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Film --- Music, Dance, Drama & Film --- Rossellini, Roberto, --- Criticism and interpretation.

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Haneke, Michael, --- Criticism and interpretation. --- Motion picture producers and directors

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The Films of Michelangelo Antonioni provides an overview of the Italian director's life and work, and examines six of his most important and intellectually challenging films. L'avventura, La notte, and L'eclisse, released in the early 1960s, form the trilogy that first brought the director to international attention. Red Desert was his first film in colour. Blow-up, shot in English and set in swinging London, became one of the best-known (and most notorious) films of its era. The Passenger, starring Jack Nicholson, is the greatest work of his maturity. Rather than emphasizing the stress and alienation of Antonioni's characters, in this book Peter Brunette places the films in the context of the director's ongoing social and political analysis of the Italy of the great postwar economic boom, and demonstrates also how they are formal exercises that depend on painterly abstraction for their expressive effects.

Antonioni, Michelangelo --- Criticism and interpretation. --- An-tung-ni-ao-ni

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Antonioni, Michelangelo --- Buonarroti, Michelangelo

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Peter Brunette and David Wills extend the work of Jacques Derrida into a new realm--with rewarding consequences. Although Derrida has never addressed film theory directly in his writings, Brunette and Wills argue that the ideas he has developed in his critique of the logocentric foundations of Western thought, especially his notion of "Writing," can be usefully applied to film theory and analysis. They maintain that such an application might even begin to shift film from its traditional position within the visual arts to a new place in the media and information sciences. This book also supplies a fascinating introduction to Derrida for the general reader. The authors begin by explaining, in political terms, why film theorists have neglected Derrida's work. Next they offer a Derridean critique of the assumptions of contemporary film studies. Then, drawing on his recently translated The Truth in Painting as well as on other, relatively unknown texts such as Droit de regards, they discuss his ideas in relation to the cinema and present two film analyses--of Truffaut's The Bride Wore Black and of Lynch's Blue Velvet--that attempt to demonstrate the notion of an "anagrammatical," radical reading practice. Finally, they focus on Derrida's neglected book, The Post Card, and situate cinema in terms of a new definition of the technological.Originally published in 1989.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Semiotics --- Film --- French literature --- Derrida, Jacques --- Film criticism --- Motion pictures --- Critique cinématographique --- Cinéma --- Derrida, Jacques. --- Film criticism. --- Motion pictures. --- #SBIB:309H524 --- 791.43.01 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Motion picture criticism --- Moving-picture criticism --- Criticism --- 791.43.01 Filmologie. Filmtheorie. Esthetica van de film --- Filmologie. Filmtheorie. Esthetica van de film --- Audiovisuele communicatie: semiotiek --- History and criticism --- Evaluation --- Derrida, J. --- Derida, Žak --- Derrida, Jackes --- Derrida, Zhak --- Deridah, Z'aḳ --- Deridā, Jāka --- Dirīdā, Jāk --- Деррида, Жак --- דרידה, ז'אק