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  • 1
    Buch
    Buch
    Rochester, New York :Camden House,
    UID:
    almafu_BV044632055
    Umfang: viii, 244 Seiten : , Illustrationen.
    ISBN: 978-1-64014-005-9 , 1-64014-005-0
    Serie: Screen cultures: German film and the visual
    Anmerkung: Literaturangaben
    Weitere Ausg.: Erscheint auch als Online-Ausgabe ISBN 978-1-78744-104-0
    Sprache: Englisch
    Fachgebiete: Germanistik , Allgemeines
    RVK:
    RVK:
    RVK:
    Schlagwort(e): Berlin Alexanderplatz
    Mehr zum Autor: Slugan, Mario 1983-
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
    BibTip Andere fanden auch interessant ...
  • 2
    Online-Ressource
    Online-Ressource
    Rochester, N.Y. :Camden House, 2017
    UID:
    almahu_9947981959202882
    Umfang: 1 online resource (viii, 244 pages) : , digital, PDF file(s).
    ISBN: 9781787441040 (ebook)
    Serie: Screen cultures : German film and the visual
    Inhalt: Alfred Döblin's novel Berlin Alexanderplatz and its film adaptations by Jutzi and Fassbinder are canonical works of literature and cinema, and yet there is no monograph that treats all three. This omission is even more striking since Döblin's novel is seen as the most famous example of literary appropriation of film montage aesthetics. Mario Slugan addresses this glaring oversight by considering montage in experiential, historic, stylistic, and narratological terms. Starting from the novel argument that montage is best understood as a perceptual experience rather than as a juxtaposition of meaning, Slugan proposes that it was the perceived experiential similarity with Dada photomontage and Soviet montage films rather than any juxtaposition of meaning that made contemporary critics identify Berlin Alexanderplatz as the first novel to appropriate film montage. It was the perceived relative absence of montage in the filmings of the novel, moreover, that significantly contributed to their contemporary dismissals as failed adaptations. Slugan argues that both Jutzi's and Fassbinder's films nevertheless present innovative types of both visual and sound montage. These, in turn, allow for the articulation of medium-specific traits of film montage as opposed to those of literary montage, including the organization of time and space, the use of ready-made material, and the relation of montage to the figure of the narrator. Mario Slugan is a Postdoctoral Associate Fellow at the Department of Film and Television Studies and the Department of German Studies, University of Warwick.
    Anmerkung: Title from publisher's bibliographic system (viewed on 18 Sep 2018). , Introduction -- The art of montage in the age of hyperstimulation -- The birth of literary montage from the spirit of contemporary reviews of Berlin Alexanderplatz -- Montage practice: the redemption of Jutzi's Berlin Alexanderplatz -- Fassbinder's Berlin Alexanderplatz, symphony of an invisible city -- Conclusion.
    Weitere Ausg.: Print version: ISBN 9781640140059
    Sprache: Englisch
    URL: Volltext  (lizenzpflichtig)
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
    BibTip Andere fanden auch interessant ...
  • 3
    Online-Ressource
    Online-Ressource
    Rochester, N.Y. :Camden House, 2017
    UID:
    edocfu_9960118847902883
    Umfang: 1 online resource (viii, 244 pages) : , digital, PDF file(s).
    ISBN: 1-78744-104-0
    Serie: Screen cultures : German film and the visual
    Inhalt: Alfred Döblin's novel Berlin Alexanderplatz and its film adaptations by Jutzi and Fassbinder are canonical works of literature and cinema, and yet there is no monograph that treats all three. This omission is even more striking since Döblin's novel is seen as the most famous example of literary appropriation of film montage aesthetics. Mario Slugan addresses this glaring oversight by considering montage in experiential, historic, stylistic, and narratological terms. Starting from the novel argument that montage is best understood as a perceptual experience rather than as a juxtaposition of meaning, Slugan proposes that it was the perceived experiential similarity with Dada photomontage and Soviet montage films rather than any juxtaposition of meaning that made contemporary critics identify Berlin Alexanderplatz as the first novel to appropriate film montage. It was the perceived relative absence of montage in the filmings of the novel, moreover, that significantly contributed to their contemporary dismissals as failed adaptations. Slugan argues that both Jutzi's and Fassbinder's films nevertheless present innovative types of both visual and sound montage. These, in turn, allow for the articulation of medium-specific traits of film montage as opposed to those of literary montage, including the organization of time and space, the use of ready-made material, and the relation of montage to the figure of the narrator. Mario Slugan is a Postdoctoral Associate Fellow at the Department of Film and Television Studies and the Department of German Studies, University of Warwick.
    Anmerkung: Title from publisher's bibliographic system (viewed on 18 Sep 2018). , Introduction -- The art of montage in the age of hyperstimulation -- The birth of literary montage from the spirit of contemporary reviews of Berlin Alexanderplatz -- Montage practice: the redemption of Jutzi's Berlin Alexanderplatz -- Fassbinder's Berlin Alexanderplatz, symphony of an invisible city -- Conclusion.
    Weitere Ausg.: ISBN 1-64014-005-0
    Sprache: Englisch
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
    BibTip Andere fanden auch interessant ...
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