Cinema - Arte | AVANCA

Helena Maria da Silva Santana, Maria do Rosário da Silva Santana

262-269

“The Fantastic Flying Books of Mr. Morris Lessmore” de William Joyce e Brandon Oldenburg: quando o som se mostra dominante na construção de uma narrativa de texto e imagens.

https://doi.org/10.37390/avancacinema.2020.a124

DOI: https://doi.org/10.37390/avancacinema.2020.a124

Helena Maria da Silva Santana, Maria do Rosário da Silva Santana

204-211

“O Crime do Padre Amaro”: o drama que se descobre nas narrativas de Eça de Queiroz (1875), Carlos Coelho da Silva (2005) e Paula Rego (1997-1999)

https://doi.org/10.37390/avancacinema.2021.a232

DOI: https://doi.org/10.37390/avancacinema.2021.a232

Beáta Fenyvesi

135-139

“Images of the Secret Self”: The Idea of the Non-Human in German Expressionist and Early American Horror Cinema

https://doi.org/10.37390/avancacinema.2020.a108

DOI: https://doi.org/10.37390/avancacinema.2020.a108

Sónia Carvalho, Paulo Bernardino Bastos

56-65

“Arquétipo(grafia) obscura do feminino”, 2020. Performance instalativa multimedia com a colaboração da artista/performer Sol Casal (Br) e a participação da Cantadeira Sara Grenha, na Galeria Ana Lama, (25/10/2020), Lisboa

https://doi.org/10.37390/avancacinema.2021.a212

DOI: https://doi.org/10.37390/avancacinema.2021.a212

Andrew Vallance

282-290

Work of Memory

https://doi.org/10.37390/avancacinema.2022.a395

DOI: https://doi.org/10.37390/avancacinema.2022.a395

Sumaira Majeed, Noor Ul Ain Lashari

286-293

Woman the Natural Nurturer: An Ecofeminist Study of Niki Caro’s The Whale Rider.

https://doi.org/10.37390/avancacinema.2020.a127

DOI: https://doi.org/10.37390/avancacinema.2020.a127

Camilo Cavalcante

171-177

Why do flowers die? - A música brasileira e ango-saxônica no tríptico As Mil e Uma Noites (2015), de Miguel Gomes

https://doi.org/10.37390/avancacinema.2023.a490

DOI: https://doi.org/10.37390/avancacinema.2023.a490

Nicoleta Călina, Cristiana Călina

165-170

When cinema draws its inspiration from literature: Marcello Mastroianni and his literary characters’ embodiment

https://doi.org/10.37390/avancacinema.2023.a489

DOI: https://doi.org/10.37390/avancacinema.2023.a489

Fábio Jabur de Noronha

157-164

Videoarte sem videoarte: a materialidade das condições de produção no Brasil dos anos 1990

https://doi.org/10.37390/avancacinema.2023.a488

DOI: https://doi.org/10.37390/avancacinema.2023.a488

Filomena Antunes Sobral, Daniela Morgado Oliveira

280-285

Vídeo experimental e autorretrato

https://doi.org/10.37390/avancacinema.2020.a126

DOI: https://doi.org/10.37390/avancacinema.2020.a126

Hugo Paquete

270-279

Velocidade terminal: Tempo chronoscopico dos corpor obritais na composição sonora e musical.

https://doi.org/10.37390/avancacinema.2020.a125

DOI: https://doi.org/10.37390/avancacinema.2020.a125

Rui Filipe Antunes, Carlos Nicolau Antunes

21-29

Uma perspectiva cinematográfica sobre a caminhada Imemorial - Passos no Cativeiro

https://doi.org/10.37390/avancacinema.2023.a470

DOI: https://doi.org/10.37390/avancacinema.2023.a470

Helena Maria da Silva Santana, Maria do Rosário da Silva Santana

35-42

Um Cine-concerto projeto de comunidade: Heróis do Mar (1949; 2022) de Fernando Garcia, revisitado por Portovedo, Martins e Sampaio

https://doi.org/10.37390/avancacinema.2023.a472

DOI: https://doi.org/10.37390/avancacinema.2023.a472

Rita Vilhena

169-174

Turning Backs - O espectador está presente?

https://doi.org/10.37390/ac.v0i0.22

DOI: https://doi.org/10.37390/ac.v0i0.22

Juan Manuel Ruiz Prieto

341-348

Time Travel, Audiovisual Narratives and TV Fiction: The Bootstrap Paradox in BBC’s Doctor Who

https://doi.org/10.37390/avancacinema.2021.a251

DOI: https://doi.org/10.37390/avancacinema.2021.a251

Yi Chen

327-334

The Refrains of Memory: Bi Gan’s Long Day’s Journey into Night

https://doi.org/10.37390/avancacinema.2021.a249

DOI: https://doi.org/10.37390/avancacinema.2021.a249

Marcia Mansur

140-142

The montage of “Cine Rabeca”: music, memory and ethnography in an expanded cinema experience.

https://doi.org/10.37390/avancacinema.2023.a485

DOI: https://doi.org/10.37390/avancacinema.2023.a485

Matías López Iglesias

298-303

The main character of Ibero-American cinema in the hypermodern model

https://doi.org/10.37390/avancacinema.2021.a245

DOI: https://doi.org/10.37390/avancacinema.2021.a245

Nicoleta Călina, Cristiana Călina

250-259

The long life of Carlo Collodi’s puppet between literature and cinema. Pinocchio: short excursus through screen adaptations and performances

https://doi.org/10.37390/avancacinema.2022.a391

DOI: https://doi.org/10.37390/avancacinema.2022.a391

Chan Ka Lok Sobel

293-297

The limitless Possibility of Combination: Filmic Lego Poetics of Storytelling and Structure in Global Film Scriptwriting and Duration

https://doi.org/10.37390/avancacinema.2021.a244

DOI: https://doi.org/10.37390/avancacinema.2021.a244

Paulo Alexandre e Castro

165-168

The end of cinema as we know it.

https://doi.org/10.37390/ac.v0i0.21

DOI: https://doi.org/10.37390/ac.v0i0.21

Fabiana de Barros Monteiro Soares, Thelma Panerai Alves

272-277

The Artist and the Art in ‘O Guarani’, by José de Alencar, an adaptation by Pedro Pernambuco

https://doi.org/10.37390/avancacinema.2021.a241

DOI: https://doi.org/10.37390/avancacinema.2021.a241

Abbas MOHAMMADI

238-244

The aesthetics of light in Afghan Cinema

https://doi.org/10.37390/avancacinema.2022.a389

DOI: https://doi.org/10.37390/avancacinema.2022.a389

Marcos Jiménez González

265-271

The aesthetic fascination of the negative character. From expressionist monsters to Breaking Bad

https://doi.org/10.37390/avancacinema.2021.a240

DOI: https://doi.org/10.37390/avancacinema.2021.a240

Ana Císcar Cebriá

259-264

The act of seeing with no eyes: a videographic project about visuality as an instrument of power

https://doi.org/10.37390/avancacinema.2021.a239

DOI: https://doi.org/10.37390/avancacinema.2021.a239

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