skip to content
Covid-19 virus
COVID-19 Resources

Reliable information about the coronavirus (COVID-19) is available from the World Health Organization (current situation, international travel). Numerous and frequently-updated resource results are available from this WorldCat.org search. OCLC’s WebJunction has pulled together information and resources to assist library staff as they consider how to handle coronavirus issues in their communities.

Image provided by: CDC/ Alissa Eckert, MS; Dan Higgins, MAM
Archéologie, typographie et mise en scène du générique de films : les apports de Kyle Cooper Preview this item
ClosePreview this item
Checking...

Archéologie, typographie et mise en scène du générique de films : les apports de Kyle Cooper

Author: Sara PiriGiusy PisanoMarc VernetJean-Loup BourgetRéjane Hamus-ValléeAll authors
Publisher: 2016.
Dissertation: Thèse de doctorat : Arts : Paris Est : 2016.
Edition/Format:   Computer file : Document : Thesis/dissertation : French
Summary:
Cette thèse propose une étude sur la relation entre les arts graphiques et le cinéma à travers une observation analytique du générique de film en tant que fragment cinématographique hybride présentant un entremêlement ou encore une rencontre entre les éléments graphiques et les éléments filmiques. Par cette étude nous interrogeons le générique d'ouverture de film, de l'apparition de la
Rating:

(not yet rated) 0 with reviews - Be the first.

Subjects
More like this

Find a copy online

Links to this item

Find a copy in the library

&AllPage.SpinnerRetrieving; Finding libraries that hold this item...

Details

Genre/Form: Thèses et écrits académiques
Material Type: Document, Thesis/dissertation, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Sara Piri; Giusy Pisano; Marc Vernet; Jean-Loup Bourget; Réjane Hamus-Vallée; Isabelle Le Corff; Martin Laliberté; Université Paris-Est (2015-....).; Ecole doctorale Cultures et Sociétés (Créteil / 2015-....).; Centre de recherche Littératures, savoirs et arts (Champs-sur-Marne, Seine-et-Marne).
OCLC Number: 1029060532
Notes: Titre provenant de l'écran-titre.
Description: 1 online resource
Responsibility: Sara Piri ; sous la direction de Giusy Pisano.

Abstract:

Cette thèse propose une étude sur la relation entre les arts graphiques et le cinéma à travers une observation analytique du générique de film en tant que fragment cinématographique hybride présentant un entremêlement ou encore une rencontre entre les éléments graphiques et les éléments filmiques. Par cette étude nous interrogeons le générique d'ouverture de film, de l'apparition de la cinématographie aux expériences plus contemporaines, en suivant l'évolution d'une forme à la fois graphique et cinématographique reposant sur une frontière technique constamment mouvante grâce aux multiples innovations technologiques.Dans ce travail, nous nous intéressons aux fonctions, typologies, typographies et mises en scène du générique d'ouverture, ainsi qu'aux différents éléments le composant, qui s'expriment selon des modalités à la fois historiques, techniques et esthétiques. L'esthétique de la typographie et son évolution font l'objet d'une attention particulière.Cette thèse se concentre particulièrement sur Kyle Cooper et plus spécialement sur le générique d'ouverture de Se7en, remarquable par son style de typographie cinétique ainsi que son incroyable tour de force technique et esthétique.Notre objectif est de démontrer, à travers les développements graphiques et filmiques du générique d'ouverture, à quel point les apports de Kyle Cooper pour l'art de sa conception sont fondamentaux et considérables. Cooper a contribué à la renaissance de l'art du générique de film à la suite de Saul Bass, dans les années 1950.

This thesis proposes a study of the relation between graphic art and cinema through ananalytical approach of film opening credits as a hybrid cinematographic fragment with areunion of graphic elements and cinematographic elements. Through this study, we willanalyze opening credits, from the beginning of cinema until contemporary experiences,following the evolution of a from simultaneously/both graphic and film based on a technicalline constantly shifting with innovations.In this work, we are also interested in fonctions, types, typography and staged opening credits,elements which are expressed according to historical, technical and aesthetic modes. Theaesthetics of typography and its evolution are the subject of a particular attention.This thesis focuses specifically on Kyle Cooper and more precisely on the opening credits ofSe7en with its outstanding style of kinetic typography and its incredible aesthetic andtechnical tour de force.Our goal is to prove the significance of Kyle Cooper's contribution and why his contributionsfor art of the generic design are so fundamental and substantial across graphic developmentsand opening credits. Cooper had an important part in the rebirth of the art of film credits withSaul Bass in the 1950s.

Reviews

User-contributed reviews
Retrieving GoodReads reviews...
Retrieving DOGObooks reviews...

Tags

Be the first.
Confirm this request

You may have already requested this item. Please select Ok if you would like to proceed with this request anyway.

Linked Data


\n\n

Primary Entity<\/h3>\n
<http:\/\/www.worldcat.org\/oclc\/1029060532<\/a>> # Arch\u00E9ologie, typographie et mise en sc\u00E8ne du g\u00E9n\u00E9rique de films : les apports de Kyle Cooper<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nbgn:ComputerFile<\/a>, bgn:Thesis<\/a>, schema:CreativeWork<\/a>, schema:MediaObject<\/a> ;\u00A0\u00A0\u00A0\nbgn:inSupportOf<\/a> \"Th\u00E8se de doctorat : Arts : Paris Est : 2016.<\/span>\" ;\u00A0\u00A0\u00A0\nlibrary:oclcnum<\/a> \"1029060532<\/span>\" ;\u00A0\u00A0\u00A0\nlibrary:placeOfPublication<\/a> <http:\/\/id.loc.gov\/vocabulary\/countries\/fr<\/a>> ;\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/dewey.info\/class\/700\/<\/a>> ;\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/cinema<\/a>> ; # Cin\u00E9ma<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/arts_graphiques<\/a>> ; # Arts graphiques<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/kyle_cooper<\/a>> ; # Kyle Cooper<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/logotype<\/a>> ; # Logotype<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/generique<\/a>> ; # G\u00E9n\u00E9rique<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Topic\/generique_audiovisuel<\/a>> ; # G\u00E9n\u00E9rique (audiovisuel)<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/saul_bass<\/a>> ; # Saul Bass<\/span>\n\u00A0\u00A0\u00A0\nschema:author<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/piri_sara<\/a>> ; # Sara Piri<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Organization\/universite_paris_est_2015<\/a>> ; # Universit\u00E9 Paris-Est (2015-....).<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Organization\/ecole_doctorale_cultures_et_societes_creteil_2015<\/a>> ; # Ecole doctorale Cultures et Soci\u00E9t\u00E9s (Cr\u00E9teil \/ 2015-....).<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/bourget_jean_loup_1944<\/a>> ; # Jean-Loup Bourget<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/pisano_giusy_1963<\/a>> ; # Giusy Pisano<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/hamus_vallee_rejane_1975<\/a>> ; # R\u00E9jane Hamus-Vall\u00E9e<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/vernet_marc_1947<\/a>> ; # Marc Vernet<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Organization\/centre_de_recherche_litteratures_savoirs_et_arts_champs_sur_marne_seine_et_marne<\/a>> ; # Centre de recherche Litt\u00E9ratures, savoirs et arts (Champs-sur-Marne, Seine-et-Marne).<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/le_corff_isabelle_1962<\/a>> ; # Isabelle Le Corff<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/laliberte_martin_1963<\/a>> ; # Martin Lalibert\u00E9<\/span>\n\u00A0\u00A0\u00A0\nschema:datePublished<\/a> \"2016<\/span>\" ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"This thesis proposes a study of the relation between graphic art and cinema through ananalytical approach of film opening credits as a hybrid cinematographic fragment with areunion of graphic elements and cinematographic elements. Through this study, we willanalyze opening credits, from the beginning of cinema until contemporary experiences,following the evolution of a from simultaneously\/both graphic and film based on a technicalline constantly shifting with innovations.In this work, we are also interested in fonctions, types, typography and staged opening credits,elements which are expressed according to historical, technical and aesthetic modes. Theaesthetics of typography and its evolution are the subject of a particular attention.This thesis focuses specifically on Kyle Cooper and more precisely on the opening credits ofSe7en with its outstanding style of kinetic typography and its incredible aesthetic andtechnical tour de force.Our goal is to prove the significance of Kyle Cooper\'s contribution and why his contributionsfor art of the generic design are so fundamental and substantial across graphic developmentsand opening credits. Cooper had an important part in the rebirth of the art of film credits withSaul Bass in the 1950s.<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"Cette th\u00E8se propose une \u00E9tude sur la relation entre les arts graphiques et le cin\u00E9ma \u00E0 travers une observation analytique du g\u00E9n\u00E9rique de film en tant que fragment cin\u00E9matographique hybride pr\u00E9sentant un entrem\u00EAlement ou encore une rencontre entre les \u00E9l\u00E9ments graphiques et les \u00E9l\u00E9ments filmiques. Par cette \u00E9tude nous interrogeons le g\u00E9n\u00E9rique d\'ouverture de film, de l\'apparition de la cin\u00E9matographie aux exp\u00E9riences plus contemporaines, en suivant l\'\u00E9volution d\'une forme \u00E0 la fois graphique et cin\u00E9matographique reposant sur une fronti\u00E8re technique constamment mouvante gr\u00E2ce aux multiples innovations technologiques.Dans ce travail, nous nous int\u00E9ressons aux fonctions, typologies, typographies et mises en sc\u00E8ne du g\u00E9n\u00E9rique d\'ouverture, ainsi qu\'aux diff\u00E9rents \u00E9l\u00E9ments le composant, qui s\'expriment selon des modalit\u00E9s \u00E0 la fois historiques, techniques et esth\u00E9tiques. L\'esth\u00E9tique de la typographie et son \u00E9volution font l\'objet d\'une attention particuli\u00E8re.Cette th\u00E8se se concentre particuli\u00E8rement sur Kyle Cooper et plus sp\u00E9cialement sur le g\u00E9n\u00E9rique d\'ouverture de Se7en, remarquable par son style de typographie cin\u00E9tique ainsi que son incroyable tour de force technique et esth\u00E9tique.Notre objectif est de d\u00E9montrer, \u00E0 travers les d\u00E9veloppements graphiques et filmiques du g\u00E9n\u00E9rique d\'ouverture, \u00E0 quel point les apports de Kyle Cooper pour l\'art de sa conception sont fondamentaux et consid\u00E9rables. Cooper a contribu\u00E9 \u00E0 la renaissance de l\'art du g\u00E9n\u00E9rique de film \u00E0 la suite de Saul Bass, dans les ann\u00E9es 1950.<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\nschema:exampleOfWork<\/a> <http:\/\/worldcat.org\/entity\/work\/id\/4839795563<\/a>> ;\u00A0\u00A0\u00A0\nschema:genre<\/a> \"Th\u00E8ses et \u00E9crits acad\u00E9miques<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\nschema:inLanguage<\/a> \"fr<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Arch\u00E9ologie, typographie et mise en sc\u00E8ne du g\u00E9n\u00E9rique de films : les apports de Kyle Cooper<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\nschema:productID<\/a> \"1029060532<\/span>\" ;\u00A0\u00A0\u00A0\nschema:url<\/a> <http:\/\/www.theses.fr\/2016PESC0029\/document<\/a>> ;\u00A0\u00A0\u00A0\nschema:url<\/a> <https:\/\/tel.archives-ouvertes.fr\/tel-01739255<\/a>> ;\u00A0\u00A0\u00A0\nschema:url<\/a> <http:\/\/www.theses.fr\/2016PESC0029\/abes<\/a>> ;\u00A0\u00A0\u00A0\nwdrs:describedby<\/a> <http:\/\/www.worldcat.org\/title\/-\/oclc\/1029060532<\/a>> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n\n

Related Entities<\/h3>\n
<http:\/\/dewey.info\/class\/700\/<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Organization\/centre_de_recherche_litteratures_savoirs_et_arts_champs_sur_marne_seine_et_marne<\/a>> # Centre de recherche Litt\u00E9ratures, savoirs et arts (Champs-sur-Marne, Seine-et-Marne).<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Organization<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Centre de recherche Litt\u00E9ratures, savoirs et arts (Champs-sur-Marne, Seine-et-Marne).<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Organization\/ecole_doctorale_cultures_et_societes_creteil_2015<\/a>> # Ecole doctorale Cultures et Soci\u00E9t\u00E9s (Cr\u00E9teil \/ 2015-....).<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Organization<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Ecole doctorale Cultures et Soci\u00E9t\u00E9s (Cr\u00E9teil \/ 2015-....).<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Organization\/universite_paris_est_2015<\/a>> # Universit\u00E9 Paris-Est (2015-....).<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Organization<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Universit\u00E9 Paris-Est (2015-....).<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/bourget_jean_loup_1944<\/a>> # Jean-Loup Bourget<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1944<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Bourget<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Jean-Loup<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Jean-Loup Bourget<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/hamus_vallee_rejane_1975<\/a>> # R\u00E9jane Hamus-Vall\u00E9e<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1975<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Hamus-Vall\u00E9e<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"R\u00E9jane<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"R\u00E9jane Hamus-Vall\u00E9e<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/laliberte_martin_1963<\/a>> # Martin Lalibert\u00E9<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1963<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Lalibert\u00E9<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Martin<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Martin Lalibert\u00E9<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/le_corff_isabelle_1962<\/a>> # Isabelle Le Corff<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1962<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Le Corff<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Isabelle<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Isabelle Le Corff<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/piri_sara<\/a>> # Sara Piri<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Piri<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Sara<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Sara Piri<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/pisano_giusy_1963<\/a>> # Giusy Pisano<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1963<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Pisano<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Giusy<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Giusy Pisano<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Person\/vernet_marc_1947<\/a>> # Marc Vernet<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1947<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Vernet<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Marc<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Marc Vernet<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/arts_graphiques<\/a>> # Arts graphiques<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Arts graphiques<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/cinema<\/a>> # Cin\u00E9ma<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Cin\u00E9ma<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/generique<\/a>> # G\u00E9n\u00E9rique<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"G\u00E9n\u00E9rique<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/kyle_cooper<\/a>> # Kyle Cooper<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Kyle Cooper<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/logotype<\/a>> # Logotype<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Logotype<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Thing\/saul_bass<\/a>> # Saul Bass<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Saul Bass<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4839795563#Topic\/generique_audiovisuel<\/a>> # G\u00E9n\u00E9rique (audiovisuel)<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"G\u00E9n\u00E9rique (audiovisuel)<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/id.loc.gov\/vocabulary\/countries\/fr<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:Place<\/a> ;\u00A0\u00A0\u00A0\ndcterms:identifier<\/a> \"fr<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/www.theses.fr\/2016PESC0029\/document<\/a>>\u00A0\u00A0\u00A0\nrdfs:comment<\/a> \"Acc\u00E8s au texte int\u00E9gral<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/www.worldcat.org\/title\/-\/oclc\/1029060532<\/a>>\u00A0\u00A0\u00A0\u00A0a \ngenont:InformationResource<\/a>, genont:ContentTypeGenericResource<\/a> ;\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/www.worldcat.org\/oclc\/1029060532<\/a>> ; # Arch\u00E9ologie, typographie et mise en sc\u00E8ne du g\u00E9n\u00E9rique de films : les apports de Kyle Cooper<\/span>\n\u00A0\u00A0\u00A0\nschema:dateModified<\/a> \"2020-04-20<\/span>\" ;\u00A0\u00A0\u00A0\nvoid:inDataset<\/a> <http:\/\/purl.oclc.org\/dataset\/WorldCat<\/a>> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n\n

Content-negotiable representations<\/p>\n