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Die Filme des japanischen Regisseurs Yasujiro Ozu (1903-1963) spielen in zwei Welten: der globalen Welt des Films und der japanischen Kulturwelt. Es sind vor allem seine späten Arbeiten, in denen der Regisseur westliche (Film-)Konzepte von der Kultur Japans her versteht und neu ordnet. Andreas Becker nähert sich dem Werk Ozus komparativ und rückt die Resonanzen, Prämissen und Interdependenzen kultureller wie bildkultureller Art in den Vordergrund: Schrift, Montagetechnik, die ›geliehene Landschaft‹ sowie filmische Raumkonzepte und Narrative. Dabei werden auch Ozus Arbeitsdrehbücher und seine handschriftlichen Anmerkungen mit in die Analyse einbezogen. Besprochen in: www.hhprinzler.de, 04.02.2020, Hans Helmut Prinzler Abseits, 6 (2020), Marcus Stiglegger
Yasujiro Ozu; Film; Japan; Komparative Ästhetik; Phänomenologie; Montagetheorie; Bild; Kultur; Bildwissenschaft; Asien; Interkulturalität; Medienwissenschaft; Comparative Aesthetics; Phenomenology; Theory of Montage; Image; Culture; Visual Studies; Asia; Interculturalism; Media Studies --- Asia. --- Comparative Aesthetics. --- Culture. --- Film. --- Image. --- Interculturalism. --- Japan. --- Media Studies. --- Phenomenology. --- Theory of Montage. --- Visual Studies. --- Ozu, Yasujirō, --- Ozu, Yasujirô, --- Criticism and interpretation. --- Critique et interprétation.
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With a new introduction, acclaimed director and screenwriter Paul Schrader revisits and updates his contemplation of slow cinema over the past fifty years. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This seminal text analyzes the film style of three great directors-Yasujiro Ozu, Robert Bresson, and Carl Dreyer-and posits a common dramatic language used by these artists from divergent cultures. The new edition updates Schrader's theoretical framework and extends his theory to the works of Andrei Tarkovsky (Russia), Béla Tarr (Hungary), Theo Angelopoulos (Greece), and Nuri Bilge Ceylan (Turkey), among others. This key work by one of our most searching directors and writers is widely cited and used in film and art classes. With evocative prose and nimble associations, Schrader consistently urges readers and viewers alike to keep exploring the world of the art film.
Motion pictures --- Aesthetics --- Aesthetics. --- Dreyer, Carl Theodor, --- Bresson, Robert --- Ozu, Yasujirō, --- Ozuyasu, --- 小津安二郎, --- 小津 安二郎, --- おづ やすじろう, --- オヅ ヤスジロウ, --- Одзу, Ясудзиро, --- Odzu, I︠A︡sudziro, --- Komiya, Shūtarō, --- Maki, James --- Schwartz, Ernst, --- Criticism and interpretation. --- 小津, 安二郎 --- Ozu, Yasujirō, --- Dreyer, Carl Theodor --- andrei tarkovsky. --- art classes. --- associations. --- austere camerawork. --- bela tarr. --- carl dreyer. --- common dramatic language. --- directors. --- divergent cultures. --- editorial comments. --- film styles. --- nuri bilge ceylan. --- psychological realism. --- robert bresson. --- self consciousness. --- slow cinema. --- spiritual state. --- theo angelopoulos. --- transcendental style. --- world of the art film. --- writers. --- yasujiro ozu.
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