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From the visionary rebellion of Easy Rider to the reinvention of home in The Straight Story, the road movie has emerged as a significant film genre since the late 1960s, able to cut across a wide variety of film styles and contexts. Yet, within the variety, a certain generic core remains constant: the journey as cultural critique, as exploration beyond society and within oneself. This book traces the generic evolution of the road movie with respect to its diverse presentations, emphasising it as an "independent genre" that attempts to incorporate marginality and subversion on many levels. David Laderman begins by identifying the road movie's defining features and by establishing the literary, classical Hollywood, and 1950s highway culture antecedents that formatively influenced it. He then traces the historical and aesthetic evolution of the road movie decade by decade through detailed and lively discussions of key films. Laderman concludes with a look at the European road movie, from the late 1950s auteurs through Godard and Wenders, and at compelling feminist road movies of the 1980s and 1990s.
Film --- Iconography --- Road films --- Road movies --- Cinéma américain --- History and criticism --- Histoire et critique --- Cinéma américain. --- Histoire et critique. --- 791.43 --- film --- filmgeschiedenis --- filmtheorie --- road movies --- twintigste eeuw --- Verenigde Staten --- Motion pictures --- Road films - History and criticism
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Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since the publication of its first edition in 1974. Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principal genres and major filmmakers up to the year 2000.
Films expérimentaux --- Cinéma --- cinéma américain (Etats-Unis) --- Cinéma expérimental --- Histoire et critique --- Histoire --- 2000 --- Film --- filmgeschiedenis --- anno 1900-1999 --- anno 2000-2009 --- United States --- Experimental films --- History and criticism. --- United States of America
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Settling the Score is intended for general readers with minimal technical musical and contemporary theoretical skills. Kalinak's goal is, in fact, to 'settle the score' between the cinematic visual and aural, to promote music as an equal partner to the visual. In order to do so she provides a brief but illuminating historical summary of sound and music in film. Kalinak's strongest sections include a detailed discussion of the differences between music for silent films and sound films, and analyses of several different stylistic approaches toward musical composition in the Classical Hollywood film. Beginning with the earliest experiments in musical accompaniment carried out in the Edison Laboratories, Kathryn Kalinak uses archival material to outline the history of American music and film. Focusing on the scores of several key composers of the sound era, including Erich Wolfgang Korngold's Captain Blood, Max Steiner's The Informer, Bernard Herrmann's The Magnificent Ambersons, and David Raksin's Laura, Kalinak concludes that classical scoring conventions were designed to ensure the dominance of narrative exposition. Her analyses of contemporary work such as John Williams' The Empire Strikes Back and Basil Poledouris' RoboCop demonstrate how the traditions of the classical era continue to influence scoring practices today.
Motion pictures --- Cinéma américain --- --Musique --- --Motion picture music --- Film, Musique de --- History and criticism. --- Histoire et critique --- Motion picture music --- Music --- Film --- anno 1900-1999 --- United States --- History and criticism --- Musique de film --- Histoire et critique. --- --Musique de film --- Musique --- United States of America
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Uses a discussion of contemporary films and literary works to present an understanding of paranoia as a defining element in postmodern late-capitalist structure.
American fiction --- Literature and society --- Motion pictures --- Narration (Rhetoric) --- Paranoia in literature. --- Postmodernism --- History and criticism. --- History --- History. --- Sociology of literature --- Fiction --- American literature --- Psychological study of literature --- anno 1900-1999 --- Paranoia in literature --- History and criticism --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric) --- ROMAN AMERICAIN --- LITTERATURE ET SOCIETE --- CINEMA AMERICAIN --- NARRATION --- PARANOIA DANS LA LITTERATURE --- POSTMODERNISME --- POSTMODERNISME (LITTERATURE) --- 20E SIECLE --- HISTOIRE ET CRITIQUE --- ETATS-UNIS
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