Colin Burnett is Assistant Professor of Film and Media Studies at Washington University in St. Louis. He has published articles in Film History, Transnational Cinema(s), Studies in French Cinema, The Journal of American Studies, and New Review of Film and Television Studies, and written essays for Robert Bresson (Revised), The Routledge Encyclopedia of Film Theory, Directory of World Cinema: France, A Companion to Media Authorship, and Arnheim for Film and Media Studies.
Colin Burnett is Assistant Professor of Film and Media Studies at Washington University in St. Louis. He has published articles in Film History, Transnational Cinema(s), Studies in French Cinema, The Journal of American Studies, and New Review of Film and Television Studies, and written essays for Robert Bresson (Revised), The Routledge Encyclopedia of Film Theory, Directory of World Cinema: France, A Companion to Media Authorship, and Arnheim for Film and Media Studies.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Acknowledgments Introduction Part One: Alternative Institutions 1. Under the Aegis of Surrealism: How a Publicity Artist Became the Manager of an Independent Film Company 2. The Rise of the Accursed: When Bresson was Co-President of an Avant-Garde Ciné-Club Part Two: Vanguard Forms 3. Purifying Cinema: The Provocations of Faithful Adaptation and First-Person Storytelling in "Ignace de Loyola" (1948) and Journal d'un curé de campagne (1951) 4. Theorizing the Image: Bresson's Challenge to the Realists-Sparse Set Design, Acting and Photography from Les anges du péché (1943) to Une femme douce (1969) 5. Vernacularizing Rhythm: Bresson and the Shift Toward Dionysian Temporalities-Plot Structure and Editing from Journal d'un curé de campagne (1951) to L'argent (1983) Afterword Selected Bibliography Index
Acknowledgments Introduction Part One: Alternative Institutions 1. Under the Aegis of Surrealism: How a Publicity Artist Became the Manager of an Independent Film Company 2. The Rise of the Accursed: When Bresson was Co-President of an Avant-Garde Ciné-Club Part Two: Vanguard Forms 3. Purifying Cinema: The Provocations of Faithful Adaptation and First-Person Storytelling in "Ignace de Loyola" (1948) and Journal d'un curé de campagne (1951) 4. Theorizing the Image: Bresson's Challenge to the Realists-Sparse Set Design, Acting and Photography from Les anges du péché (1943) to Une femme douce (1969) 5. Vernacularizing Rhythm: Bresson and the Shift Toward Dionysian Temporalities-Plot Structure and Editing from Journal d'un curé de campagne (1951) to L'argent (1983) Afterword Selected Bibliography Index
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