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.
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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