Written by award-winning author Timothy Corrigan, Describing Cinema is an argument for the creative energies of writing in general and for the revelatory intersection of personal experience and film analysis. Describing Cinema demonstrates the pleasures and energies of precise discussions and detailed writing about the films that move us.
Written by award-winning author Timothy Corrigan, Describing Cinema is an argument for the creative energies of writing in general and for the revelatory intersection of personal experience and film analysis. Describing Cinema demonstrates the pleasures and energies of precise discussions and detailed writing about the films that move us.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Timothy Corrigan is Professor Emeritus of English and Cinema Studies at the University of Pennsylvania. His past publications include New German Film: The Displaced Image, A Cinema without Walls: Movies and Culture after Vietnam, and The Essay Film: From Montaigne, After Marker, winner of the 2012 Katherine Singer Kovács Award for the outstanding book in film and media studies.
Inhaltsangabe
Preface Part I: In Other Words: Film and the Spider Web of Description Part II: "Badly Said, Badly Seen": Describing . . . 1.Dis-chord: Meet Me in St. Louis (Vincente Minnelli, 1944) 2. The Pedestrian: The Bicycle Thieves (Vittorio De Sica, 1948) 3. Vacancy: Throne of Blood (Akira Kurosawa, 1957) 4. Ghosting: Pyassa (Guru Dutt, 1957) 5. Exposures: Contempt (Jean-Luc Godard, 1963) 6. Immobility: The Conformist (Bernardo Bertolucci, 1970) 7. Red: Don't Look Now (Nicolas Roeg, 1973) 8. Folds: The Marriage of Maria Braun (R.W. Fassbinder,1978) 9. Discretion: Sunless (Chris Marker, 1983) 10. Emplacements: Do the Right Thing (Spike Lee, 1989) 11. Noise: The Piano (Jane Campion, 1993) 12. Interiors: A Taste of Cherry (Abbas Kiarostami, 1997) 13. Correspondence: Central Station (Walter Salles, 1998) 14. Anticipation: In the Mood for Love (Wong Kar-wai, 2000) 15. Gaming: The Bourne Ultimatum (Paul Greengrass, 2007) 16. The Tactile: Adam (Maryam Touzani, 2019)
Preface Part I: In Other Words: Film and the Spider Web of Description Part II: "Badly Said, Badly Seen": Describing . . . 1.Dis-chord: Meet Me in St. Louis (Vincente Minnelli, 1944) 2. The Pedestrian: The Bicycle Thieves (Vittorio De Sica, 1948) 3. Vacancy: Throne of Blood (Akira Kurosawa, 1957) 4. Ghosting: Pyassa (Guru Dutt, 1957) 5. Exposures: Contempt (Jean-Luc Godard, 1963) 6. Immobility: The Conformist (Bernardo Bertolucci, 1970) 7. Red: Don't Look Now (Nicolas Roeg, 1973) 8. Folds: The Marriage of Maria Braun (R.W. Fassbinder,1978) 9. Discretion: Sunless (Chris Marker, 1983) 10. Emplacements: Do the Right Thing (Spike Lee, 1989) 11. Noise: The Piano (Jane Campion, 1993) 12. Interiors: A Taste of Cherry (Abbas Kiarostami, 1997) 13. Correspondence: Central Station (Walter Salles, 1998) 14. Anticipation: In the Mood for Love (Wong Kar-wai, 2000) 15. Gaming: The Bourne Ultimatum (Paul Greengrass, 2007) 16. The Tactile: Adam (Maryam Touzani, 2019)
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