Film Form: Essays in Film Theory
HMH, 17/06/2014 - 304 من الصفحات
A classic on the aesthetics of filmmaking from the pioneering Soviet director who made Battleship Potemkin.
Though he completed only a half-dozen films, Sergei Eisenstein remains one of the great names in filmmaking, and is also renowned for his theory and analysis of the medium. Film Form collects twelve essays, written between 1928 and 1945, that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an introduction by Jay Leyda, this volume allows modern-day film students and fans to gain insights from the man who produced classics such as Alexander Nevsky and Ivan the Terrible and created the renowned “Odessa Steps” sequence.
ما يقوله الناس - كتابة مراجعة
LibraryThing Reviewمعاينة المستخدمين - NickConstantine - LibraryThing
Sergei Eisenstein is a brilliant film theorist many consider to be the father of modern film theory. His work has inspired thinking from the early days of cinema and is still one of the most respected ... قراءة التقييم بأكمله
THE STRUCTURE OF THE FILM
DICKENS GRIFFITH AND THE FILM TODAY
طبعات أخرى - عرض جميع المقتطفات
achieved action actor American appears Arthur Robison artistic aural basic battleship camera characteristic characters Charles Dickens cinematography close-up Clyde combination composition concept conflict construction course creative culture D. W. Griffith David Wark Griffith dialectic Dickens Dickens's direction dramatic dynamic effect Eisenstein elements embodiment emotional episode essay example expression figure Film Form film-makers frame Griffith idea ideogram ideological imagist inner monologue intellectual cinema Ivan the Terrible Ivor Montagu Japanese Kabuki language laws Le dernier milliardaire leap literary logical material matter means ment metric mise-en-scene montage pieces montage sequence Moscow move movement nature novel organic organic-ness overtone parallel pathos phenomena play Potemkin principle problem purely question representation rhythm rhythmic role scene screen sensual thinking sequence shot social sound sound-film Soviet cinema spectator speech stage story structure tempo theater theatrical thematic theme thing tion tonal ture unity Victor Shklovsky viewpoint visual whole words yawls