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"What makes a good movie? How can one analyse a film accordingly without primarily interpreting it? Dramaturgy can enrich film understanding, for those who make films, as well as for those who want to understand better why they are made how. Film Dramaturgy supports the creative process of filmmaking, especially the work of the authors, directors and producers. Students and professionals who are involved in the creation of a film also benefit from this knowledge. The understanding of dramaturgy supports film analysis and film criticism too. In some regions of the world, dramaturgy is well established; in other parts, it is less familiar. This book provides a basic introduction to modern film dramaturgy. It emerges from academic research drawn from professional practice. It addresses students, scholars, colleagues, filmmakers and all professionals involved in making films, videos, audio-visual time-based media productions"

(Zielgruppe)Fachpublikum/ Wissenschaft --- (BISAC Subject Heading)PER011030: PERFORMING ARTS / Theater / Playwriting --- (BIC subject category)APF: Films, cinema --- Dramaturgy --- Film --- Film Dramaturgy --- Introduction --- Kerstin --- Modern --- Modern Film --- Poetic Cinema --- Stutterheim --- (BISAC Subject Heading)PER004000 --- Motion picture authorship

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The Garden in the Machine explores the evocations of place, and particularly American place, that have become so central to the representational and narrative strategies of alternative and mainstream film and video. Scott MacDonald contextualizes his discussion with a wide-ranging and deeply informed analysis of the depiction of place in nineteenth- and twentieth-century literature, painting, and photography. Accessible and engaging, this book examines the manner in which these films represent nature and landscape in particular, and location in general. It offers us both new readings of the films under consideration and an expanded sense of modern film history. Among the many antecedents to the films and videos discussed here are Thomas Cole's landscape painting, Thoreau's Walden, Olmsted and Vaux's Central Park, and Eadweard Muybridge's panoramic photographs of San Francisco. MacDonald analyzes the work of many accomplished avant-garde filmmakers: Kenneth Anger, Bruce Baillie, James Benning, Stan Brakhage, Nathaniel Dorsky, Hollis Frampton, Ernie Gehr, Larry Gottheim, Robert Huot, Peter Hutton, Marjorie Keller, Rose Lowder, Marie Menken, J.J. Murphy, Andrew Noren, Pat O'Neill, Leighton Pierce, Carolee Schneemann, and Chick Strand. He also examines a variety of recent commercial feature films, as well as independent experiments in documentary and such contributions to independent video history as George Kuchar's Weather Diaries and Ellen Spiro's Roam Sweet Home. MacDonald reveals the spiritual underpinnings of these works and shows how issues of race, ethnicity, gender, and class are conveyed as filmmakers attempt to discover forms of Edenic serenity within the Machine of modern society. Both personal and scholarly, The Garden in the Machine will be an invaluable resource for those interested in investigating and experiencing a broader spectrum of cinema in their teaching, in their research, and in their lives.

Motion pictures --- Experimental films --- Scenery (Motion pictures) --- Setting (Motion pictures) --- Setting and scenery. --- History and criticism. --- Art direction --- Iconography --- Film --- 1900s. --- 19th century. --- 20th century. --- academic. --- american history. --- avant garde film. --- bruce baillie. --- carolee schneemann. --- central park. --- easy to understand. --- ernie gehr. --- film history. --- film studies. --- filmmakers. --- geography. --- hollis frampton. --- james benning. --- kenneth anger. --- landscape painting. --- landscape. --- larry gottheim. --- literature. --- location. --- mainstream film. --- modern film. --- nathaniel dorsky. --- natural world. --- nature. --- painting. --- peter hutton. --- photographer. --- photography. --- place. --- regional. --- san francisco. --- scholarly. --- stan brakhage. --- walden.

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Der »moderne Film« ist etwa 60 Jahre alt - diese Epoche wurde wissenschaftlich durch Lorenz Engell (*1959), der in seinen film- und fernsehtheoretischen Schriften den Begriff der Filmphilosophie wesentlich geprägt hat, federführend begleitet. Als Festschrift zu seinem 60. Geburtstag analysieren und interpretieren die Beiträge dieses Bandes ebenso viele Filme und Serien aus den Jahren 1959-2018. Dabei stellen international renommierte Autor_innen ihre eigenen Perspektiven ins Zentrum und zeigen die fragmentarische Vielfalt audiovisueller Ästhetik, die sich über den Film auch mit dem Fernsehen, dem Video und der Malerei verbindet. »Die subjektive Zuschreibung, was sich unter dem Siegel des ›guten Film[s]‹ in der medienphilosophischen Reflexion anbietet, wird zur programmatischen Vorgabe. Sie findet sich [...] durchweg auf inspirierende Weise eingelöst.« Michael Wedel, tv diskurs, 92 (2020) »Die Vielzahl an qualitativ hochwertigen Beiträgen erweist sich [...] als liebevolle Verneigung vor Lorenz Engell.« Christian Alexius, MEDIENwissenschaft, 1 (2020) »Ein ebenso vielfältiges wie anregendes Potpourri, das neue Blicke öffnet und zu einem Wiedersehen anregt.« Walter Gasperi, ray, 7/8 (2019) Besprochen in: www.hhprinzler.de, 29.03.2019, Hans Helmut Prinzler

Moderner Film; Serie; Filmphilosophie; Medien; Filmästhetik; Gilles Deleuze; Lorenz Engell; Festschrift; Fernsehen; Video; Malerei; Film; Kulturgeschichte; Medienästhetik; Medientheorie; Medienwissenschaft; Modern Film; Periodicals; Philosophy of Film; Media; Film Aesthetics; Commemorative Publication; Television; Painting; Cultural History; Media Aesthetics; Media Theory; Media Studies --- 1900-2099 --- Commemorative Publication. --- Cultural History. --- Film Aesthetics. --- Film. --- Gilles Deleuze. --- Lorenz Engell. --- Media Aesthetics. --- Media Studies. --- Media Theory. --- Media. --- Painting. --- Periodicals. --- Philosophy of Film. --- Television. --- Video.

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The subject of this book is theatre directing in four internationally famous instances. The four directors-Konstantin Stanislavsky, Bertolt Brecht, Elia Kazan, and Peter Brook-all were monarchs of the profession in their time. Without their work, theatre in the twentieth century-so often called ";the century of the director"; -would have a radically different shape and meaning. The four men are also among the dozen or so modern directors whose theatrical achievements have become culture phenomena. In histories, theories, hagiographies, and polemics, these directors are conferred classic stature, as are the four plays on which they worked. Chekhov's The Seagull, Brecht's Mother Courage and Her Children, and Williams's A Streetcar Named Desire have long been recognized, in the theatre and in the study, as masterpieces. They are anthologized, "ed, taught, parodied, read, and produced constantly and globally. The culturally conservative might question the presence of MaratiSade in such august company, but Peter Weiss's play stands every chance of figuring in Western repertories, classroom study, and theatrical histories until well into the twenty-first century. In their quite different ways, these are all classics of that Western drama which is part of our immediate heritage.

Brecht, Bertolt, 1898-1956 -- Knowledge -- Performing arts. --- Brecht, Bertolt, 1898-1956. --- Brook, Peter. --- Chaika. --- Chekhov, Anton Pavlovich, 1860-1904. --- Kazan, Elia. --- Mutter Courage und ihre Kinder. --- Stanislavsky, Konstantin, 1863-1938. --- Streetcar named Desire. --- Theater - Production and direction. --- Theater -- Production and direction. --- Theatrical producers and directors - Biography. --- Theatrical producers and directors -- Biography. --- Verfolgung und Ermordung Jean Paul Marats. --- Weiss, Peter, 1916-1982. --- Williams, Tennessee, 1911-1983. --- Stanislavsky, Konstantin, --- Brecht, Bertolt, --- Chekhov, Anton Pavlovich, --- Williams, Tennessee, --- Weiss, Peter, --- Previn, André, --- Чехов, Антон Павлович, --- ברוק, פיטר --- Kazanjoglou, Elias --- كازان، اليا --- Brecht, Berthold Friedrich --- Brecht, Bertolt. --- Brecht, Bertholt --- Brecht, Bert --- Brecht, Eugen Berthold Friedrich --- Станиславский, Константин, --- Alekseev, Konstantin Sergeevich, --- Alekseyev, Konstantin Sergeyevich, --- Aleksi︠e︡ev, Konstantin Sergi︠e︡evich, --- Alexeiev, Constantin Sergeievich, --- Alexeyev, Konstantin Sergeyevich, --- Sitanni, --- Sitannisilafusiji, --- Stānīslāfskī, Kūnstāntīn, --- Stanislavski, Constantin, --- Stanislavski, K. S., --- Stanislavskiĭ, K. S. --- Stanislavskiĭ, Konstantin Sergeevich, --- Stanislavskij, K. S., --- Stanislavskij, Konstantin, --- Stan̦islavskis, K. S., --- Stanislavsky, --- Stanislavsky, Constantin, --- Stanislawski, --- Stanislawski, K. S., --- Stanislawskij, Konstantin Sergejewitsch, --- Sŭtʻanisŭllabŭsŭkʻi, --- Sutanisurafusukii, Konsutanchin Serugeievitchi, --- Алексеев, Константин Сергеевич, --- Алексѣев, Константин Сергѣевич, --- Станиславский, К. С. --- סטניסלבסקי, ק. ס., --- Knowledge --- Performing arts. --- 20th century. --- anton chekhov. --- auteur. --- bertolt brecht. --- cinema history. --- cinema studies. --- contemporary film. --- contemporary theatre. --- culture. --- directing plays. --- directing. --- director. --- drama. --- elia kazan. --- famous directors. --- film history. --- film making. --- filmmaking. --- history of cinema. --- history of film. --- history of theatre. --- konstantin stanislavsky. --- modern film. --- modern plays. --- modern theatre. --- mother courage. --- peter brook. --- plays. --- playwright. --- stage director. --- stage productions. --- stage. --- streetcar named desire. --- theatre directing. --- theatre. --- theatrical.