Cinema - Cinema

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164 itens
Edileuza Penha de Souza
531-536
“O caso do homem errado” – o cinema como instrumento de denúncias do genocídio da população negra
https://doi.org/10.37390/avancacinema.2020.a158
Alexandre Wahrhaftig
585-591
“Lavra-dor”, filme-poema: a relação entre cinema e poesia a partir da repetição
https://doi.org/10.37390/avancacinema.2021.a283
André Francisco
405-412
“It’s hard to say whether that idea is really hers”: a tecnologia como elemento disruptor de identidade em Possessor (2020)
https://doi.org/10.37390/avancacinema.2022.a409
Ariani dos Santos Fontes
471-478
“A Dama de Shanghai”: Investigações sobre o Cinema Noir
https://doi.org/10.37390/avancacinema.2022.a417
Paulina Stephani Hernández Ríos, Jean-Pierre Marcos
632-637
«Pain and Glory», Pedro Almodovar and how not to repeat ourselves
https://doi.org/10.37390/avancacinema.2021.a290
Maryam Khaleghipour, Azam Ravadrad
834-838
Why We Don’t Go to the Cinema: A Qualitative Study in Iran
https://doi.org/10.37390/avancacinema.2021.a314
Yuying Song
822-833
Why do I live here? - Documentary essay on Chinese immigration in Spain
https://doi.org/10.37390/avancacinema.2021.a313
Luciana de Almeida Pereira Jordão
423-430
Walter White/Heisenberg: construção da personagem em Breaking Bad.
https://doi.org/10.37390/ac.v0i0.57
Francisco-Julián Martínez-Cano
606-614
Volumetric filmmaking, new mediums and formats for digital audiovisual storytelling
https://doi.org/10.37390/avancacinema.2020.a168
Luís Proença
415-422
Voices of Justice in Non-Fiction Films and in Christianity.
https://doi.org/10.37390/ac.v0i0.56
Manuel Bernardo Cabral
408-414
Uma possível leitura do universo fordiano em “O Homem que Matou Liberty Valance”.
https://doi.org/10.37390/ac.v0i0.55
Francisco Malta, Fernando Rodrigues, Renan Oliveira, Thiago Malvar, Matheus Moita, Wilson Oliveira
601-605
Trânsitos narrativos que o cinema imersivo em 360 permite ao telespectador em Toy Story 4
https://doi.org/10.37390/avancacinema.2020.a167
Cátia Candido da Silva , Waleska Karinne Soares Coutinho Souto , Fabrícia Teixeira Borges
798-802
Toc Toc – uma reflexão sobre o papel da alteridade no acabamento estético de si
https://doi.org/10.37390/avancacinema.2021.a310
Saša Miletić
789-797
The Whistleblower Film – Is it a Genre and Why Does it Matter?
https://doi.org/10.37390/avancacinema.2021.a309
Adriana Navarro Alvarez
776-783
The professionalization of animated short film in Spain. Current situation
https://doi.org/10.37390/avancacinema.2021.a307
Abbas mohammadi
771-775
The place of literature adaptation in Afghan cinema
https://doi.org/10.37390/avancacinema.2021.a306
Diana Martinez Muñoz, Melissa de Raaf
765-770
The Non-Existent Documentary Nor Fiction
https://doi.org/10.37390/avancacinema.2021.a305
Marcela Negro, Javier Olarte
485-490
The montage cinema and the narrative structure, strengths for the story progression.
https://doi.org/10.37390/avancacinema.2022.a419
Edmundo Cordeiro
403-407
The elevator scene in ‘Horse Money’: the sound-image.
https://doi.org/10.37390/ac.v0i0.54
Julio Vallejo Herán
454-458
The confusion between person and character in Cravan vs Cravan (Lacuesta, 2002)
https://doi.org/10.37390/avancacinema.2022.a414
Juan Pablo López Rincón
736-746
The classic Theories of editing for the cinema and its impact on Video Games’s narrative
https://doi.org/10.37390/avancacinema.2021.a302
Amanda Mansur Custódio Nogueira
395-402
Suspensão narrativa e fluxo temporal. A experiência musical em Tatuagem (2013), de Hilton Lacerda.
https://doi.org/10.37390/ac.v0i0.53
Oscar Canalís Hernández
696-709
Structure, Geometry And Method In Peter Greenaway's The Draughtsman’s Contract. The 4 Dimensions In The Cinematic “Canvas”
https://doi.org/10.37390/avancacinema.2021.a298
Fernanda Aguiar Carneiro Martins
444-452
Sinfonias Urbanas: Utopia e Semiose Documentária
https://doi.org/10.37390/avancacinema.2021.a265
Ivana Denise Grehs
718-727
Símbolos, religiosidade e pertencimento. Diálogos entre história do Brasil e da África em três documentários
https://doi.org/10.37390/avancacinema.2021.a300