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Panorama des diverses conceptions du montage dans l'histoire du cinéma et analyse de cette technique dans différents domaines de représentation. L'impact de l'évolution des techniques sur l'esthétique des films est mis en relief. ©Electre 2014 Le montage au cinéma ne se résume pas à une opération technique qui consiste à couper et coller des morceaux de pellicule pour en faire un film. C?est avant tout une opération complexe qui exige de la créativité et nécessite une approche esthétique de l?œuvre. Associer des images en un certain ordre, les agencer selon un certain rythme, créer des ruptures ou des continuités, tel est l?art du montage. Ce livre a pour objectif de tracer un panorama des différentes conceptions du montage tout au long de l?histoire du cinéma et de proposer une analyse de cette technique au cœur de nombreux domaines de représentations. L?auteur illustre son exposé par nombre d?exemples de montage de films, notamment à travers ceux d?Orson Welles, d?Alain Resnais ou encore de Maurice Pialat. Enfin, il montre en quoi l?évolution des techniques te des pratiques de montage influe naturellement sur l?esthétique des films.

Motion pictures --- Films --- Cinéma --- Editing --- Aesthetics --- Montage --- Esthétique --- History --- Cinéma --- Esthétique --- Motion pictures - Editing --- Motion pictures - Aesthetics --- Motion pictures - History - 20th century

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Motion pictures --- History --- Kieślowski, Krzysztof, --- Hitchcock, Alfred, --- Tarkovskiĭ, Andreĭ Arsenʹevich, --- Lynch, David, --- Criticism and interpretation --- Motion pictures - History - 20th century --- Motion pictures - History - 20th century. --- Kieślowski, Krzysztof, - 1941-1996 - Criticism and interpretation --- Hitchcock, Alfred, - 1899-1980 - Criticism and interpretation --- Tarkovskiĭ, Andreĭ Arsenʹevich, - 1932-1986 - Criticism and interpretation --- Lynch, David, - 1946- - Criticism and interpretation --- Kieślowski, Krzysztof (1941-1996) --- Hitchcock, Alfred (1899-1980) --- Tarkovski, Andreï Arsenievitch (1932-1986) --- Lynch, David (1946-....) --- Cinéma --- Critique et interprétation --- Esthétique --- Kieślowski, Krzysztof, - 1941-1996 --- Hitchcock, Alfred, - 1899-1980 --- Tarkovskiĭ, Andreĭ Arsenʹevich, - 1932-1986 --- Lynch, David, - 1946 --- -Kieślowski, Krzysztof (1941-1996)

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Experimental films --- Art, Modern --- Motion pictures and the arts --- Duchamp, Marcel, --- Art and motion pictures --- Artists --- History --- Knowledge --- Motion pictures --- Art and motion pictures - History - 20th century --- Artists - France - Biography --- Artists - United States - Biography --- Duchamp, Marcel, - 1887-1968 --- Duchamp, Marcel, - 1887-1968 - Knowledge - Motion pictures

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Das Gegenwartsdrama gehört zu jenen Textgattungen, die im Deutschunterricht so gut wie keine Beachtung finden - obwohl eine Beschäftigung mit dem Drama der Gegenwart zur allseits geforderten Medienkompetenzvermittlung beitragen könnte. Christian Steltz stellt sich dieser literaturdidaktischen Aufgabe und arbeitet zugleich die Konkurrenzsituation von Theater und Film, die das Gegenwartsdrama entscheidend prägt, an charakteristischen Beispielen heraus. So werden theatrale Filme (»Dogville«, »Kill Bill«), filmische Theaterstücke (von Düffel, Gieselmann) sowie innovativ-theatrale Texte (Staffels »Werther in New York«, Polleschs »Heidi Hoh arbeitet hier nicht mehr«) aus der Perspektive der Intermedialität diskutiert. Besprochen in: Die Deutsche Bühne, 10 (2010) GERMANISTIK, 51/3-4 (2010)

Motion pictures and literature --- Motion pictures --- German drama --- Intermediality --- Intertextuality --- Media literacy --- History --- History and criticism --- Motion pictures and literature. --- Intermediality. --- Intertextuality. --- Drama. --- Intermedialität. --- Deutschunterricht. --- Medienpädagogik. --- Deutsch. --- German drama. --- Media literacy. --- Motion pictures. --- Theater. --- Film. --- History and criticism. --- 1900-1999. --- Germany. --- Mass media literacy --- Information literacy --- Criticism --- Semiotics --- Influence (Literary, artistic, etc.) --- Literature and motion pictures --- Moving-pictures and literature --- Literature --- Film; Gegenwartsliteratur; Didaktik; Deutschunterricht; Intermedialität; Postdrama; Theater; Bildung; Theaterwissenschaft; Medienpädagogik; Theaterpädagogik; Theatre; Education; Theatre Studies; Media Education; Theatre Pedagogy --- Motion pictures - History - 20th century --- German drama - 20th century - History and criticism --- Media literacy - Germany --- Education. --- Media Education. --- Theatre Pedagogy. --- Theatre Studies. --- Theatre.

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"This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liege'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liege, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes."--

Computer. Automation --- Christian church history --- Film --- Christian spirituality --- anno 500-1499 --- Mass communications --- Saints in motion pictures. --- Middle Ages in motion pictures. --- Hagiography. --- Motion pictures --- Motion pictures. --- History --- 1900-2099 --- Saints in motion pictures --- Middle Ages in motion pictures --- Hagiography --- Saints --- --Cinéma --- --Film --- --Moyen âge, --- Histoire du cinéma --- --XXeXXIe s., --- --XXe-XXIe s., --- Hagiology --- Film. --- Visuelle Wahrnehmung. --- Mystik. --- Vision. --- Heiligenbild. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Eyesight --- Seeing --- Sight --- Senses and sensation --- Blindfolds --- Eye --- Physiological optics --- History and criticism --- Hagiography, divine visions, film, Liège, holy women. --- Motion pictures - History - 20th century --- Motion pictures - History - 21st century --- Cinéma --- Moyen âge, 476-1492 --- XXe-XXIe s., 1901-2100 --- Maria Oigniacensis (al. Nivialensis) --- Heiligendarstellung --- Heiliger --- Ikone --- Motiv --- Visionen --- Audition --- Erscheinungen --- Bildwahrnehmung --- Optische Wahrnehmung --- Wahrnehmung --- Sehen --- Visuelle Aufmerksamkeit --- Visuelles System --- Kino --- Spielfilm --- Filmaufnahme --- Filme --- Spielfilme --- Audiovisuelles Material --- Videokassette --- Kunst