Bibliographie

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Kadima-Nzuji, M. (1987).  La parole traditionnelle et les nouveaux médias (Article). Zaïre-Afrique.
Kakou, A. (1985).  Les gris gris d'un conteur. CinémAction.
Kallmann, H. (1983).  Encyclopédie de la musique au Canada.
Kaninda, M'B. (1984).  Le héros, le groupe et l'ordre social. Camera Nigra, Le discours du film africain.
Kavwahirehi, K. (2005).  La littérature orale comme production coloniale. Notes sur quelques enjeux postcoloniaux. Cahiers d'études africaines. vol. XLIV, Paris.
Keil, C., & Braun M. (2001).  Sounding Canadian: Early Sound Practices and Nationalism in Toronto-Based Exhibition. The Sounds of Early Cinema.
Keil, C., Braun M., King R., Moore P., & Pelletier L. (2012).  Beyond the Screen: Institutions, Networks and Publics of Early Cinema.
Keil, C. (2001).  Early American Cinema in Transition: Story, Style and Filmaking, 1907-1913.
Kember, J. (2000).  “It was not the show, it was the tale that you told”. Film lecturing and showmanship on the British Fairground. (Popple, S., & Toulmin V., Ed.).Visual Delights: The Popular and Projected Image in the Nineteenth Century.
Kepley, V J.. (1992).  Film Seance: The Role of Speech in Soviet Film Exhibitions of the 1920s. Wide Angle. Sound in Cinema. vol. 15, p. 8-27.
Kermabon, J. (1994).  Pathé premier empire du cinéma.
Kermani, N. (1983).  Tarikh-e Bidari-ye Iranian, vol. 1.
Kesteloot, L. (2001).  Histoire de la littérature négro-africaine.
Kim, S-aie. (1997).  La fonction du bonimenteur (byunsa) dans le cinéma sud-coréen. Département de communication audiovisuelle et cinéma. Mémoire de DEA (Communication audiovisuelle et cinéma),
King, N. (1984).  The Sound of Silents. Screen. Vol. 25, p. 2-15.
Kirihara, D. (1985).  A Reconsideration of the Institution of the Benshi. Film Reader. p. 41-53.
Kittler, F. A. (1999).  Gramophone, Film, Typewriter (1986).
de Klerk, N. (2000).  Pictures to be shewn': programming the American Biograph. (et Toulmin, S P V., Ed.).Visual delights: essays on the popular and projected image in the 19th century. p. 204- 224.
de Klerk, N. (2000).  Programme of programmes: the London Palace Theatre of Varieties. Griffithiana. vol. 66-70, p. 241-247.
Knight, A. (1993).  Silent Screnn, Live Sounds: A symposium on Music and Silent Film, University of Chicago, 3 February 1993. Screen. vol. 34,
Komatsu, H., & Loden F. (1996).  Mastering the Mute Image. The Role of the Benshi in Japanese Cinema. Iris. p. 33-52.
Komatsu, H., & Musser C. (1987).  Benshi Search. Wide Angle. Vol. 9, p. 71-89.
Komatsu, H. (1992).  Some Characteristics of Japanese Cinema before World War I. (and Desser, A N. D., Ed.).Reframing Japanese Cinema: Authorship, Genre, History. p. 229-258.
Konaté, M. (2002).  Les exigences du scénario. Cinémas d'Afrique.
Koszarski, R. (1990).  History of the American Cinema. Tome 3. An Evening's Entertainment: The Age of the Silent Feature Picture 1915-1928.
Krings, M. (2009).  Karishika with Kiswahili flavor. A Nigerian film retold by a Tanzanian video jockey..