rohmer
Le labyrinthe forestier : Walt Disney, Eric Rohmer, Grégoire Leprince-Ringuet
No full textVoyages autour de mon cerveau« Le labyrinthe forestier : Walt Disney, Eric Rohmer, Grégoire Leprince-Ringuet », Voyages autour de mon cerveau, 05 juin 2020. URL : https://vadmc.hypotheses.org/7
Mapping Rohmer: cinematic cartography in post-war Paris
Full text link"How can films map? Is cinematic ‘mapping’ more than a metaphor? Can films be regarded as cartographic documents? This chapter explores mapping as a cinematic process. It explores ways in which film-making can take on a mapping function, as well as ways in which maps can act as analogies for films (in other words, how films can sometimes be said to have map-like qualities). It does so by means of a set of examples: Eric Rohmer’s Paris films. In thirteen of the twenty five feature films that Rohmer made between the early 1960s and mid-2000s, characters journey through Paris – on foot, by train, and occasionally by car. Through these characters, I argue, Rohmer enacts what Teresa Castro (2009) refers to as ‘cinema’s mapping impulse’. Various basic cartographic processes (for example, drawing lines, connecting points, and reconciling accurate geographic representation with graphic simplification) recur throughout Rohmer’s cinematic representations of the city. As a result, the map of Paris appears as an implied presence in his films, as filmed journeys through city streets and on railway lines. This chapter takes the form of a spatial narrative, or ‘tour’ (De Certeau 1984: 119), through Rohmer’s cinematic map of post-war Paris
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