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Motion pictures and theater. --- Cinéma et théâtre --- Griffith, D. W. --- Criticism and interpretation. --- Griffith, D. W., --- Cinéma et théâtre --- Motion pictures and theater --- Griffith, David Wark, --- Criticism and interpretation --- Griffith, David Wark, - 1875-1948 - Criticism and interpretation --- Griffith, David Wark, - 1875-1948
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Griffith, David Wark --- Griffith, D. W. --- Cinéma --- Motion pictures --- Histoire et critique --- History. --- Griffith, David Wark, --- Critique et interprétation --- Criticism and interpretation. --- Biograph Company. --- 791.44.071.1 --- Filmregisseurs. Cineasten. Filmproducers --- 791.44.071.1 Filmregisseurs. Cineasten. Filmproducers --- Histoire et critique. --- Critique et interprétation.
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film --- filmgeschiedenis --- Verenigde Staten --- Hollywood --- filmregisseurs --- twintigste eeuw --- Griffith David Wark --- 791.471 GRIFFITH --- Motion picture industry --- Motion picture producers and directors --- History. --- Biography. --- Griffith, D. W. --- Hollywood (Los Angeles, Calif.) --- History --- Biography --- Griffit, Dėvid Uork, --- Griffith, David Wark, --- Warwick, Grenville,
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Film --- Griffith, David Wark --- Motion picture acting --- Movement (Acting) --- Silent films --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- Movement on the stage --- Acting --- Film acting --- Moving-picture acting --- History and criticism --- Griffith, D. W. --- Griffit, Dėvid Uork, --- Griffith, David Wark, --- Warwick, Grenville, --- Criticism and interpretation. --- Biograph Company. --- AB --- American Mutoscope and Biograph Company --- Protective Amusement Company --- Klaw & Erlanger --- Motion picture acting. --- Movement (Acting). --- History and criticism.
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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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Grimshaw's exploration of the role of vision within modern anthropology engages with current debates about ocularcentism, investigating the relationship between vision and knowledge in ethnographic enquiry. Using John Berger's notion of 'ways of seeing', the author argues that vision operates differently as a technique and theory of knowledge within the discipline. In the first part of the book she examines contrasting visions at work in the so-called classical British school, reassessing the legacy of Rivers, Malinowski and Radcliffe-Brown through the lens of early modern art and cinema. In the second part of the book, the changing relationship between vision and knowledge is explored through the anthropology of Jean Rouch, David and Judith MacDougall, and Melissa Llewelyn-Davies. Vision is foregrounded in the work of these contemporary ethnographers, focusing more general questions about technique and epistemology whether image-based media are used or not in ethnographic enquiry.
#SBIB:39A8 --- Antropologie: linguïstiek, audiovisuele cultuur, antropologie van media en representatie --- Anna Grimshaw --- film en etnografie --- visuele antropologie --- Rivers W.H.R. --- Flaherty Robert --- Grierson John --- MacDougall David --- MacDougall Judith --- Llewelyn-Davies Melissa --- Visual anthropology. --- Visual anthropology --- Ethnology --- 391 --- 791.41 --- 791.43 --- antropologie --- documentaire --- etnografie --- film --- filmgeschiedenis --- filmtheorie --- Griffith David Wark --- kubisme --- kunst --- modernisme --- Rivers W.H.R --- Rouch Jean --- twintigste eeuw --- Social Sciences --- Anthropology
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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.
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"The U.S. South is a distinctive political and cultural force--not only in the eyes of Americans, but also in the estimation of many Europeans. The region played an important role as a major agricultural center and the source of much of the wealth in early America, but it has also served as a catalyst for the nation's only civil war, and later, as a battleground in violent civil rights conflicts. Once considered isolated and benighted by the international community, the South has recently evoked considerable interest among popular and academic observers on both sides of the Atlantic. In The U.S. South and Europe, editors Cornelis A. van Minnen and Manfred Berg have assembled contributions that interpret a number of political, cultural, and religious aspects of the transatlantic relationship during the nineteenth and twentieth centuries. The contributors discuss a variety of subjects, including European colonization, travel accounts of southerners visiting Europe, and the experiences of the German 'Forty-Eighters'--immigrants who settled in the South after the German Revolution of 1848. This volume also examines slavery, foreign recognition of the Confederacy as a sovereign government, the lynching of African Americans and Italian immigrants in the South, and transatlantic religious fundamentalism. Finally, it addresses contemporary issues such as international perceptions of the Jim Crow South and the civil rights movement as a framework for understanding race relations in the United Kingdom following World War II. Featuring contributions from leading scholars based in the United States and Europe, this illuminating volume explores the South from an international perspective and offers a new context from which to consider the region's history."--Jacket.
Autant en emporte le vent (Film) --- Gejaagd door de wind (Film) --- Gone with the Wind (Film) --- Gone with the Wind (Motion picture) --- Southern States --- Europe --- Relations --- Foreign public opinion, European --- Race relations --- Foreign public opinion [European ] --- Tocqueville, Alexis de --- Travel --- United States --- Wells, Ida Barnett --- Raper, Arthur F. --- Griffith, David Wark --- Amerikabild. --- International relations. --- Public opinion, European. --- Race relations. --- Europa. --- Europe. --- Southern States. --- Foreign public opinion, European. --- Southern States - Relations - Europe --- Europe - Relations - Southern States --- Southern States - Foreign public opinion, European --- Southern States - Race relations
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Motion pictures --- 791.43.01 --- #SBIB:309H1321 --- Stanley J. Solomon --- film --- filmtheorie --- filmgeschiedenis --- filmtechniek --- narratologie --- tijd --- montage --- filmregisseurs --- regie --- acteurs --- scenario --- stille film --- Griffith David Wark --- Verenigde Staten --- filmgenres --- komedies --- Sennett Mack --- Keaton Buster --- Lloyd Harold --- Wiene Robert --- Murnau Friedrich Wilhelm --- geluid --- geluidsfilm --- Marx Brothers --- Fields W.C. --- Lang Fritz --- Huston John --- film noir --- auteurtheorie --- Bergman Ingmar --- Buñuel Luis --- camera's --- Eisenstein Sergei --- Hitchcock Alfred --- Resnais Alain --- Antonioni Michelangelo --- Chaplin Charles --- 791.41 --- 791.42 --- 791.43 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Filmologie. Filmtheorie. Esthetica van de film --- Films met een amusementsfunctie en/of esthetische functie: algemeen --- History and criticism --- Motion pictures. --- 791.43.01 Filmologie. Filmtheorie. Esthetica van de film --- Fields W.C
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791.43 --- #SBIB:309H1320 --- #SBIB:309H1326 --- film --- Hollywood --- filmgeschiedenis --- Vitagraph --- Griffith David Wark --- Dwan Allan --- King Henry --- Pickford Mary --- Brown Clarence --- Sloman Edward --- Wellman William --- de Mille Cecil B. --- von Sternberg Josef --- Rosher Charles --- camera's --- art direction --- Fairbanks Douglas --- melodrame --- scenario --- Booth Margaret --- Hornbeck William --- stille film --- stunts --- Farrar Geraldine --- Swanson Gloria --- Blythe Betty --- Ben Hur --- producers --- produktie --- filmproductie --- Mayer Louis B. --- Thalberg Irving --- Selznick David O. --- Denny Reginald --- slapstick --- LLoyd harold --- Keaton Buster --- Chaplin Charles --- Gance Abel --- Verenigde Staten --- 791.43 Filmkunst. Films. Cinema --- Filmkunst. Films. Cinema --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- de Mille Cecil B --- Mayer Louis B --- Selznick David O --- CDL --- Motion pictures --- Silent films --- Cinéma --- Films muets --- History --- History and criticism --- Histoire --- Histoire et critique
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