Cinema - Cinema

All Items

164 Items
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
Fabio Belotte
302-307
The materiality of memory in non-fictional animation
https://doi.org/10.37390/avancacinema.2020.a129
Liliana Rosa
479-484
The limits of the representation of violence in Benny’s Video (1992) and Funny Games (1997), directed by Michael Haneke
https://doi.org/10.37390/avancacinema.2022.a418
Ivana Denise Grehs
295-301
The image of the memory of slavery as a background in the documentary “A Última Abolição”.
https://doi.org/10.37390/avancacinema.2020.a128
Luiz Nazario
752-764
The Gate of Heaven: Miracle or Fraud?
https://doi.org/10.37390/avancacinema.2021.a304
Filipe Freitas Chaves , Luiz Roberto Pinto Nazario
747-751
The found footage of Werner Herzog’s Grizzly Man
https://doi.org/10.37390/avancacinema.2021.a303
Angélica Marques Coutinho
464-470
The experience of inclusion: the first selection process for feature film with quotas of gender and race of the Brazilian National Film Agenc
https://doi.org/10.37390/avancacinema.2022.a416
Ángela Sáenz-Herrero, Juan Pedro Rica-Peromingo
513-518
The evolution of the Spanish language through dubbing in Spain
https://doi.org/10.37390/avancacinema.2020.a155
Edmundo Cordeiro
403-407
The elevator scene in ‘Horse Money’: the sound-image.
https://doi.org/10.37390/ac.v0i0.54
Cassia Cassitas
459-463
The construction of the feminine in the audiovisual The hours
https://doi.org/10.37390/avancacinema.2022.a415
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
Edileuza Penha de Souza
531-536
The case of the wrong man – Cinema as an instrument to denounce the genocide of the black population
https://doi.org/10.37390/avancacinema.2020.a158
Sérgio Bordalo e Sá
526-530
The Blue Angel: from the end of the Expressionism to the influence of Paramount. A film by Josef von Sternberg
https://doi.org/10.37390/avancacinema.2020.a157
Rubén Marín Ramos
508-512
The archival configuration in contemporary nonfiction cinema
https://doi.org/10.37390/avancacinema.2020.a154
Ivana Denise Grehs
718-727
Symbols, religiosity and belonging. Dialogues between the history of Brazil and Africa in three documentaries
https://doi.org/10.37390/avancacinema.2021.a300
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
Tiago Silva, Marta Madureira, Filipe Lopes
710-717
Studies on the potentialities of sound design in animated movies - The impact and the influence of sound design in the creation of an animated short
https://doi.org/10.37390/avancacinema.2021.a299
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
Mauricio Mario Monteiro, Ricardo Tsutomu Matsuzawa
687-695
Star Trek: feminism and identity in the case of Nyota Uhura
https://doi.org/10.37390/avancacinema.2021.a297
Henrique Muga
681-686
Space in the Cinema of João César Monteiro
https://doi.org/10.37390/avancacinema.2021.a296
Francisco Malta, Wilson Oliveira, Renan Oliveira, Matheus Moita, Thiago Malvar, Stella Nemer
675-680
Silence and action: the reivention of language in post-pandemic Cinema
https://doi.org/10.37390/avancacinema.2021.a295
Francisco Ricardo Silveira
666-674
Self-Objectification in Phoebe Bridgers’ Videography
https://doi.org/10.37390/avancacinema.2021.a294
Luiz Augusto Coimbra de Rezende Filho
391-394
Second person narrative in War Documentaries.
https://doi.org/10.37390/ac.v0i0.52
Alfredo Taunay Colins, Morgana Gama de Lima
430-437
Screen’s etnography and semiopragmatic: a dialogue between film’analysis methodologies.
https://doi.org/10.37390/avancacinema.2020.a146