Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

#SBIB:309H522 --- #SBIB:309H529 --- Audiovisuele communicatie: kritiek --- Audiovisuele communicatie: andere benaderingen --- Motion pictures --- #SBIB:309H520 --- 791.43.01 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- 791.43.01 Filmologie. Filmtheorie. Esthetica van de film --- Filmologie. Filmtheorie. Esthetica van de film --- Audiovisuele communicatie: algemene werken --- History and criticism --- Film --- Cinéma

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Film study has tended to treat documentary as a marginal form, but as the essays in Three Documentary Filmmakers demonstrate, the films of Jean Rouch, Ross McElwee, and Errol Morris call for, and reward, the sort of criticism expected of such serious works in any medium."--Back cover.

Documentary films --- Film --- Music, Dance, Drama & Film --- History and criticism. --- History and criticism --- Morris, Errol --- McElwee, Ross, --- Rouch, Jean --- McElwee, Ross Simonton, --- Criticism and interpretation. --- Documentaires --- Histoire et critique

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde "e, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain's strings-and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted.Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.

Redemption in motion pictures. --- Motion pictures --- Hitchcock, Alfred, --- Emerson, Ralph Waldo, --- Imarsana, Rāfa Vālḍō, --- Emerson, R. W. --- Emerson, Waldo, --- Emerson, R. Waldo --- Ėmerson, Ralʹf Uoldo, --- Ai-mo-sheng, --- Emarsan̲, --- אמרסון, רלף ולדו, --- עמערסון, ראלף וואלדא, --- Chitskok, Alphrent, --- Hīchakāk, Al-Frad , --- Hitchcock, Alfred Joseph, --- Hsi-chʻü-kʻao-kʻo, --- היצ'קוק, אלפרד, --- هيچکاک، الفرد، --- Criticism and interpretation. --- Influence. --- Hitchcok, Alfred

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Presents an original, insightful, and compelling vision of the trajectory of Cavell's oeuvre, one that takes his kinship with Emerson as inextricably bound up with his ever-deepening thinking about movies.

Film --- Cavell, Stanley --- Philosophy, American --- Motion pictures --- Philosophy. --- Aesthetics. --- Cavell, Stanley,

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Presents an original, insightful, and compelling vision of the trajectory of Cavell's oeuvre, one that takes his kinship with Emerson as inextricably bound up with his ever-deepening thinking about movies.

Philosophy, American --- Motion pictures --- Motion pictures --- Philosophy. --- Aesthetics. --- Cavell, Stanley,