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Motion picture producers and directors --- Producteurs et réalisateurs de cinéma --- Biography --- Biographies --- Griffith, D. W. --- sous la dir. de Patrick Brion --- film --- filmgeschiedenis --- Griffith David Wark --- Verenigde Staten --- 791.471 GRIFFITH --- 791.43 --- Producteurs et réalisateurs de cinéma --- Griffit, Dėvid Uork, --- Griffith, David Wark, --- Warwick, Grenville, --- CDL

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Griffith, D.W. --- Congresses --- Congrès --- Colloque international sous la direction de Jean Mottet --- film --- Verenigde Staten --- Griffith David Wark --- stille film --- westerns --- film en geschiedenis --- 791.471 GRIFFITH --- Congrès

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Motion picture actors and actresses --- Acteurs et actrices de cinéma --- Biography. --- Biographies --- Griffith, D. W. --- film --- 791.471 GRIFFITH --- 791.472 AAAA --- Dempster Carol --- Seymour Clarine --- Cooper Miriam --- Marsh Mae --- Gish Dorothy --- Pickford Mary --- Sweet Blanche --- acteurs --- actrices --- stille film --- Griffith David Wark --- Verenigde Staten --- Acteurs et actrices de cinéma

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Film, a latecomer to the realm of artistic media, alludes to, absorbs, and undermines the discourses of the other arts--literature and painting especially--in order to carve out a position for itself among them. Exposing the anxiety in film's relation to its rival arts, Brigitte Peucker analyzes central issues involved in generic boundary crossing as they pertain to film and situates them in a theoretical framework. The figure of the human body takes center stage in Peucker's innovative study, for it is through this figure that the conjunction of literary and painterly discourses persistently articulates itself. It is through the human body, too, that film's consciousness of itself as a hybrid text and as a "machine for simulation" makes itself deeply felt.In films ranging from Weimar cinema through Griffith, Hitchcock, and Greenaway, Peucker probes issues in aesthetics problematized by Diderot and Kleist, among others. She argues that the introduction of movement into visual representation occasioned by film brings with it an underlying tension suggestive of castration and death. Peucker goes on to demonstrate how the encounter between narrative and image is both gendered and sexualized, rendering film a "monstrous" hybrid. In a final section, she explores in specific cinematic texts the permeable boundary between the real and representation, suggesting how effects such as tableau vivant and trompe l'oeil figure sexuality and death.Originally published in 1995.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

#SBIB:309H1321 --- Brigitte Peucker --- film en literatuur --- Wiene Robert --- film en feminisme --- Films met een amusementsfunctie en/of esthetische functie: algemeen --- Motion pictures and the arts --- Motion pictures --- 791.41 --- film --- film en psychoanalyse --- film en schilderkunst --- filmtheorie --- gender studies --- Greenaway Peter --- Griffith David Wark --- Hitchcock Alfred --- Lang Fritz --- 791.43 --- 791.43 Filmkunst. Films. Cinema --- Filmkunst. Films. Cinema --- Aesthetics --- Arts and motion pictures --- Moving-pictures and the arts --- Arts --- Motion pictures and the arts. --- Aesthetics. --- PERFORMING ARTS / Film & Video / History & Criticism.

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The concept of intertextuality has proven of inestimable value in recent attempts to understand the nature of literature and its relation to other systems of cultural meaning. In The Memory of Tiresias, Mikhail Iamposlki presents the first sustained attempt to develop a theory of cinematic intertextuality.Building on the insights of semiotics and contemporary film theory, Iampolski defines cinema as a chain of transparent, mimetic fragments intermixed with "ations he calls "textual anomalies." These challenge the normalization of meaning and seek to open reading out onto the unlimited field of cultural history, which is understood in texts as a semiotically active extract, already inscribed.Quotations obstruct mimesis and are consequently transformed in the process of semiosis, an operation that Iampolski defines as reading in an aura of enigma. In a series of brilliant analyses of films by D.W. Griffith, Sergei Eisenstein, and Luis Buñuel, he presents different strategies of intertextual reading in their work. His book suggests the continuing centrality of semiotic analysis and is certain to interest film historians and theorists, as well as readers in cultural and literary studies.

Literary semiotics --- Film --- Motion pictures. --- Intertextuality. --- Motion pictures --- Intertextuality --- Music, Dance, Drama & Film --- 82:791.43 --- film --- filmtheorie --- intertekstualiteit --- semiotiek --- Griffith David Wark --- Eisenstein Sergei --- Bunuel Luis --- Cendrars Blaise --- Léger Fernand --- Dali Salvador --- Tynianov Iurii --- 791.41 --- 82:791.43 Literatuur en film --- Literatuur en film --- Cinéma --- Théorie du cinéma --- Intertextualité --- Récit filmique --- Esthétique --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Criticism --- Semiotics --- Influence (Literary, artistic, etc.) --- History and criticism --- Intertextualité. --- Théorie du cinéma. --- Récit filmique. --- Esthétique.