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Pour les auteurs, le numérique, l'interactif, le virtuel, l'imagerie de synthèse, le multimédia, le réseau, etc., sont davantage des moyens de regarder historiquement les formes de la représentation que des "révolutions de la pensée" vues dans l'hystérie ou l'amnésie contemporaine. Ce sont davantage des révélateurs que des innovateurs.

filmtechniek --- film --- Film --- Films --- Films cinématographiques --- Technologie --- Cinematography --- Motion pictures --- Philosophy --- History --- CDL --- 791.41 --- Photography --- Chronophotography --- History and criticism --- Animated pictures --- Motion pictures - Philosophy --- Motion pictures - History

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David Bordwell, Kristin Thompson --- film --- naslagwerk --- filmtheorie --- filmgeschiedenis --- filmtechniek --- filmproductie --- geluid --- narratologie --- regie --- filmkritiek --- 791.41 --- Didactics of the arts --- Film --- Theatrical science --- film [performing arts] --- filmmaking processes and techniques --- film [discipline]

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Aan de hand van diverse thema's behandelen Eric de Kuyper en Emile Poppe het effect van de opvoeringskunsten op toeschouwers van de traditionele podiumkunsten, zoals opera, toneel en ballet. Ook hedendaagse en meer populaire vormen komen aan bod, zoals circus, musicals, festivals, straattheater, mime en zelfs 'tuinkunst'. In Theatraliteit bewandelen De Kuyper en Poppe een uniek historisch parcours van de wereld van verbeelding: van de barok tot nu met flashbacks naar de Oudheid. Ze illustreren hun beschouwingen met vele voorbeelden in de tekst en honderden afbeeldingen. Verwacht geen geschiedenis van theaterteksten: Theatraliteit toont in de volle breedte de bronnen van onze hedendaagse beleving van alles wat er aan theater en podiumkunsten wordt getoond.

Theatrical science --- theater --- Diderot Denis --- Rousseau Jean-Jacques --- Verlichting --- barok --- filmtheorie --- 791.41 --- 791.43 --- 792 --- musical --- Gesamtkunstwerk --- dans --- opera --- film --- Brecht Bertolt --- Piscator Erwin --- Sovjet-Unie --- theater en politiek --- Reinhardt Max --- Diaghilev Sergei --- Craig Gordon --- Appia Adolphe --- regietheater --- verbeeldingstheater --- naturalisme --- Zola Emile --- boulevardtheater --- Bayreuth --- Meiningen --- romantiek --- negentiende eeuw --- theatergeschiedenis --- literatuur --- filmgeschiedenis --- 762 --- Theorie van het theater en de film - Geschiedenis --- regie --- locatietheater --- Toneelkunst

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Hailed as the permanent record of fleeting moments, the cinema emerged at the turn of the nineteenth century as an unprecedented means of capturing time--and this at a moment when disciplines from physics to philosophy, and historical trends from industrialization to the expansion of capitalism, were transforming the very idea of time. In a work that itself captures and reconfigures the passing moments of art, history, and philosophy, Mary Ann Doane shows how the cinema, representing the singular instant of chance and ephemerality in the face of the increasing rationalization and standardization of the day, participated in the structuring of time and contingency in capitalist modernity. At this book's heart is the cinema's essential paradox: temporal continuity conveyed through "stopped time," the rapid succession of still frames or frozen images. Doane explores the role of this paradox, and of notions of the temporal indeterminacy and instability of an image, in shaping not just cinematic time but also modern ideas about continuity and discontinuity, archivability, contingency and determinism, and temporal irreversibility. A compelling meditation on the status of cinematic knowledge, her book is also an inquiry into the very heart and soul of modernity [Publisher description].

Espace et temps --- Time in motion pictures. --- Au cinéma --- 82:791.43 --- Mary Ann Doane --- film --- filmtheorie --- twintigste eeuw --- negentiende eeuw --- tijd --- archiveren --- archivering --- 791.41 --- Literatuur en film --- 82:791.43 Literatuur en film --- Film --- Time in motion pictures --- Motion pictures --- Au cinéma. --- Philosophy in motion pictures

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From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis.

Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses:

* haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier

* the eroticism of period costume in films such as The Piano and The Age of Innocence

* clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction

* generic male chic in Goodfellas, Reservoir Dogs, and Leon

* pride, costume and masculinity in `Blaxploitation' films, Boyz `N The Hood and New Jack City

* drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.

#SBIB:309H1320 --- #SBIB:AANKOOP --- CDL --- 791.41 --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Costume --- Fashion in motion pictures. --- Symbolic aspects. --- Fashion in motion pictures --- Motion pictures --- Symbolic aspects of costume --- Symbolism --- Symbolic aspects --- Manufacturing technologies --- Art --- Film --- fashion design --- costume design --- costume designers --- costume [mode of fashion] --- costumes [character dress] --- fashion plates --- Costume de cinéma. --- Vêtements --- Au cinéma.