20 research outputs found

    Composition en profondeur, mobilité et montage dans Cabiria (Pastrone, 1914)

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    Une Ă©tude comparative du film Cabiria et de ses chutes (prises de vues exclues de son montage dĂ©finitif) permet de montrer comment la mise en scĂšne de ce film italien, sorti en 1914, est fondĂ©e sur une forme de composition spatiale en profondeur. D'oĂč la tendance notable d'y Ă©viter la fragmentation de l'espace via le montage, comme pour en respecter l'intĂ©gritĂ© et mettre en valeur son aspect tridimensionnel. À l'image de la majoritĂ© des films europĂ©ens de la premiĂšre moitiĂ© des annĂ©es dix, Cabiria rĂ©alise ainsi un idĂ©al de reprĂ©sentation spatiale tridimensionnelle « à circularitĂ© limitĂ©e » qui, tout en permettant au spectateur de se rapprocher de la scĂšne, ne situe jamais l'instance spectatorielle au centre de l'action, un idĂ©al de reprĂ©sentation spatiale au sein de laquelle la mobilitĂ© de l'espace scĂ©nique est obtenue autrement que par le changement de plan.Through the comparative study of Cabiria and the footage excluded from the final cut, this essay demonstrates that this Italian film, released in 1914, follows a project of "in-depth spatial composition" in an attempt both to avoid the fragmentation of the represented space caused by editing and to respect its integrity through an emphasis on its tridimensional aspect. Like the majority of European films of the first half of the 1910s, Cabiria thus realizes an ideal of tridimensional spatial representation "with limited circularity" (which, while it enables the spectator to get closer to the scene, never situates it at the centre of the action). The dominant feature of this type of spatial representation is the mobility of the scenic space, which is different from the one created by the succession of shots

    Regard oblique, bifurcation et ricochet, ou de l’inquiĂ©tante Ă©trangetĂ© du carrello

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    Le carrello, qui ponctue Ă  maintes reprises le fameux film Cabiria de Giovanni Pastrone (1914), est l'une des figures les plus intrigantes du cinĂ©ma italien des annĂ©es dix. Les historiens traditionnels du cinĂ©ma le voient gĂ©nĂ©ralement comme l'ancĂȘtre du travelling. Tel ne serait pas le cas, selon les auteurs du prĂ©sent article. MĂȘme s'il fait indubitablement partie de la famille des mouvements de camĂ©ra, mĂȘme s'il implique un mouvement de la camĂ©ra sur un chariot, au mĂȘme titre que le travelling institutionnel, le carrello cabirien serait dotĂ© de plusieurs traits spĂ©cifiques qui en font un cas unique dans l'histoire du cinĂ©ma.The carrello, that punctuates time and again Giovanni Pastrone's famous Cabiria (1914), is one of the most intriguing figures in Italian cinema of the 1910s. Traditional historians of cinema generally consider it as an ancestor of the traveling shot. Now, such would not be the case, according to the authors of this article. Even if it is indubitably part of the family of camera movements, and even if it implies the movement of a camera on a dolly, as in a traditional tracking shot, the "cabirian" carrello is endowed with several specific characteristics that make it a unique case in the history of cinema

    Self-Assembled Nanomicelles as Curcumin Drug Delivery Vehicles: Impact on Solitary Fibrous Tumor Cell Protein Expression and Viability

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    Solitary fibrous tumors (SFTs) are rare soft tissue sarcomas that rely on several epithelial-mesenchymal transition (EMT) protein regulators for invasion/metastatic progression. Curcumin (CUR) has several pharmacological activities, including anticancer activity and the ability to suppress the EMT process. However, poor absorption, rapid metabolism, and side effects at high doses limit the clinical applications of CUR. Here we present the results obtained by treating SFT cells with free CUR and three different CUR-loaded nanomicelles (NMs), each of which has its surface decorated with different ligands. All CUR-loaded NMs were more efficient in suppressing SFT cell viability and expression of EMT markers than CUR alone. Combined treatments with the pan-histone deacetylase dual inhibitor SAHA revealed a differential ability in inhibiting EMT markers expression and SFT cell invasiveness, depending on the NM-ligand type. Finally, combinations of photodynamic therapy and CUR-loaded NM administrations resulted in almost complete SFT cell viability abrogation 24 h after laser irradiation

    Con gli occhi dei fiori della borghesia: Ancora sulla soggettiva libera indiretta e sul cinema di poesia secondo Pier Paolo Pasolini

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    Hollywood, Rossellini et le syndrome de Griffith

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    Les films que Rossellini a tournĂ©s dans les annĂ©es 1950 avec Ingrid Bergman existent tous en plusieurs versions. Il existe notamment trois versions de Stromboli, dont l’une qui fut montĂ©e aux États-Unis par la RKO. L’étude des diffĂ©rences entre la version amĂ©ricaine et les deux autres versions nous en dit beaucoup sur l’approche du montage propre Ă  Rossellini, ainsi que sur l’approche du montage propre Ă  Hollywood, affectĂ©e par ce que l’on propose ici d’appeler le « syndrome de Griffith » et fondĂ©e sur une prĂ©dilection envers le morcellement de l’espace et le recours au montage alternĂ©. On verra ici que le montage de la RKO conduit le film de Rossellini Ă  une dimension mĂ©lodramatique totalement Ă©trangĂšre Ă  la sensibilitĂ© du rĂ©alisateur italien.Several versions exist of all the films that Rossellini made during the 1950s with Ingrid Bergman. There are in fact three versions of Stromboli, one of which was edited in the United States by RKO. Studying the differences between the American version and the other two versions sheds light on the editing approach used by Rossellini and the editing approach used by Hollywood. The latter was affected by what we propose to call the “Griffith Syndrome” and it is based on a predilection for the fragmentation of space and the use of cross-cutting. We will observe how RKO’s editing steers Rossellini’s film into a melodramatic dimension, totally foreign to the mindset of the Italian director

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    De diëgetische blik; Pragmatiek van het point-of-view shot

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    I.Het point-of-view-shot en subjectiviteit De verwarring die vaak de theoretisering van het point-of-view-shot (POV-shot) kenmerkt, kan verklaard worden door het ontbreken van een duidelijke definitie van dit filmische procédé. De oorzaak van dat ontbreken ligt vooral in de ambiguïteit van het gebruik van de notie 'point of view, die vaak gebruikt wordt om het POV-shot te beschrijven. 06 03 123 136

    NUT carcinoma of the submandibular gland: A case report

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    Abstract Background NUT carcinoma (NUTc) is a rare and aggressive malignant epithelial tumor characterized by rearrangement of the NUT gene on chromosome 15q14. Methods In this article, we present the fifth case worldwide of a young woman affected by a NUTc arising from a submandibular gland, presenting as a rapidly evolving mass. She underwent a right scialoadenectomy and received the initial diagnosis of high‐grade mucoepidermoid carcinoma. Due to evidence of local recurrence at magnetic resonance imaging 1 month later, a subsequent right radical neck dissection was performed. The patient then sought a second opinion at our cancer center and finally received the correct diagnosis of NUT carcinoma. Given the well‐known aggressive behavior of this neoplasm, as well as clinical and radiological features, she underwent adjuvant chemo‐radiation (intensity‐modulated radiotherapy + concurrent chemotherapy with cisplatin). Results After a disease‐free interval of 2.6 months, a widespread metastatic disease led to rapid deterioration of performance status and patient death in a few weeks after metastatic onset. Conclusions We presented a case of NUTc arising from salivary gland aiming to improve the knowledge of this rare malignancy. First, we pointed out that in the setting of rare tumors like salivary gland cancers, the diagnosis should be obtained by expert pathologists, and patients should be referred to tertiary cancer centers for their clinical management. Second, molecular profiling may help to identify possible druggable targets that may be exploited to treat patients suffering from this aggressive malignancy. Sharing the molecular data provided in this case will be useful for further research

    Dinamiche del ricordo e della rimozione. L’eccidio delle Fosse Ardeatine nelle opere documentarie e cinegiornalistiche italiane (1945-1955)

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    Il contributo si concentra sul cinema di non fiction che tratta dell’eccidio delle Fosse Ardeatine. Dai documentari Giorni di gloria (Serandrei, Visconti, De Santis, Pagliero, 1945) e Dieci anni della nostra vita (Marcellini, 1953) ai cinegiornali. L’intento ù riflettere sul ruolo che queste produzioni ricoprono nel modellare la memoria culturale e le narrazioni traumatiche. I film documentari del dopo-guerra assumono la forma di mediatori tra storia, memoria e politica, strumenti atti a contribuire alla definizione e ridefinizione dei caratteri identitari degli italiani
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