Kooperativer Bibliotheksverbund

UID:

Umfang: 2-volume set ; , 21 x 14.5 cm.

Ausgabe: New edition.

ISBN: 9780520242272 (pbk.) , 0520242270 (v. 1 : pbk.) , 9780520242289 (pbk.) , 0520242289 (v. 2 : pbk.)

Originaltitel: Qu'est-ce que le cinéma?

Inhalt: MACHINE-GENERATED SUMMARY NOTE: "André Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinéma, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protégé of François Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin 'will survive even if the cinema does not.'"

Anmerkung: EDITORIAL NOTE: original editions ©1967 and ©1971. , MACHINE-GENERATED CONTENTS NOTE (Vol. I): Foreword to the 2004 edition -- Introduction -- The ontology of the photographic image -- The myth of total cinema -- The evolution of the language of cinema -- The virtues and limitations of montage -- In defense of mixed cinema -- Theater and cinema : part one; part two -- “Le Journal d’un cure de campagne” and the stylistics of Robert Bresson -- Charlie Chaplin -- Cinema and exploration -- Painting and cinema -- Notes -- Index. , MACHINE-GENERATED CONTENTS NOTE (Vol. II): Foreword to the 2004 edition -- Introduction -- An aesthetic of reality : cinematic realism and the Italian school of the liberation -- “La Terra Trema” -- “Bicycle Thief” -- De Sica : metteur en scène -- Umberto D : a great work -- “Cabiria” : the voyage to the end of neorealism -- In defense of Rossellini -- The myth of Monsieur Verdoux -- “Limelight”, or the death of Molière -- The grandeur of “Limelight” -- The western, or the American film par excellence -- The evolution of the western -- Entomology of the pin-up girl -- “The Outlaw” -- Marginal notes on “Eroticism in the cinema” -- The destiny of Jean Gabin -- Notes -- Index. , LANGUAGE NOTE: translation of: Qu'est-ce que le cinéma? Vols. I and II.

Sprache: Englisch

UID:

Umfang: 1 online resource

ISBN: 9781477311097

Inhalt: Much of the writing in film studies published today can be understood as genre criticism, broadly speaking. And even before film studies emerged as an academic discipline in the 1970s, cultural observers within and beyond the academy were writing about genre films and making fascinating attempts to understand their conventions and how they speak to, for, and about the culture that produces them. While this early writing on genre film was often unsystematic, impressionistic, journalistic, and judgmental, it nonetheless produced insights that remain relevant and valuable today. Notions of Genre gathers the most important early writing on film genre and genre films published between 1945 and 1969. It includes articles by such notable critics as Susan Sontag, Dwight Macdonald, Siegfried Kracauer, James Agee, André Bazin, Robert Warshow, and Claude Chabrol, as well as essays by scholars in academic disciplines such as history, sociology, and theater. Their writings address major issues in genre studies, including definition, representation, ideology, audiences, and industry practices, across genres ranging from comedy and westerns to horror, science fiction, fantasy, gangster films, and thrillers. The only single-volume source for this early writing on genre films, Notions of Genre will be an invaluable resource for scholars and students of film genre, film history, film theory, cultural studies, and popular culture.

Anmerkung: Frontmatter -- , Contents -- , Acknowledgments -- , Introduction -- , Part I. Comedy -- , Chapter One. Comedy’s Greatest Era -- , Chapter Two. Silent Film Comedy -- , Chapter Three. Uncle Sam’s Funny Bone -- , Chapter Four. Whatever Happened to Hollywood Comedy -- , Chapter Five. The Evolution of the Chase in the Silent Screen Comedy -- , Chapter Six. From Kops to Robbers: Transformation of Archetypal Figures in the American Cinema of the 1920s and ’30s -- , Part II. The Western -- , Chapter Seven. The Psychological Appeal of the Hollywood Western -- , Chapter Eight. The Western, or the American Film Par Excellence -- , Chapter Nine. The Olympian Cowboy -- , Chapter Ten. The Changing Cowboy: From Dime Novel to Dollar Film -- , Chapter Eleven. Sociological Symbolism of the “Adult Western” -- , Chapter Twelve. Puritanism Revisited: An Analysis of the Contemporary Screen-Image Western -- , Part III. The Fantastic -- , Chapter Thirteen. Supernaturalism in the Movies -- , Chapter Fourteen. Reflections on Horror Movies -- , Chapter Fifteen. A Brief, Tragical History of the Science Fiction Film -- , Chapter Sixteen. The Imagination of Disaster -- , Chapter Seventeen. Extrapolative Cinema -- , Chapter Eighteen. Even a Man Who Is Pure at Heart: Poetry and Danger in the Horror Film -- , Part IV. Crime and Punishment -- , Chapter Nineteen. The Gangster as Tragic Hero -- , Chapter Twenty. Evolution of the Thriller -- , Chapter Twenty-One. Toward a Definition of Film Noir -- , Chapter Twenty-Two. Paint It Black: The Family Tree of the Film Noir -- , Chapter Twenty-Three. Introduction to The Gangster Film -- , Index , In English.

Sprache: Englisch

DOI: 10.7560/303757

URL: https://doi.org/10.7560/303757

URL: https://www.degruyter.com/isbn/9781477311097