Results for 'Motion pictures History'

970 found
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  1.  6
    Still: American Silent Motion Picture Photography.David S. Shields - 2013 - University of Chicago Press.
    The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...)
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  2.  32
    The Phenomenological Movement in Context of the Philosophy of Film and Motion Pictures.Shawn Loht - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 285-313.
    This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied (...)
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  3.  8
    Falsafah-ʼi film: barʹrasī-i taḥlīlī va intiqādī-i naẓarīyahʹhā-yi film-i dawrān-i kilāsīk = Philosophy of film.Aḥmad Riz̤ā Muʻtamidī - 2016 - Tihrān: Pizhūhishgāh-i Farhang va Andīshah-i Islāmī. Edited by Riz̤ā Dāvarī, M. R. Rikhtegran & Aḥmad Z̤ābiṭī Jahrumī.
    Motion pictures - Philosophy ; Motion pictures -- History and criticism ; Motion picture plays -- History and criticism.
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  4.  5
    Intangibles in the Big Picture: The Delinearised History of Time.Gary Zatzman - 2009 - Nova Science Publishers. Edited by Rafiqul Islam.
    Introduction -- Newton's laws of motion versus nature's -- The continuity conundrum -- Continuity and linearity : confusion twice confounded -- From illusions of precision and reproducibility in natural science to delusions of normalcy in social science -- Mutability -- Laws of motion : natural law and questions of mutability -- Essential and intangible role of temporal factors : a detailed example -- Detaching Canada's East Coast Fishery from its history : causes and consequences -- Mishandling temporal (...)
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  5.  8
    Film history as media archaeology: tracking digital cinema.Thomas Elsaesser - 2016 - Amsterdam: Amsterdam University Press.
    Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the "death of cinema" debate, Film History as Media Archaeology​ presents a robust argument for cinema's current status as a new epistemological object of interest to philosophers, while also examining the presence of moving images in museum and art spaces as a challenge for art history. The study is the fruit of twenty years of research and writing at the interface of film (...)
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  6.  9
    Film history for the anthropocene: the ecological archive of German cinema.Seth Peabody - 2023 - Rochester, New York: Camden House.
    From its beginnings, some of German film's most prominent genres and directors have focused on the natural world and its transformations by humans. Heimat films, "city symphonies," mountain films, and rubble films all blend the boundary between landscape documentary and fiction film. Yet German film studies has been slow to adopt an environmental focus, concentrating (understandably) on its subject matter's political implications. This book reveals critical connections between German film, sociopolitical context, and environment, showing it to have been a creative (...)
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  7.  13
    Love in motion: erotic relationships in film.Reidar Due - 2013 - London: Wallflower Press.
    This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love (...)
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  8.  24
    Mysteries of cinema: reflections on film theory, history and culture.Adrian Martin - 2020 - Crawley, Western Australia: UWA Publishing.
    The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers in-depth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory (...)
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  9.  6
    Ṣuwar al-wujūd fī al-sīnimā wa-al-falsafah.Muḥammad Nūr al-Dīn Afāyah - 2022 - al-Dār al-Bayḍāʼ: al-Markaz al-Thaqāfī lil-Kitāb lil-Nashr wa-al-Tawzīʻ.
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  10.  11
    The Anthem handbook of screen theory.Hunter Vaughan & Tom Conley (eds.) - 2018 - London: Anthem Press.
    'The Anthem Handbook of Screen Theory' offers readers a unique survey of the new horizons of film and media theory, focusing on the applicability of screen theories and updating the field for new social, cultural and geopolitical contexts.
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  11.  31
    Filmosophy.Daniel Frampton - 2006 - Columbia University Press.
    Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo Münsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as Béla Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and (...)
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  12.  16
    On the History of Film Style.David Bordwell & Professor David Bordwell - 1997 - Harvard University Press.
    Bordwell scrutinizes the theories of style launched by various film historians and celebrates a century of cinema. The author examines the contributions of many directors and shows how film scholars have explained stylistic continuity and change.
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  13.  7
    Das schwarze Schamquadrat.Heinz Emigholz - 2002 - Berlin: Verlag Martin Schmitz.
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  14.  10
    Cinema and ontology.Maurizio Ferraris - 2019 - [Milano]: Mimesis. Edited by Enrico Terrone.
    Cinema and the automatic sweetheart. The work of art as an automatic sweetheart. Automatic sweethearts without names: the place of films in the world of art -- Cinema and new realism. Realism and trasparency in film. What is new in realism? Cinema, philosophy and the rediscovery of reality -- Cinema and documediality. The movie theatre of Babel. Toward a new ontology of film. The digital secret of the moving image -- Cinema and the ontology of the cell phone. Double signature. (...)
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  15.  12
    Screening history.Gore Vidal - 1992 - Cambridge: Harvard University Press.
    Vidal intertwines fond recollections of films savored in the movie palaces of his Washington, D.C., boyhood with strands of autobiography and trenchant observations about American politics. Never before has the renowned author revealed so much about his own life or written with such immediacy about the forces shaping America. 26 halftones.
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  16. Mavo le-teʼoryot ḳolnoʻiot =.Benny Ben-David - 2016 - Raʻananah: ha-Universiṭah ha-petuḥah. Edited by Sandra Meiri & Anat Zanger.
     
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  17.  14
    Film After Film: (Or, What Became of 21st Century Cinema?).J. Hoberman - 2012 - Verso.
    A post-photographic cinema. The myth of "the myth of total cinema" -- The matrix: "a prison for your mind" -- The new realness -- Quid est veritas: the reality ofunspeakable suffering -- Social network -- Postscript: total cinema redux -- A chronicle of theBush years. 2001: after September 11 -- 2002: the war on terror begins -- 2003: invading Iraq-- 2004: Bush's victory -- 2005: looking for the Muslim world -- 2006: September 11, theanniversary -- 2007: what was Iraq and (...)
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  18.  11
    Hacia una imagen no-tiempo: Deleuze y el cine contemporáneo.Sergi Sánchez - 2013 - Oviedo: Servicio de Publicaciones de la Universidad de Oviedo.
  19.  14
    Film Manifestoes and Global Cinema Cultures: A Critical Anthology.Scott MacKenzie - 2014 - University of California Press.
    Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This (...)
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  20.  51
    Kracauer's Two Tendencies and the Early History of Film Narrative.Gerald Mast - 1980 - Critical Inquiry 6 (3):455-476.
    If narrating—the feeling of stories, fictional or otherwise—is an inherent possibility of motion pictures , then Kracauer's distinction between the realist and formative tendencies must be questioned and, in effect, the two must be synthesized. Wasn't the practical problem for the earliest films how to construct a formative sequence of events within an absolutely real-looking visual context? Wasn't the paradox of film narrative the combination of an obviously unreal sequence of events with an obviously real visual and social (...)
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  21.  6
    Silence(s) dans le cinéma contemporain: historie et esthétique.Louis Daubresse - 2024 - Villeneuve d'Ascq, France: Presses universitaires du Septentrion.
    Comment le silence agit-il au cinéma? Qu'est-ce qui permet d'identifier ce phénomène? Implique-t-il la disparition intégrale de la matière sonore ou seulement sa minimalisation à l'intérieur d'un film? Son intervention, ponctuelle ou durable, tend à engager une raréfaction, voire une suppression, des paroles et de la musique, mais pas forcément de tout bruit. Des lieux particulièrement silencieux, ainsi que le mutisme ou la surdité d'un personnage, sont également propices à l'instauration de telles situations audiovisuelles. Cet ouvrage analyse, à travers une (...)
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  22.  8
    The major realist film theorists: a critical anthology.Ian Aitken (ed.) - 2016 - Edinburgh: Edinburgh University Press.
    From the 1910s to the emergence of structuralism and post-structuralism in the 1960s, the writings of John Grierson, Siegfried Kracauer, Andre Bazin and Georg Lukacs dominated realist film theory. In this critical anthology, the first collection to address their work in one volume, a wide range of international scholars explore the interconnections between their ideas and help generate new understandings of this important, if neglected, field. Challenging preconceptions about 'classical' theory and the nature of realist representation, and in the process (...)
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  23. A New/Old Ontology of Film.Rafe McGregor - 2013 - Film-Philosophy 17 (1):265-280.
    The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for (...)
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  24.  14
    Kayıp hafızanın izinde: sinemada geçmişle yüzleşme yas ve inkâr.Pınar Yıldız - 2021 - İstanbul: Metis Yayınları.
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  25.  24
    The death of cinema: history, cultural memory, and the digital dark age.Paolo Cherchi Usai - 2001 - London: BFI.
    It is estimated that about one and a half billion hours of moving images were produced in 1999, twice as many as a decade before. If that rate of growth continues, one hundred billion hours of moving images will be made in the year 2025. In 1895 there were just above forty minutes of moving images to be seen, and most of them are now preserved. Today, for every film made, thousands of them disappear forever without leaving a trace. Meanwhile, (...)
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  26.  6
    Wen hua de mi gong: hou zhou xin shi dai de Zhongguo li shi tan mi.Yuanshan Zhang - 2005 - Shanghai: Fudan da xue chu ban she.
    本书以文化元典、历史嬗变、思维原型、集体无意识为切入点,对后轴心时代的中国社会及其文化的进一步探究,可与作者的另一部著作《语言的密码——轴心时代的中国思想探源》参照阅读。.
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  27.  13
    U zaklon!: ideološka čitanka suvremenog filma.Dragan Jurak - 2014 - Zagreb: Hrvatski filmski savez.
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  28.  8
    Lok'ŏl munhwa yullihak: lok'ŏl munhwa wa t'alsingminsŏng yullihak ŭi mannam.Yong-sŏng Chʻoe - 2017 - Kyŏnggi-do Koyang-si: In'gan Sarang.
    1. Pusan lok'ŏllit'i wa lok'ŏl munhwa yulli -- 2. Han'guk lok'ŏllit'i wa lok'ŏl munhwa yulli -- 3. Asia lok'ŏllit'i wa lok'ŏl munhwa yulli.
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  29.  6
    Phōteino skotadi: keimena gia ton kinēmatographo.Achilleas Kyriakidēs - 2020 - Athēna: Ekdoseis Patakē.
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  30.  24
    A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory.Patrick Ellis - 2017 - British Journal for the History of Science 50 (3):411-428.
    In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded (...)
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  31. An Introduction to Pre-Socratic Ethics: Heraclitus and Democritus on Human Nature and Conduct (Part I: On Motion and Change).Erman Kaplama - 2021 - Cosmos and History: The Journal of Natural and Social Philosophy 17 (1):212-242.
    Both Heraclitus and Democritus, as the philosophers of historia peri phuseôs, consider nature and human character, habit, law and soul as interrelated emphasizing the links between phusis, kinesis, ethos, logos, kresis, nomos and daimon. On the one hand, Heraclitus’s principle of change (panta rhei) and his emphasis on the element of fire and cosmic motion ultimately dominate his ethics reinforcing his ideas of change, moderation, balance and justice, on the other, Democritus’s atomist description of phusis and motion underlies (...)
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  32.  59
    Deleuze and cinema: the film concepts.Felicity Colman - 2011 - New York: Berg.
    Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key concepts behind Deleuze's revolutionary theory (...)
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  33. The Senses and the History of Philosophy.Brian Glenney, José Filipe Silva, Jana Rosker, Susan Blake, Stephen H. Phillips, Katerina Ierodiakonou, Anna Marmodoro, Lukas Licka, Han Thomas Adriaenssen, Chris Meyns, Janet Levin, James Van Cleve, Deborah Boyle, Michael Madary, Josefa Toribio, Gabriele Ferretti, Clare Batty & Mark Paterson (eds.) - 2019 - New York, USA: Routledge.
    The study of perception and the role of the senses have recently risen to prominence in philosophy and are now a major area of study and research. However, the philosophical history of the senses remains a relatively neglected subject. Moving beyond the current philosophical canon, this outstanding collection offers a wide-ranging and diverse philosophical exploration of the senses, from the classical period to the present day. Written by a team of international contributors, it is divided into six parts: -/- (...)
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  34.  46
    Film as ArtThe Liveliest Art. A Panoramic History of the Movies.Vernon Young, Rudolf Arnheim & Arthur Knight - 1958 - Journal of Aesthetics and Art Criticism 17 (2):260.
    In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...)
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  35.  12
    Performing difference: representations of "the other" in film and theater.Jonathan C. Friedman (ed.) - 2009 - Lanham, Maryland: University Press of America.
    Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema from (...)
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  36.  3
    British masculinity in transatlantic cinema: Ronald Colman and Basil Rathbone.Carolyn Owen-King - 2025 - New York: Bloomsbury Academic.
    Through exploring transatlantic film history, this book uncovers the ways in which these men were presented in media and on screen, arguing that they carry with them, even in films made at the height of censorship, an appealing and attractive queerness. Owen-King expands on Eve Kosofsky Sedgewick's theory of homosocial/homosexual continuum and offer readings of film texts that use her theories to survey gender and sexual identities within Hollywood's Golden Era.
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  37.  7
    Cinema e intermedialità: modelli di traduzione.Federico Zecca - 2013 - Udine: Forum.
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  38.  9
    Yŏnghwa sok ŭi ch'ŏrhak.Pyŏng-ch'ŏl Pak - 2001 - Kyŏnggi-do P'aju-si: Sŏgwangsa.
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  39.  8
    Fissures: théorie critique du film et de l'histoire du cinéma d'après Siegfried Kracauer.Edouard Arnoldy - 2018 - [Sesto San Giovanni]: Éditions Mimésis.
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  40. Kinēmatographos, epistēmē, ideologia.Takēs Antōnopoulos - 1972 - [Athēnai]: Antilogos.
     
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  41. Dokumentalʹnoe i khudozhestvennoe v sovremennom iskusstve.Vadim Mikhailovich Polevoi & Russia Moscow (eds.) - 1975 - Moskva: Mysl, ́.
     
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  42.  19
    Cine-Ethics: Ethical Dimensions of Film Theory, Practice and Spectatorship.Jinhee Choi & Mattias Frey (eds.) - 2013 - London: Routledge.
    This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators' affective and emotional engagement with film, which can function as a moral ground for one's connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to open (...)
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  43.  5
    Die Dekonstruktion des Bürgerlichen im Stummfilm der Weimarer Republik.Ioana Crăciun - 2015 - Heidelberg: Universitätsverlag Winter.
    English summary: The silent film of the Weimar Republic grappled with the norms and values of a society, whose elites dismissed it as a cultural product for the masses and the bulk of whose citizens were eager consumers of film. It scrutinized their civil facade and distanced itself with constructive irony and productive skepticism about their traditional (gender-) roles and modes of identity. Its silent message reaches us today like a message in a bottle from a temporary and distant, but (...)
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  44.  13
    Ex-centric cinema: Giorgio Agamben and film archaeology.Janet Harbord - 2016 - New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing.
    Introduction -- Girls and other incomplete things: on archaeological method -- Gesture: cinema muto mutato -- Dim stockings and pornography: community, spectacle and the example -- Cinema as laboratory: on insects and the anthropological machine -- When the assistants profane cinema -- Ex-centric cinema.
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  45.  6
    Genealogías de la mirada.Agustín Sánchez Vidal - 2020 - Madrid: Ediciones Cátedra.
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  46.  30
    The ethics of horror: spectral alterity in twenty-first-century horror film.Michael Joseph Burke - 2024 - Lanham: Lexington Books.
    This book examines spectral haunting through the philosophies of Levinas and Derrida. Arguing that moral obligation can appear terrifying to the complacent self, the text interrogates ethical responsibility in contemporary horror genres.
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  47.  52
    Theorizing Bruce Lee: Film-Fantasy-Fighting-Philosophy.Paul Bowman - 2010 - Rodopi.
    ' Armoured with his philosophical nunchakus, Bowman goes to battle with anyone who may doubt Lee's ongoing importance, and this book will undoubtedly become ...
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  48.  18
    Nasq mā baʻd al-ḥadāthah fī al-sīnimā al-muʻāṣirah.Ahmed Djebbar - 2021 - Baghdād: Dār Qanādīl lil-Nashr wa-al-Tawzīʻ.
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  49.  10
    Cinema approaching reality: locating chinese film theory.Victor Fan - 2015 - London: University of Minnesota Press.
    Introduction -- Approaching reality: Chinese ontology and the potentiality of time -- Cinema of thought: directed consciousness in Chinese Marxist film theory -- Soft film theory: life in all its presence and concreteness -- Fey Mou: the presence of an absence -- Cinema of ideation, cinema of play: the early Cantonese sound film -- Conclusion.
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  50.  7
    Les images parlantes.Murielle Gagnebin & Guy Astic (eds.) - 2005 - Seyssel: Champ vallon.
    Les Images parlantes : l'étrangeté habite ce titre! Les détournements de l'image vers quelque langage codé, les contrebandes de l'image au gré de textes particulièrement transgresseurs, les transports sur la langue sont multiples. Une évidence s'impose donc : l'image ne parle pas, mais elle doit être parlée. Dès lors s'ouvre le domaine des fables et des fictions émanant de l'image elle-même, aptes toutefois à la spécifier comme à la sonder. Exhiber une fonction inédite et captatrice de l'image en tant qu'elle (...)
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