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A note in a workshop log proves that in 1914, Oskar Barnack put the finishing touches on the first working model of a compact camera for 35mm standard cinema film. He had not merely invented a new camera—the Leica (=Leitz/camera), not introduced until 1925 due to the war—he in fact ushered in a paradigm shift in photography.Just in time to mark a milestone birthday of the legendary compact camera, and for the first time in this thematic breadth, this volume, with about eight hundred images, offers a wide artistic and cultural history of the Leica from the 1920s to the present day.Essays by international authors examine topics including the technical genesis of the Leica, its influence on photojournalism, and its significance for a wide variety of avant-garde currents in art photography. Heretofore unpublished documents from the archives of the Leica Camera AG round off this multifaceted one-hundred-year cultural chronicle.Includes photographs by Michael Ackerman, Jane Evelyn Atwood, Ilse Bing, René Burri, Robert Capa, Henri Cartier-Bresson, Mark Cohen, Bruce Davidson, Michel Vanden Eeckhoudt, William Eggleston, Robert Frank, Lee Friedlander, Alberto Garcia Alix, Gianni Berengo Gardin, Ralph Gibson, Bruce Gilden, René Groebli, George Grosz, Ara Güler, Elisabeth Hase, Fred Herzog, Frank Horvat, Thomas Hoepker, Barbara Klemm, William Klein, Robert Lebeck, Saul Leiter, Ulrich Mack, Ramón Masats, Susan Meiselas, Jeff Mermelstein, Joel Meyerowitz, Will McBride, László Moholy-Nagy, Alexander Rodtschenko, Paolo Roversi, Erich Salomon, Jeanloup Sieff, Klavdij Sluban, Louis Stettner, Christer Strömholm, Sabine Weiss, Kai Wiedenhöfer, Tom Wood, and many others.
Leica Camera Gruppe --- Leica camera --- History --- Histoire --- Cameras --- History. --- fotografie --- fotografiegeschiedenis --- fotocamera's --- twintigste eeuw --- Leica --- 77.036
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791.471 DENIS --- Denis Claire --- film --- filmregisseurs --- Frankrijk --- twintigste eeuw --- Denis, Claire --- Criticism and interpretation. --- Denis, Claire,
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First book on documentary cinema's most innovative and influential director
Morris, Errol --- Criticism and interpretation. --- film --- filmgeschiedenis --- twintigste eeuw --- eenentwintigste eeuw --- filmregisseurs --- Verenigde Staten --- documentaire --- Morris Errol --- 791.471 MORRIS
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Does acting matter? David Thomson, one of our most respected and insightful writers on movies and theater, answers this question with intelligence and wit. In this fresh and thought-provoking essay, Thomson tackles this most elusive of subjects, examining the allure of the performing arts for both the artist and the audience member while addressing the paradoxes inherent in acting itself. He reflects on the casting process, on stage versus film acting, and on the cult of celebrity. The art and considerable craft of such gifted artists as Meryl Streep, Laurence Olivier, Vivien Leigh, Marlon Brando, Daniel Day-Lewis, and others are scrupulously appraised here, as are notions of "good" and "bad" acting. Thomson's exploration is at once a meditation on and a celebration of a unique and much beloved, often misunderstood, and occasionally derided art form. He argues that acting not only "matters" but is essential and inescapable, as well as dangerous, chronic, transformative, and exhilarating, be it on the theatrical stage, on the movie screen, or as part of our everyday lives.
Acting. --- Histrionics --- Stage --- Elocution --- Theater --- Acting --- film --- filmgeschiedenis --- filmtheorie --- twintigste eeuw --- eenentwintigste eeuw --- filmacteurs --- filmactrices --- acteren --- 791.41
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72.03 --- 72.036 --- Architectuur (geschiedenis) --- Architectuurgeschiedenis --- Twintigste eeuw (architectuur) --- 20ste eeuw (architectuur) --- History --- architecture [discipline] --- architectural history --- Architecture --- architectuur --- 711 --- Architectuur --- Geschiedenis
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Christian Metz is best known for applying Saussurean theories of semiology to film analysis. In the 1970s, he used Sigmund Freud's psychology and Jacques Lacan's mirror theory to explain the popularity of cinema. In this final book, Metz uses the concept of enunciation to articulate how films "speak" and explore where this communication occurs, offering critical direction for theorists who struggle with the phenomena of new media. If a film frame contains another frame, which frame do we emphasize? And should we consider this staging an impersonal act of enunciation? Consulting a range of genres and national trends, Metz builds a novel theory around the placement and subjectivity of screens within screens, which pulls in-and forces him to reassess-his work on authorship, film language, and the position of the spectator. Metz again takes up the linguistic and theoretical work of Benveniste, Genette, Casetti, and Bordwell, drawing surprising conclusions that presage current writings on digital media. Metz's analysis enriches work on cybernetic emergence, self-assembly, self-reference, hypertext, and texts that self-produce in such a way that the human element disappears. A critical introduction by Cormac Deane bolsters the connection between Metz's findings and nascent digital-media theory, emphasizing Metz's keen awareness of the methodological and philosophical concerns we wrestle with today.
film --- filmtheorie --- twintigste eeuw --- semiotiek --- semiologie --- 791.41 --- Motion pictures --- Narration (Rhetoric) --- Narrative (Rhetoric) --- Narrative writing --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric) --- History. --- History and criticism
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American director Robert Altman first came to national attention with the surprise blockbuster M*A*S*H (1970) and directed more than thirty feature films in subsequent decades until his death in 2006. In addition to his feature films, Altman worked in the emerging field of cable television, as well as in theatre, including opera. 'Robert Altman's Soundtracks' considers Altman's celebrated, often innovative uses of music and sound in several of his most acclaimed and lesser-known works.
film --- filmregisseurs --- Altman Robert --- filmgeschidenis --- filmtechniek --- filmmuziek --- soundtracks --- twintigste eeuw --- Verenigde Staten --- 791.471 ALTMAN --- Motion picture music --- History and criticism. --- Altman, Robert, --- Altman, Robert --- Criticism and interpretation.
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This volume provides a concise overview of the career of one of the modern masters of world cinema. Jesse Kalin defines Bergman's conception of the human condition as a struggle to find meaning in life as it is played out. For Bergman, meaning is achieved independently of any moral absolute and is the result of a process of self-examination. Six existential themes are explored repeatedly in Bergman's films: judgment, abandonment, suffering, shame, a visionary picture, and above all, turning toward or away from others. Kalin examines how Bergman examines these themes cinematically, through close analysis of eight films: well known favorites such as Wild Strawberries, The Seventh Seal, Smiles of a Summer Night, and Fanny and Alexander; and important but lesser known works, such as Naked Night, Shame, Cries and Whispers, and Scenes from a Marriage.
Bergman, Ingmar, --- Bergman, Ernst Ingmar --- Criticism and interpretation. --- 791.471 BERGMAN --- Bergman Ingmar --- film --- filmgeschiedenis --- filmregisseurs --- filmtheorie --- twintigste eeuw --- Zweden --- Bergman, Ingmar
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Anthology of essays on the artistic and persuasive aspects of documentary film from a range of critical viewpoints.
Documentary films --- film --- filmtheorie --- filmanalyse --- documentaire film --- documentaire --- filmgeschiedenis --- twintigste eeuw --- eenentwintigste eeuw --- 791.43 --- History and criticism --- Film --- History and criticism.
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