8,336 research outputs found
Barbara Laborde, De l’enseignement du cinéma à l’éducation aux médias
No full textL’éducation aux médias est-elle un effet de mode, ou un projet ambitieux, porteur de multiples promesses ? Qu’auraient à gagner l’enseignement du cinéma et l’éducation aux médias à être, sinon assimilés, du moins rapprochés ? Ces questionnements jalonnent l’ouvrage de Barbara Laborde, dont la contribution déconstruit patiemment les discours sur l’enseignement du cinéma et l’éducation aux médias. Dans ce travail d’envergure, Laborde développe un discours riche, ponctué d’exemples et d’encadrés..
Barbara Laborde (dir.), Persepolis, Marjane Satrapi et Vincent Paronnaud. Dessin de vie
No full textAprès To Be or Not to Be – Ernst Lubitsch, un classique dans l’histoire sous la direction d’Alain Kleinberger et Jacqueline Nacache et la Nuit des Morts-Vivants – George A. Romero, Précis de recomposition sous la direction de Barbara Le Maître, la collection monographique Cinéfocales s’étoffe d’un troisième volume consacré cette fois-ci à Persepolis de Marjane Satrapi et Vincent Paronnaud. Après une discussion entre Lucie Mérijeau, Jacqueline Nacache et Barbara Laborde, le choix s’est porté s..
Barbara James
No full textDate:1943Barbara was born in Holdredge, Nebraska in the United States of America in 1943. In 1960 she arrived in Darwin working in a variety of occupations such as a journalist, historian, author, activist, advocate and editor. Barbara wrote 13 books including "No Man's Land" which explored the contributions of women in the Northern Territory. She also received a number of awards including 2001 NT Heritage Award, the 2000 NT Literary Essay Awards and the Chief Minister's Women's Achievement Award in 1999.JournalistHistorianAuthorActivistEditorAmerica
Barbara Laborde, De l’enseignement du cinéma à l’éducation aux médias. Trajets théoriques et perspectives pédagogiques
No full text« Le cinéma vit actuellement une convergence sans précédent vers d’autres médias, bousculant des usages qui s’étendent à tout un univers socio-technique et économique qui ne cesse lui-même de se reconfigurer » (p. 21). Barbara Laborde, agrégée de Lettres Modernes et Maître de conférences à l’Université Sorbonne Nouvelle Paris 3, part d’un tel constat pour proposer une réflexion autour de l’enseignement du cinéma à l’heure d’une transformation profonde de ses représentations et de ses pratique..
Barbara Ras - Sowell Conference 2017
No full textBarbara Ras, San Antonio, Poet, author of "Bite Every Sorrow" and "The Last Skin
Exclusive interview with author Barbara Kingsolver
No full textExclusive interview with author Barbara Kingsolver for her 2018 novel *Unsheltered
Dataset for publication: Post‐war architecture and urban planning as means of reinventing Opole’s past and identity
No full textThe collection includes files related to the publication: Barbara Szczepańska, Post‐War Architecture and Urban Planning as Means of Reinventing Opole’s Past and Identity, „Urban Planning”, Vol 8, No 1 (2023): Bombed Cities: Legacies of Post-War Planning on the Contemporary Urban and Social Fabric, pp. 266-278, https://doi.org/10.17645/up.v8i1.6079. The collection includes figures used in the publication:Opole_plan A plan of Opole, with areas of Ostrówek (left), Market Square (center) and Central Square (right) highlighted in red. Originally published in: "Guidebook to the city of Opole" ("Przewodnik po mieście Opolu", Opole: Księgarnia Opolska, 1948, https://polona.pl/preview/2f383a4a-5e9e-444d-9e94-366b8ac8610d). Author: Z. Streer. Licence: CC0Opole_Monument to the Opole Silesian Fighters for Freedom A photograph depicting Monument to the Opole Silesian Fighters for Freedom (Pomnik Bojownikom o Wolność Śląska Opolskiego) in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_monument of Kazimierz I Opolczyk A photograph depicting the monument of Kazimierz I Opolczyk in the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage A photograph depicting eastern frontage of the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage_before 1945 A photograph depicting eastern frontage of the Market Square in Opole before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Market_Square_in_Opole,_eastern_frontage.jpg. Author: unknown. Licence: CC0Opole_monument of Frederick the Great A photograph depicting monument of Frederick the Great in Opole, before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Opole_Oppeln_Denkmal_Friedrich_der_Große.jpg. Author: unknown. Licence: CC0</ul
Transmettrelecinema.com: An Educational Platform for a Certain Transmission of a Certain Cinema
No full textBarbara Laborde est Maîtresse de conférences à l’université Sorbonne Nouvelle (Paris 3), au département Cinéma et audiovisuel, et membre de l’IRCAV. Agrégée de Lettres modernes, Docteure en Sciences de l’Information et de la Communication, elle travaille sur la télévision et les nouveaux médias (pratiques et usages spectatoriels), avec un regard approfondi sur les séries. Ses recherches se placent dans une perspective culturelle (Cultural Studies) et communicationnelle, et son approche croise esthétique, technique, histoire et pragmatique avec une attention particulière portée à la pédagogie comme médiation. Ainsi, elle codirige également un Master professionnel en « Didactique de l’image » et est coordinatrice d’une Licence professionnelle GPSAC. Cet article propose une analyse sémiologique des discours et de l’éditorialisation des vidéos pédagogiques disponibles sur la plateforme officielle du CNC « Transmettre le cinéma ». La mise en scène audiovisuelle des vidéos, l’analyse des contenus lexicaux des prises de parole, les fonctionnalités et présentation de la plateforme sont étudiés. L’avis d’enseignants et médiateurs usagés de cet outil pédagogique et les protagonistes qui s’expriment sur cette plateforme semblent plus ou moins liés par des représentations communes. S’y dégage, sans surprise, un certain ancrage de la cinéphilie moderne telle qu’elle se déploie en France depuis les années 60. On constate aussi une disjonction entre les discours cinéphiliques et les attentes pédagogiques, témoignant de tensions (y compris économiques) au sein même de l’institution. L’analyse démontre que le CNC, par cette plateforme en ligne, tente de se reconfigurer dans les paradigmes communicationnels et pédagogiques actuels entre plébiscite et méfiance vis-à-vis d’Internet et des nouvelles cinéphilies qui s’y expriment.This article proposes a semiological analysis of the discourses and the editorialization of the educational videos available on the official platform of the CNC “Transmettre le cinéma”. It is observed the audiovisual staging of the videos, the analysis of the lexical content of the speeches, and the functionalities of the platform. In the opinion of teachers and mediators who use this pedagogical tool and the protagonists who express themselves on this platform seem more or less linked by common representations. Unsurprisingly, there emerged a certain anchoring of modern cinephilia as it has been deployed in France since the 1960s, there is also a disjunction between cinephilic discourse and educational expectations, testifying to tensions (including economic ones) within the institution itself. The analysis shows that the CNC, through this online platform, is trying to reconfigure itself in the current communicational and pedagogical paradigms between plebiscite and mistrust of the Internet and the new cinephilies expressed there
'A date with Barbara': paracosms of the self in biographies of Barbara Newhall Follett
No full textIn 1927, 13-year-old Barbara Newhall Follett published her first book, the critically acclaimed novel, The House Without Windows and Eepersip's Life There.
Twelve years later, on December 7, 1939, 25-year-old Barbara quarrelled with her husband and left her apartment in Boston with $30 in her pocket, and a notebook. She was never seen again.
The House Without Windows is set in a paracosm (Farksolia) she invented, and ends with the metamorphosis of the titular character into a 'fairy-a wood nymph … invisible for ever to all mortals, save those few who have minds to believe, eyes to see'.
In Barbara's (auto)biography, The Unconscious Autobiography of a Child Genius (1966), written by Harold Grier McCurdy 'in collaboration with Helen Follett' (Barbara's mother), the authors wonder: 'Can we be far wrong in substituting Barbara's name for Eepersip's in the closing scenes of [House Without Windows]?
In this paper, I grapple with the formal and ethical challenges of writing about Barbara Newhall Follett, and the ways her family and others have approached the problem of writing her unresolved life story: a child raised and educated in solitude, a celebrated 'natural' child author, a young woman whose disappearance remains unsolved. The paper will explore the ways in which adults write the stories of children's lives, as nostalgia and fable, as fairytale and paracosmic narrative, and the ways in which Barbara's biographers have, consciously and unconsciously, created biographical concordances, or paracosms of the self, in seeking to make meaning of her life's story
Barbara Ehrenreich: Blood Rites: A New Evolutionary Perspective on Violence
No full textBarbara Ehrenreich, author, social critic and political essayist, discusses the emotional and social aspects of warfare and violence.
Barbara Ehrenreich is an American author and political activist who describes herself as a myth buster by trade” and has been called a veteran muckraker by The New Yorker.During the 1980s and early 1990s she was a prominent figure in the Democratic Socialists of America. She is a widely read and award-winning columnist and essayist, and author of 21 books. Ehrenreich is perhaps best known for her 2001 book Nickel and Dimed: On (Not) Getting By in America
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