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La subjectivité au cinéma est considérée à travers trois niveaux d'interrogation : le rapport sujet-objet en tant qu'il participe de la relation au monde, les contenus subjectifs, allant de l'affectivité à l'idéologie et enfin le degré d'objectivité de ces contenus.
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The point-of-view shot is usually perceived as a ±natural device, yet its naturalness is illusory. This book provides an answer to the question: ±Where does the point-of-view shot come from? It investigates the emergence of this filmic form as the product of a culture and its history, unravelling the difference between a point-of-view shot and a character's subjective viewpoint. In so doing, it shows that what would become the point of-view shot developed from the interposition, between the eye and the world, of a prosthesis capable of modifying the conditions needed to access the visible, and thus to expand the potential of human vision. Moreover, the book offers inspiration for further research on modern (and postmodern) vision as a mediated vision, an important topic in contemporary debates in the digital media landscape.
Subjectivity in motion pictures. --- Motion pictures --- Cinematography. --- Digital media --- Subjectivité au cinéma --- Cinéma --- Médias numériques --- Philosophy. --- Aesthetics. --- History. --- Philosophie --- Esthétique --- Histoire --- Caméra subjective --- Cinematografie --- Cinématographie --- Home movies --- Photography--Animated pictures --- Photography--Motion pictures --- Plan subjectif (Cinéma) --- Point de vue (Cinéma) --- Point de vue au cinéma --- Point of view in motion pictures --- Subjective camera --- Subjectiviteit in de film --- Subjectivité au cinéma --- Subjectivité dans les films --- Subjectivity in motion pictures --- Philosophy --- Aesthetics --- History --- Cinematography --- Silent films --- History and criticism --- Point de vue (cinéma) --- Théorie du cinéma --- Films muets --- Motion pictures - Aesthetics
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Subjectivity is a central concept in film theory, philosophy and cultural studies. It was also a key term in the reception of the Nouvelle Vague film movement in France and Italy from the start of 1945. This timely volume explores the ways in which the concept of subjectivity has made its way into film theory, history, practice and criticism, as well as the confrontations of the subject with this rapidly changing medium.Contributors to this timely study include Francesco Casetti, Gregory Currie, Marina Grzinic, Maria Klonaris and Katerina Thomadaki, Jacinto Lageira, José Moure, Pere Salabert, Céline Scemama, Karl Sierek, Vivian Sobchack, and Pierre Taminiaux. Their illuminating essays are a testimony to their profound involvement in the subjectivity debate, enriching our perception of film history and our understanding of the medium.
Subjectivity in motion pictures --- Motion pictures. --- Subjectivity. --- Point of view (Literature) --- Film --- Music, Dance, Drama & Film --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Point of view in motion pictures --- Subjective camera --- Motion pictures --- Fiction --- Narration (Rhetoric) --- Subjectivism --- Knowledge, Theory of --- Relativity --- Philosophy. --- History and criticism --- Technique --- subjectivity --- nouvelle vague --- Consciousness --- Duchy of Münsterberg --- Point-of-view shot --- Robert Bresson --- Subjectivity in motion pictures. --- Subjectivité au cinéma --- Cinéma --- Subjectivité --- Point de vue (Littérature) --- Philosophie --- Cinéma --- Théorie du cinéma. --- Philosophie et cinéma. --- Philosophie. --- Esthétique.
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