Document concernant le film "l'Oublié", d'après le roman de Pierre Benoît, 1928

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Languages : fr
Pages : 2

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Document concernant le film "l'Oublié", d'après le roman de Pierre Benoît, 1928

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Languages : fr
Pages : 2

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Document concernant le film "Le Roi lépreux", d'après le roman de Pierre Benoît, 1922

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Languages : fr
Pages : 2

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Documents concernant le film "Pour don Carlos", d'après le roman de Pierre Benoît

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Languages : fr
Pages : 4

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A Century of Artists Books

A Century of Artists Books PDF Author: Riva Castleman
Publisher: ABRAMS
ISBN: 9780810961814
Category :
Languages : en
Pages : 0

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Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.

Documents concernant le film "le Soleil de minuit", d'après le roman de Pierre Benoît, film de Bernard Roland, 1943

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Languages : fr
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Document concernant le film "Le Puits de Jacob", d'après le roman de Pierre Benoît, 1926

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Languages : fr
Pages : 2

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Documents concernant le film "la Châtelaine du Liban", d'après le roman de Pierre Benoît, film de Marco de Gastyne, 1925

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Languages : fr
Pages : 4

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Documents concernant le film "Koenigsmark", d'après le roman de Pierre Benoît

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Languages : fr
Pages : 28

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Document concernant le film "l'Ame de Pierre", d'après le roman de Georges Ohnet, 1928

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Languages : fr
Pages : 2

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The Sounds of Early Cinema

The Sounds of Early Cinema PDF Author: Richard Abel
Publisher: Indiana University Press
ISBN: 9780253108708
Category : Performing Arts
Languages : en
Pages : 350

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The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.