6,862 research outputs found
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Coislin 369
No full textJEAN MOSCHUS. pratum spiritualeMOSCHUS (Jean). pratum spiritualeNumérisation effectuée à partir d'un document de substitution.(ff. 13-203v) JEAN MOSCHUS, Pratum spirituale, λειμὼν Ἰωάννου καὶ Σοφρονίου πατριαρχῶν τῆς ἁγίας Χριστοῦ τοῦ Θεοῦ ἡμῶν πόλεως ms. Par sa disposition et son contenu notre manuscrit diverge profondément de l'édition (M. 87, 3, 2852 ss.) non moins que de la rédaction du Coislin 257. Mêlés à quelques récits de même nature les chapitres 1-106. 110-141. 143-179 de l'édition se retrouvent entre ff. 14v-157 sous les n°s α'-νδ'. νς'-οζ'. οθ'-ρϐ'. ρε'-σνε' ; à partir de cet endroit, les ch. 200 (σνζ'). 208 (σξα'). 201 (σπγ'). 209 (σπη') sont disséminés parmi une quarantaine d'autres. Certains récits qui ne figurent pas dans M. ont été édités par Nau, Clugnet, Nissen (Rev. de l'Orient chrétien, 1902, 1903, 1905, 1907 ; Oriens christianus, II et III ; Patrologia Orientalis, VIII ; Byz. Zeitschrift, 1938 ; cf. Coislin 257) ; deux se lisent dans la compilation de Paul de l'Évergétis ; neuf paraissent inédits, qu'on retrouve dans les Coisl. 257 et 283 ; le dernier (f. 203v, σϞς') est l'apophtegme 16 de Jean Colobos, il finit brusquement sur les mots ἐλθὼν δὲ πρὸς αὐτὴν εἷς ἄρχων εἶπεν αὐτῇ (M. 65, 209 Β 7). Les ff. 1-12v sont d'une main du XVe siècle ; ils contiennent l'office de l'Acathiste, dans l'ordre suivant : a(ff. 1-2) tropaire Βουλὴν προαιώνιον, b(ff. 2-6) canon Χριστοῦ βίϐλον (Joseph l'Hymnographe : M. 105, 1020-1028), c(ff. 6-12v) hymne acathiste (M. 92, 1335-1348).anc. 22
Creepshow
No full textReleased in cinemas in 1982, Creepshow is typically regarded as a minor entry in both the film output of George A. Romero and the history of adaptations of the works of Stephen King. Yet this lack of critical attention hides the fact that Creepshow is the only full collaboration between America’s bestselling author of horror tales and one of the masters of modern American horror cinema. Long considered too mainstream for the director of Dawn of the Dead (1978), too comic for the author that gave audiences the film versions of Carrie (1976) and The Shining (1980), and too violent for a cinemagoing public turning away from gore cinema in the autumn of 1982, Creepshow is here reassessed by Simon Brown, who examines the making and release of the film and its legacy through a comic book adaptation and two sequels. His analysis focuses on the key influences on the film, not just Romero and King, but also the anthology horrors of Amicus Productions, body horror cinema, and the special make up effects of Tom Savini, the relationship between horror and humor, and most notably the tradition of EC horror comics of the 1950s, from which the film draws both its thematic preoccupations and its visual style. Ultimately the book argues that not only is Creepshow a major work in the canons of Romero and King, but also that it represents a significant example of the portmanteau horror film, of the blending of horror and comedy, and finally, decades before the career of Zack Snyder (Watchmen, Man of Steel), of attempting to recreate a comic book aesthetic on the big screen
Grec 1605
No full textJOANNES Moschus. Pratum spiritualeNumérisation effectuée à partir d'un document de substitution.(1) Martyrium S. Sergii, initio mutilum ; — (4) Joannis Moschi pratum spirituale ; — (130) Novus Paradisus ; — (228 v°) Apophthegmata SS. PP. : Ἦν τίς ἀρχάριος... ; — (235) Narrationes variæ SS. PP ; — (284 v°) Excerpta e conciliis de communione et sacra liturgia ; — (285) De VII. conciliis œcumenicis : Χρὴ γινώσκειν αἱ ἑπτά...Reg. 2921, 2
Grec 917
No full textANASTASIUS Sinaïta (S.). Narrationes variæ de Sinaïtis patribusJOANNES Moschus. Fragmenta e GeronticoMOYSES abbas. Capita de virtutibus, ad abbatem PœmenaNumérisation effectuée à partir d'un document de substitution.(1) Capita ascetica varia excerpta e Gerontico, initio mutila ; — (90) Apophthegmata SS. PP. qui in ascesi consenuerant ; — (91 v°) Collationes senum inter se de cogitationibus ; — (107) Moysis abbatis ad Pœmena abbatem capita VII. ascetica ; — (108) ejusdem capita XII. de virtutibus ; — (109) Anastasii Sinaïtæ narratio de patribus Sinaïtis ; — (121 v°) Eclogæ e Joannis Eucratæ patericis ; — (182) Apophthegmata varia SS. Patrum : Ἔλεγον ὅτι τις τῶν γερόντων...Colbert. 5096
Auteur da Fé - The Geopolitics of the Author
No full textThis paper examines the concept of the auteur that explores how it was always geopolitical in character, and never simply an affirmation of individual expression. Truffaut’s Fahrenheit 451 is read as a theory of the auteur that foregrounds its status as gesture, rather than genius
Les muses grecques, ou Traduction en vers françois de Plutus, comédie d'Aristophane , suivie de la troisième édition d'Anacréon, Sapho, Moschus, Bion, Tyrthée... traduits en vers françois... Avec une Lettre sur la traduction des poëtes grecs. Par M. Poinsinet de Sivry,...
No full text[Ploutos (français)]Comprend : [Odes d'Anacréon] ; [Poésies de Sapho] ; [Poésies de Bion] ; [Poésies de Moschus] ; [Chants guerriers] ; Lettre sur la traduction des poëtes grecsContient une table des matièresAvec mode text
Aural auteur : sound in the films of Rolf de Heer
No full textAn interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. \ud
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The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films.\ud
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The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism.\ud
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As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural
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