Theorieën van de Russische filmregisseur (1898-1948) over de vele mogelijkheden van het medium film
A Postmodern Cinema
An insight into the art developed by postmodern Canadian filmmakers. The first chapter of the work deals with the differences between structuralism and post-structuralism and their relation to modern and postmodern art forms. This is followed by three chapters that explore how formalist, phenomenological and structuralist film theories can be used in the construction of a postmodern post-structuralist film theory.
Landscape and Film
First published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
Eisenstein on the Audiovisual
Winner of the Kraszna-Krausz Foundation Moving Image Book Award, 2009 The pioneering film director and theorist Sergei Eisenstein is known for the unequalled impact his films have had on the development of cinema. Less is known about his remarkable and extensive writings, which present a continent of ideas about film. Robert Robertson presents a lucid and engaging introduction to a key area of Eisenstein's thought: his ideas about the audiovisual in cinema, which are more pertinent today than ever before. With the advent of digital technology, music and sound now act as independent variables combined with the visual medium to produce a truly audiovisual result. Eisenstein explored in his writings this complex, exciting subject with more depth and originality than any other practitioner, and this is an accessible and original exploration of his ideas.
Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo M& uuml;nsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as B& eacute;la Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and filmmakers alike. FILMOSOPHY & reg; is a registered U.S. trademark owned by Valentin Stoilov (www.filmosophy.com) for educational services in the field of motion picture history theory and production. Mr. Stoilov is not the source or origin of this book and has not sponsored or endorsed it or its author.
Sound Speech Music in Soviet and Post Soviet Cinema
This innovative volume challenges the ways we look at both cinema and cultural history by shifting the focus from the centrality of the visual and the literary toward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music theory, history, and cultural studies examine the importance of sound in Russian, Soviet, and post-Soviet cinema from a wide range of interdisciplinary perspectives. Addressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.
Eisenstein delighted in unlikely juxtapositions, being apt to cite from Stalin and Disney in one breath. The heterogeneity underlying his work is breathtaking and his lack of decorum and refusal to be categorised tend to make critics uneasy but not Anne Nesbet. Based on extensive research in the Eisenstein archives, her book is an original, beautifully written exploration of Eisenstein’s omnivorous consumption of high and low culture and his wide-ranging experiments in ‘thinking in pictures’. _x000D_ _x000D_ Savage Junctures provides fresh insights into Eisenstein’s films and writings. It examines the multiple contexts within which his films evolved and Eisenstein’s appropriation of all of world culture as his source. Like Eisenstein himself, Anne Nesbet is particularly interested in the possibilities of visual image making and each chapter addresses the problem of his image-based thinking from a different perspective. Each chapter also offers a fundamentally new interpretation of the films and writings that make up his oeuvre. This is a major new contribution to studies in Soviet cinema and culture and to the field of film studies.
The Visual Turn
This collection of essays demonstrates the usefulness of looking at cinema with the analytical methods provided by art theory. The Visual Turn is a dialogue between art historians and film theorists from the silent period to the aftermath of World War II. Its aim is to broaden the horizons of film studies, while making students of art history more comfortable when they approach the key texts of classical film theory.
"Metaphor studies" has over the past 30 years become a discipline in its own right, mainly because of the cognitive linguistic claim that metaphors characterize thought, not just language. But most metaphor scholars hitherto focus exclusively on its purely verbal expressions. Since both persuasive and narrative discourses in contemporary society increasingly draw on modalities other than language alone, sustained research into a broader range of manifestations of metaphor is imperative. This volume is the first book-length study to investigate multimodal occurrences of metaphor, and is of interest to scholars interested in metaphor as well as in multimodal discourse. Each chapter investigates metaphors whose identification and interpretation depend on the co-presence of at least two of the following modalities: language, visuals, gestures, sound, music. On the basis of case studies in a variety of discourse genres (advertising, cartoons, films, comics, conversation, music, amply represented in photographs, logos, drawings, film stills, and musical scores), the contributors demonstrate that, and how, metaphor can occur multimodally, providing ideas and methodological angles enabling further theorizing and testing in this rapidly expanding field. Covering creative as well as conceptual metaphors, and where appropriate evaluating cultural factors governing metaphor interpretation, the contributors provide a wealth of material for studying the conceptual and rhetorical force of metaphor in contemporary society.
Film Rhythm After Sound
The seemingly effortless integration of sound, movement, and editing in films of the late 1930s stands in vivid contrast to the awkwardness of the first talkies. Film Rhythm after Sound analyzes this evolution via close examination of important prototypes of early sound filmmaking, as well as contemporary discussions of rhythm, tempo, and pacing. Jacobs looks at the rhythmic dimensions of performance and sound in a diverse set of case studies: the Eisenstein-Prokofiev collaboration Ivan the Terrible, Disney’s Silly Symphonies and early Mickey Mouse cartoons, musicals by Lubitsch and Mamoulian, and the impeccably timed dialogue in Hawks’s films. Jacobs argues that the new range of sound technologies made possible a much tighter synchronization of music, speech, and movement than had been the norm with the live accompaniment of silent films. Filmmakers in the early years of the transition to sound experimented with different technical means of achieving synchronization and employed a variety of formal strategies for creating rhythmically unified scenes and sequences. Music often served as a blueprint for rhythm and pacing, as was the case in mickey mousing, the close integration of music and movement in animation. However, by the mid-1930s, filmmakers had also gained enough control over dialogue recording and editing to utilize dialogue to pace scenes independently of the music track. Jacobs’s highly original study of early sound-film practices provides significant new contributions to the fields of film music and sound studies.