In The Arts of Cinema, Martin Seel explores filmâ s connections to the other arts and the qualities that distinguish it from them. In nine concise and elegantly written chapters, he explores the cinemaâ s singular aesthetic potential and uses specific examples from a diverse range of filmsâ from Antonioni and Hitchcock to The Searchers and The...
In The Arts of Cinema, Martin Seel explores filmâ s connections to the other arts and the qualities that distinguish it from them. In nine concise and elegantly written chapters, he explores the cinemaâ s singular aesthetic potential and uses specific examples from a diverse range of filmsâ from Antonioni and Hitchcock to The Searchers and The...Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Martin Seel is Professor of Philosophy at the Goethe University Frankfurt. He is the author of fourteen books of philosophy and aesthetics, including Aesthetics of Appearing. Kizer S. Walker is Director of Collections for Cornell University Library, Librarian for German Studies, and Managing Editor of the series Signale: Modern German Letters, Cultures, and Thought, copublished by Cornell University Press and Cornell University Library.
Inhaltsangabe
Opening Credits: Affairs The Site of the Cinema "Film" The Course of Things The Film Program 1. Film as Architecture: A Beginning Division of Space Ambient Sound Some Opening Credits Landscapes Two Extremes An Ending Spatial Imagination More Opening Credits 2. Film as Music: A Prelude Time Connections Action (1) Double Motion Action (2) Spaces of Time Higher Rhythm Explosion 3. Film as Image: People Waiting Pictorial Appearing Image and Movement Photography and Film Another Trip The Promise of Photography Image Analysis The Promise of Film Another Ending 4. Film as Spectacle: Anarchy Division of Space, Again Virtuality Sculpturality Actors Voices Theatricality Attractionism Ecstasy 5. Film as Narrative: Three Films Abstinence Narrative Disposition Telling Stories Perspectivity Filmic Storytelling Cinema's Temporal Form The Present Past 6. Film as Exploration: In Baghdad Urban Landscapes Realities Processes of Documentation A Double Promise Techniques of Fiction Questions of Style Loss of Control References to the World The End 7. Film as Imagination: At Bakersfield An Illusionistic Interpretation The Figure of the Illusionist Illusion and Immersion Imagination Not Illusion Photography and Film, Again Twofold Attention Illusion as a Technique Caché 8. Film as Emotion: The End, Yet Again The Illusionist's Final Appearance Motion and Emotion Corporeality Sensate Understanding Expressivity Engagement Twofold Attention, Again Mixed Emotions Godard 9. Film as Philosophy: Flashbacks Another Affair Three Dimensions Cine anthropology Active Passivity An Encore Landscapes, Once Again Closing Credits: Notice Thanks
Opening Credits: Affairs The Site of the Cinema "Film" The Course of Things The Film Program 1. Film as Architecture: A Beginning Division of Space Ambient Sound Some Opening Credits Landscapes Two Extremes An Ending Spatial Imagination More Opening Credits 2. Film as Music: A Prelude Time Connections Action (1) Double Motion Action (2) Spaces of Time Higher Rhythm Explosion 3. Film as Image: People Waiting Pictorial Appearing Image and Movement Photography and Film Another Trip The Promise of Photography Image Analysis The Promise of Film Another Ending 4. Film as Spectacle: Anarchy Division of Space, Again Virtuality Sculpturality Actors Voices Theatricality Attractionism Ecstasy 5. Film as Narrative: Three Films Abstinence Narrative Disposition Telling Stories Perspectivity Filmic Storytelling Cinema's Temporal Form The Present Past 6. Film as Exploration: In Baghdad Urban Landscapes Realities Processes of Documentation A Double Promise Techniques of Fiction Questions of Style Loss of Control References to the World The End 7. Film as Imagination: At Bakersfield An Illusionistic Interpretation The Figure of the Illusionist Illusion and Immersion Imagination Not Illusion Photography and Film, Again Twofold Attention Illusion as a Technique Caché 8. Film as Emotion: The End, Yet Again The Illusionist's Final Appearance Motion and Emotion Corporeality Sensate Understanding Expressivity Engagement Twofold Attention, Again Mixed Emotions Godard 9. Film as Philosophy: Flashbacks Another Affair Three Dimensions Cine anthropology Active Passivity An Encore Landscapes, Once Again Closing Credits: Notice Thanks
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