1988, ISBN: 0691014531

[EAN: 9780691014531], Neubuch, [PU: Princeton University Press], nach der Bestellung gedruckt Neuware - Printed after ordering - 'Classical works have for us become covered with the glass… More...

[EAN: 9780691014531], Neubuch, [PU: Princeton University Press], nach der Bestellung gedruckt Neuware - Printed after ordering - 'Classical works have for us become covered with the glassy armor of familiarity,' wrote Victor Shklovsky in 1914. Here Kristin Thompson 'defamiliarizes' the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually.Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie).Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole., Photographs<

ISBN: 9780691014531

Classical works have for us become covered with the glassy armor of familiarity, wrote Victor Shklovsky in 1914. Here Kristin Thompson defamiliarizes the reader with eleven different film… More...

Classical works have for us become covered with the glassy armor of familiarity, wrote Victor Shklovsky in 1914. Here Kristin Thompson defamiliarizes the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole. New Textbooks>Trade Paperback>Movies & TV>Film Studies>Film Studies, Princeton University Press Core >1 >T<

1988, ISBN: 9780691014531

Princeton University Press, Taschenbuch, 420 Seiten, Publiziert: 1988-08-01T00:00:01Z, Produktgruppe: Buch, 1.38 kg, Verkaufsrang: 3045527, Journalismus, Medienforschung, Medienwissenscha… More...

Princeton University Press, Taschenbuch, 420 Seiten, Publiziert: 1988-08-01T00:00:01Z, Produktgruppe: Buch, 1.38 kg, Verkaufsrang: 3045527, Journalismus, Medienforschung, Medienwissenschaft, Sozialwissenschaft, Kategorien, Bücher, Bühne, Film, Kunst & Kultur, Geschichte & Kritik, Fremdsprachige Bücher, Featured Categories, Englische Bücher, 7c9a6c79-19ea-4dea-90da-d7d47042d341_2301, 7c9a6c79-19ea-4dea-90da-d7d47042d341_0, Arborist Merchandising Root, acc906d0-2585-4921-a56f-3ff277850936_4901, acc906d0-2585-4921-a56f-3ff277850936_0, Special Features Stores, Taschenbücher, acc906d0-2585-4921-a56f-3ff277850936_4201, Princeton University Press, 1988<

1988, ISBN: 0691014531

[EAN: 9780691014531], Neubuch, [PU: Princeton University Press], PERFORMING ARTS FILM & VIDEO HISTORY CRITICISM KUNST FOTOGRAFIE TV, Dieser Artikel ist ein Print on Demand Artikel und wir… More...

[EAN: 9780691014531], Neubuch, [PU: Princeton University Press], PERFORMING ARTS FILM & VIDEO HISTORY CRITICISM KUNST FOTOGRAFIE TV, Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Defamiliarizes the reader with eleven different films. This book argues that critics often use cut-and-dried methods and choose films that easily fit those methods. It also argues that neoformalism, on the other hand, encourages the critic to deal with ea., Books<