Yıl: 2011 Cilt: 2 Sayı: 2 Sayfa Aralığı: 81 - 93 Metin Dili: Türkçe İndeks Tarihi: 29-07-2022

Sinemasal deneyim

Öz:
-
Anahtar Kelime:

Konular: Film, Radyo, Televizyon
Belge Türü: Makale Makale Türü: Diğer Erişim Türü: Bibliyografik
  • Acland, R. C. (2003). Screen Traffic: Movies, Multiplexes and Global Culture. Durham, NC: Duke University Press.
  • Astruc, A. (1948). Naissance d'une nouvelle avant-garde: la camera-stylo. Ecran Français, (144), 325.
  • Arnheim, R. (1933). Film. Londra: Faber and Faber.
  • Balâzs, B. (1982). Der sichtbare Mensch oder die Kultur des Films. Schriften zum Film 1922-1926, 1.
  • Benjamin, W. (2003). The work of art in the age of its technological reproducibility: third version. Selected Writings 1938-1940, 4, 263.
  • Bolter, D. & Grusin, V. (1998). Remediation: Understanding New Media. Cambridge, MA: MIT Press.
  • Bruno, G. (2002). Atlas of Emotion: Journeys in Art, Architecture and Film. New York, NY: Verso.
  • Brütsch, M., Hediger, V., Keitz, U., Schneider, A., & Tröhler, M. (2005). Kinogefühle: Emotionalitât undFilm. Marburg: Schüren.
  • Canudo, R. (1908). Lettere d'arte. Trionfo del cinematografo. Nuovo Giornale, 25(278) 296-302.
  • Casetti, F. (2008). Eye of the Century: Film, Experience, Modernity. New York, NY: Columbia University Press.
  • Casetti, F. & Silvio, A. (yayma hazırlanıyor) Lo spettatore disciplinato: Regole di etichetta, di morale e di igiene nella fraizione filmica dei primi temp. Storia del cinema Italiano, 2.
  • Casetti, F. & Fanchi, G.M. (Ed.). (2006). Terre incognite. Florence: Carocci.
  • Corrigan, T. (1991). A Cinema Without Walls: Movies and Culture after Vietnam. New Brunswick, NJ: Rutgers University Press.
  • D'Ambra, L. (1914). II museo dell'attimo fuggente. La Tribuna illustrata, 22(20).
  • Debray, R. (1992). Vie et mort de Vimage: une histoire du regard en Occident. Paris: Gallimard.
  • Delluc, L. (1921). Le cinema, art populaire; Ecrits cinematographiques. 11/2: Le cinema au quotidien (s. 279-88). Paris: Cinematheque Française.
  • Fanchi, M.G. (2006). Spettatori Milano: II Castoro.
  • Grieveson, L. (2004). Policing Cinema: Movies and Censorship in Early Twentieth-Century America. Berkeley, CA: University of California Press.
  • Gunning, T. (1995). An aesthetic of astonishment: early film and the (in)credulous spectator. L. Williams (Ed.), Viewing Positions: Ways of Seeing Film (s. 114-33). New Brunswick, NJ: Rutgers University Press.
  • Harbord, J. (2002). Film Cultures. Londra: Sage.
  • Hansen, M. (1987). Benjamin, cinema and experience: 'The blue flower in the land of technology'. New German Critique, 40, 179-224.
  • Hansen, M. (1991). Babel and Babylon'. Spectatorship in American Silent Film. Cambridge, MA: Harvard University Press.
  • Hansen, M. (2004). Room-for-play: Benjamin's gamble with cinema. October, 109, 3-45.
  • Jenkins, H. (1997). This yellow Keaton seems to be the whole show: Buster Keaton, interrupted performance, and the vaudeville aesthetic. A. Norton (Ed.), Buster Keaton s Sherlock Jr. (s. 29-66). Cambridge: Cambridge University Press.
  • Jenkins, H. (1992). Textual Poachers: Television Fans and Participatory Culture. New York, NY: Routledge.
  • Klinger, B. (2006). Beyond the Multiplex: Cinema, New Technologies and the Home. Berkeley, CA: University of California Press.
  • Koszarski, R. (1994). An Evening's Entertainment: the Age of the Silent Feature Picture, 1915-1928. Berkeley, CA: University of California Press.
  • Kuhn, A. (1988). Cinema, Censorship and Sexuality, 1909-1925. Londra: Routledge.
  • Manuel, P. (2003). Le Temps du cinema. Emile Vuillermoz pere de la critique cinematographique. 1910-1930. Paris: L'Harmattan.
  • Montani, P. (2007). Bioestetica. Florence: Carrocci.
  • Mulvey, L. (1989). Visual and Other Pleasures.' Bloomington, IN: Indiana University Press.
  • Norton, A. (Ed.). (1997). Buster Keaton's Sherlock Jr. Cambridge: Cambridge University Press.
  • Pirandello, L. (1915). Si gira. Nuova Antologia, Temmuz-Ağustos.
  • Plantinga, C. & Smith, G. M. (Ed.). (1999). Passionate Views. Baltimore, MD: Johns Hopkins University Press.
  • Pudovkin, I. V. (1933). Film Technique: Five Essays and Two Addresses. Londra: G. Newnes.
  • Spottiswoode, R. (1935). Grammar of the Film: an Analysis of Film Technique. Londra: Faber and Faber.
  • Staiger, J. (2000). Perverse Spectator ship: the Practices of Film Reception. NY: New York University Press.
  • Stokes, M. (Ed.) (1999). American Movie Audiences: from the Turn of the Century to the Early Sound Era. Londra: British Film Institute.
  • Thovez, E. (1908). L'arte di celluloide. La Stampa, 73(209).
  • White, M. (2006). The Body and the Screen. Cambridge, MA: MIT Press.
APA CASETTİ F (2011). Sinemasal deneyim. , 81 - 93.
Chicago CASETTİ Francesco Sinemasal deneyim. (2011): 81 - 93.
MLA CASETTİ Francesco Sinemasal deneyim. , 2011, ss.81 - 93.
AMA CASETTİ F Sinemasal deneyim. . 2011; 81 - 93.
Vancouver CASETTİ F Sinemasal deneyim. . 2011; 81 - 93.
IEEE CASETTİ F "Sinemasal deneyim." , ss.81 - 93, 2011.
ISNAD CASETTİ, Francesco. "Sinemasal deneyim". (2011), 81-93.
APA CASETTİ F (2011). Sinemasal deneyim. sinecine: Sinema Araştırmaları Dergisi, 2(2), 81 - 93.
Chicago CASETTİ Francesco Sinemasal deneyim. sinecine: Sinema Araştırmaları Dergisi 2, no.2 (2011): 81 - 93.
MLA CASETTİ Francesco Sinemasal deneyim. sinecine: Sinema Araştırmaları Dergisi, vol.2, no.2, 2011, ss.81 - 93.
AMA CASETTİ F Sinemasal deneyim. sinecine: Sinema Araştırmaları Dergisi. 2011; 2(2): 81 - 93.
Vancouver CASETTİ F Sinemasal deneyim. sinecine: Sinema Araştırmaları Dergisi. 2011; 2(2): 81 - 93.
IEEE CASETTİ F "Sinemasal deneyim." sinecine: Sinema Araştırmaları Dergisi, 2, ss.81 - 93, 2011.
ISNAD CASETTİ, Francesco. "Sinemasal deneyim". sinecine: Sinema Araştırmaları Dergisi 2/2 (2011), 81-93.