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- Gebundenes Buch
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...
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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...
Produktdetails
- Produktdetails
- Verlag: Cornell University Press
- Seitenzahl: 180
- Erscheinungstermin: 15. Juli 2018
- Englisch
- Abmessung: 229mm x 152mm x 14mm
- Gewicht: 420g
- ISBN-13: 9781501709913
- ISBN-10: 1501709917
- Artikelnr.: 50022881
- Verlag: Cornell University Press
- Seitenzahl: 180
- Erscheinungstermin: 15. Juli 2018
- Englisch
- Abmessung: 229mm x 152mm x 14mm
- Gewicht: 420g
- ISBN-13: 9781501709913
- ISBN-10: 1501709917
- Artikelnr.: 50022881
Martin Seel. translated by Kizer S. Walker
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
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
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