English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Avec le personnage récurrent juif new-yorkais névrosé plus ou moins autobiographique, les films de Woody Allen ont créé, volontairement ou pas, leur propre mythologie et un genre à part entière composé de codes que le spectateur décrypte instantanément. Pourtant, Woody Allen est surtout un cinéaste post-moderne, analysant et déconstruisant les simulacres de son époque. Il est ainsi un passeur d'images retraçant l'histoire des arts modernes des XXe et XXIe siècles et de leurs stratégies énonciatives et réceptives. With the recurrent persona of the neurotic and more or less autobiographical Jewish New Yorker, Woody Allen's films have created, willingly or not, their own mythology and a specific genre made up of codes readily accessible to the spectator. However, Woody Allen is more than anything else a postmodern filmmaker who analyses and deconstructs the simulacra of his time. He is thus a conveyor of images which retrace the history of modern art of the XXth and XXIth centuries, and of their strategies of enunciation and reception

Optique moderne et post-moderne dans la composition d'images transculturelles dans trois films de Woody Allen