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This text looks at Bresson's body of work not only by coming to terms with its thematic preoccupations and the development of its unique authorial style, but also in terms of the oeuvre's seminal place in the history of film.
Motion pictures --- Bresson, Robert --- Criticism and interpretation.
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In this groundbreaking study, Burnett combines biography with cultural history to uncover the roots of the auteur in the alternative cultural marketplace of midcentury France.
Motion picture producers and directors --- Producteurs et réalisateurs de cinéma --- Bresson, Robert --- Criticism and interpretation. --- Réalisateurs de cinéma --- Bresson, Robert, --- Critique et interprétation --- Critique et interprétation. --- Réalisateurs de cinéma --- Critique et interprétation.
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The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema. This study presents a revised and revitalized Bresson, comparing his late style to painterly innovations in color, light, and iconography from the Middle Ages to the present, to abstract painting in France after World War II, and to affinities with the avant-garde movements of Surrealism, Constructivism, and Minimalism. Drawing on media archeology, this study views Bresson's work through such allied visual arts practices as painting, photography, sculpture, theater, and dance.
Art and motion pictures. --- Art and moving-pictures --- Motion pictures and art --- Motion pictures --- Bresson, Robert --- Criticism and interpretation. --- Avant-garde (Aesthetics) --- Aesthetics --- Modernism (Art) --- Robert Bresson, intermediality, painting, the avant-garde, surrealism.
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Body and soul in motion pictures --- Corps et âme au cinéma --- Keaton, Buster, --- Bresson, Robert, --- Cassavetes, John, --- Bresson, Robert --- Criticism and interpretation. --- Critique et interprétation --- Corps et âme au cinéma --- Critique et interprétation --- Human body in motion pictures --- 791.41 --- CDL --- Body, Human, in motion pictures --- Motion pictures --- Кассаветис, Джон, --- Kassavetis, Dzhon, --- Keaton, Joseph Frank, --- Keaton, Joseph Francis, --- Keaton, Joseph, --- Cinema --- Criticism
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With a new introduction, acclaimed director and screenwriter Paul Schrader revisits and updates his contemplation of slow cinema over the past fifty years. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This seminal text analyzes the film style of three great directors-Yasujiro Ozu, Robert Bresson, and Carl Dreyer-and posits a common dramatic language used by these artists from divergent cultures. The new edition updates Schrader's theoretical framework and extends his theory to the works of Andrei Tarkovsky (Russia), Béla Tarr (Hungary), Theo Angelopoulos (Greece), and Nuri Bilge Ceylan (Turkey), among others. This key work by one of our most searching directors and writers is widely cited and used in film and art classes. With evocative prose and nimble associations, Schrader consistently urges readers and viewers alike to keep exploring the world of the art film.
Motion pictures --- Aesthetics --- Aesthetics. --- Dreyer, Carl Theodor, --- Bresson, Robert --- Ozu, Yasujirō, --- Ozuyasu, --- 小津安二郎, --- 小津 安二郎, --- おづ やすじろう, --- オヅ ヤスジロウ, --- Одзу, Ясудзиро, --- Odzu, I︠A︡sudziro, --- Komiya, Shūtarō, --- Maki, James --- Schwartz, Ernst, --- Criticism and interpretation. --- 小津, 安二郎 --- Ozu, Yasujirō, --- Dreyer, Carl Theodor --- andrei tarkovsky. --- art classes. --- associations. --- austere camerawork. --- bela tarr. --- carl dreyer. --- common dramatic language. --- directors. --- divergent cultures. --- editorial comments. --- film styles. --- nuri bilge ceylan. --- psychological realism. --- robert bresson. --- self consciousness. --- slow cinema. --- spiritual state. --- theo angelopoulos. --- transcendental style. --- world of the art film. --- writers. --- yasujiro ozu.
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#SBIB:309H520 --- #SBIB:309H524 --- #SBIB:309H529 --- film --- filmtheorie --- kunst en film --- filmanalyse --- Griffith David Wark --- Murnau Friedrich Wilhelm --- Vigo Jean --- Capra Frank --- Delannoy Jean --- Bresson Robert --- Olivier Laurence --- Welles Orson --- Mizoguchi Kenji --- 791.41 --- 791.43.01 --- Motion picture plays --- -Motion pictures --- -Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film plays --- Film scripts --- Filmscripts --- Motion picture scripts --- Moving-picture plays --- Photoplays --- Scenarios --- Screen plays --- Screenplays --- Scripts (Motion pictures) --- Drama --- Audiovisuele communicatie: algemene werken --- Audiovisuele communicatie: semiotiek --- Audiovisuele communicatie: andere benaderingen --- Filmologie. Filmtheorie. Esthetica van de film --- History and criticism --- Aesthetics --- -Audiovisuele communicatie: algemene werken --- 791.43.01 Filmologie. Filmtheorie. Esthetica van de film --- -791.43.01 Filmologie. Filmtheorie. Esthetica van de film --- Cinema --- Motion pictures --- CDL
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David MacDougall is a pivotal figure in the development of ethnographic cinema and visual anthropology. As a filmmaker, he has directed in Africa, Australia, India, and Europe. His prize-winning films (many made jointly with his wife, Judith MacDougall) include The Wedding Camels, Lorang's Way, To Live with Herds, A Wife among Wives, Takeover, PhotoWallahs, and Tempus de Baristas. As a theorist, he articulates central issues in the relation of film to anthropology, and is one of the few documentary filmmakers who writes extensively on these concerns. The essays collected here address, for instance, the difference between films and written texts and between the position of the filmmaker and that of the anthropological writer.In fact, these works provide an overview of the history of visual anthropology, as well as commentaries on specific subjects, such as point-of-view and subjectivity, reflexivity, the use of subtitles, and the role of the cinema subject. Refreshingly free of jargon, each piece belongs very much to the tradition of the essay in its personal engagement with exploring difficult issues. The author ultimately disputes the view that ethnographic filmmaking is merely a visual form of anthropology, maintaining instead that it is a radical anthropological practice, which challenges many of the basic assumptions of the discipline of anthropology itself. Although influential among filmmakers and critics, some of these essays were published in small journals and have been until now difficult to find. The three longest pieces, including the title essay, are new.
Ethnology. Cultural anthropology --- Film --- Documentary films --- Motion pictures in ethnology. --- History and criticism. --- Motion pictures in ethnology --- History and criticism --- Cinéma en anthropologie sociale et culturelle --- Documentaires --- Histoire et critique --- PERFORMING ARTS / Film & Video / History & Criticism. --- Akazama. --- Ananas. --- Ballantyne, Tanya. --- Baruya Muka Archival. --- Bhumbra, Jaswant Singh. --- Blue, James. --- Bresson, Robert. --- Brown, Quentin. --- Bunuel, Luis. --- Caldwell, Erskine. --- Cantrill, Corinne. --- Chakrabarty, Dipesh. --- Dali, Salvador. --- Familiar Places. --- Geddes, William. --- German expressionism. --- Greek tragedy. --- Gurrmanamana, Frank. --- Hemingway, Ernest. --- Hollywood. --- Jarmusch, Jim. --- Kabuki theatre. --- Leacock, Richard. --- Lunacharsky, Anatoli. --- absence. --- aesthetics. --- anthropological writing. --- anthropology. --- chronophotography. --- cognitive science. --- collaboration. --- conflict structure. --- connotation. --- consciousness. --- contextualization. --- denotation. --- dialogue. --- documentary film. --- embodiment. --- epistemology. --- ethnocentrism. --- ethnography. --- film editing. --- film structure. --- filmmaking encounter. --- freeze-frame. --- history. --- identification. --- illustrative films. --- indigenous media. --- intersubjectivity. --- kinesics. --- logocentrism. --- Anthropologie --- Ethnologie --- Visuelle Medien --- Moving-pictures in ethnology --- Visual anthropology --- Documentary films - History and criticism
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L'image-mouvement, qui a la singularité d'être à la fois un grand livre philosophique et un grand livre de cinéma, indivisiblement, part de cette idée que si, comme on le dit souvent, l'essence du cinéma c'est le mouvement, l'essence de ce mouvement n'a généralement pas été comprise (sinon intuitivement et pratiquement par les grands cinéastes). Le recours de Deleuze à Bergson balaye l'interprétation phénoménologique réductrice qui a dominé toute approche globale du cinéma depuis la guerre, en rapportant celui-ci aux données abstraites de la "perception naturelle".
Cinétique --- -Gilles Deleuze --- film en semiotiek --- deconstructivisme --- cadrering --- Griffith David Wark --- Vertov Dziga --- Gance Abel --- Bergson Henri --- Beckett Samuel --- Pasolini Pier Paolo --- Rohmer Eric --- Vigo Jean --- Grémillon Jean --- Eisenstein Sergei --- von Sternberg Josef --- Dreyer Carl Theodor --- Bresson Robert --- Minnelli Vincente --- Snow Michael --- von Stroheim Erich --- Buñuel Luis --- expressionisme --- naturalisme --- Vidor King --- Ray Nicholas --- Losey Joseph --- filmgenres --- de Mille Cecil B. --- westerns --- Ford John --- Kazan Elia --- komedies --- Chaplin Charles --- Lubitsch Ernst --- Hawks Howard --- Keaton Buster --- Herzog Werner --- Kurosawa Akira --- Mizoguchi Kenji --- Marx Brothers --- Hitchcock Alfred --- Lumet Sidney --- Cassavetes John --- Altman Robert --- Temporalité --- Sémiotique et cinéma --- -#SBIB:309H520 --- Gilles Deleuze --- tijd --- neorealisme --- Rossellini Roberto --- De Sica Vittorio --- Godard Jean-Luc --- Rivette Jacques --- Ozu Yasujiro --- Peirce C.S. --- Carné Marcel --- Mankiewicz Joseph --- Clair René --- flashback --- musicals --- Donen Stanley --- Lewis Jerry --- Tati Jacques --- Ophuls Max --- Renoir Jean --- Fellini Federico --- Visconti Luchino --- Robbe-Grillet Alain --- Resnais Alain --- Kubrick Stanley --- Duras Marguerite --- Straub Jean-Marie --- Syberberg Hans Jürgen --- Motion pictures --- Philosophy. --- #SBIB:309H520 --- #SBIB:309H524 --- 791.41 --- Artaud Antonin --- film --- filmmuziek --- filmtechniek --- filmtheorie --- filosofie --- geluid --- Italië --- Lang Fritz --- lichamelijkheid --- Nietzsche Friedrich --- nouvelle vague --- Peirce C.S --- Rouch Jean --- semiotiek --- Welles Orson --- 791.43.01 --- 791.43.01 Filmologie. Filmtheorie. Esthetica van de film --- Filmologie. Filmtheorie. Esthetica van de film --- Philosophy --- Audiovisuele communicatie: algemene werken --- Audiovisuele communicatie: semiotiek --- Bergman Ingmar --- beweging --- de Mille Cecil B --- montage --- Film --- Theatrical science --- Cinéma --- Philosophie et cinéma --- Temps --- Esthétique --- Au cinéma --- Cinéma --- Philosophie --- Film. --- Philosophie et cinéma. --- Sémiotique et cinéma. --- Esthétique. --- Au cinéma. --- FRANCE. --- CDL --- Motion pictures - Philosophy
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