Film Theory: Critical Concepts in Media and Cultural StudiesPhilip Simpson, Andrew Utterson, Karen J. Shepherdson Taylor & Francis, 2004 - 328 páginas |
Contenido
General Introduction | 1 |
PART | 3 |
PART | 8 |
PART | 9 |
Narrative and narration 187 | 10 |
PART | 12 |
The ontology of the photographic image | 19 |
The birth of the sixth art | 25 |
reviewing social realism | 100 |
PART 11 | 106 |
The plastic material | 114 |
Modernism and postmodernism | 125 |
The evolution of the language of cinema | 136 |
language or language system? | 149 |
The Negro actor and the American movies | 167 |
The semiology of the cinema | 177 |
Sculptureinmotion | 34 |
Some ideas on the cinema | 40 |
The means of the photoplay | 41 |
Photogénie | 49 |
notes on some Brechtian theses | 51 |
the visual idea | 57 |
notes and experiences for | 61 |
The instrument of discovery and the instrument of inventionthe | 63 |
Metaphors on vision and The camera eye | 73 |
perceptual realism digital images and film theory | 85 |
Extract from The montage of film attractions | 99 |
research notes on some Eisenstein stills | 197 |
Past present and future | 219 |
a revolution | 229 |
Principles of narration | 245 |
The myth of total cinema | 261 |
the political unconscious of formalist theory | 268 |
Digital cinema and the history of a moving image | 285 |
narrative discourse and the narrator system | 291 |
The auteur theory 39 | 296 |
Otras ediciones - Ver todas
Film Theory: Critical Concepts in Media and Cultural Studies Philip Simpson Sin vista previa disponible - 2004 |
Film Theory: Critical Concepts in Media and Cultural Studies. Vol. 1 Philip Simpson,Andrew Utterson,K. J. Shepherdson Sin vista previa disponible - 2004 |
Términos y frases comunes
action actor aesthetic André Bazin appear artistic aspects audience Barthes become British Film Institute Cahiers du cinéma camera Christian Metz cinema cinematograph close-up concept context created critical cultural cyborg David Bordwell dramatic Dziga Vertov editing effect Eisenstein elements emotional essays essence example existence expression fact fiction film theory filmic filmmakers genre Hollywood human idea identity imagination Jean Epstein Jean Renoir Kuleshov language lens Lev Kuleshov Lev Manovich light London material mechanical method modern montage motion movement moving narrative nature Noël Carroll object obtuse meaning orig Originally published painting pantomime perception photogénie photographic image photoplay picture plastic play possible present publ realism reality relation representation represented reproduction Roland Barthes Routledge scenarist scene screen sculpture sense sequence shot significant silent film space spectator stage story symbolic theatre things tion Trans viewer visual Volume words writing