A Film as Art
Author: Michael Glasmeier
Publisher: Wienand Verlag
View: 2323The 1961 film Last Year in Marienbad broke with traditional structures of time, location, and causality like no other film before it. The director, Alain Resnais, played with an artistic language in which the style itself became the content. In doing so, he defined an appreciation of art that has extended into the present day: Nouvelle Vague. The catalogue examines the influence of the film on the fine arts, on Pop culture and fashion, garnering international approaches from the beginning of the twentieth century through to the present.
Author: Scott Higgins
Category: Social Science
View: 6737Rudolf Arnheim (1904-2007) was a pioneering figure in film studies, best known for his landmark book on silent cinema Film as Art. He ultimately became more famous as a scholar in the fields of art and art history, largely abandoning his theoretical work on cinema. However, his later aesthetic theories on form, perception and emotion should play an important role in contemporary film and media studies. In this enlightening new volume in the AFI Film Readers series, an international group of leading scholars revisits Arnheim’s legacy for film and media studies. In fourteen essays, the contributors bring Arnheim’s later work on the visual arts to bear on film and media, while also reassessing the implications of his film theory to help refine our grasp of Film as Art and related texts. The contributors discuss a broad range topics including Arnheim’s film writings in relation to modernism, his antipathy to sound as well as color in film, the formation of his early ideas on film against the social and political backdrop of the day, the wider uses of his methodology, and the implications of his work for digital media. This is essential reading for any film and media student or scholar seeking to understand the meaning and contemporary impact of Arnheim’s foundational work in film theory and aesthetics.
Classical Film Theory and Art History
Author: Angela Dalle Vacche
Publisher: Rutgers University Press
View: 1988This collection of essays demonstrates the usefulness of looking at cinema with the analytical methods provided by art theory. The Visual Turn is a dialogue between art historians and film theorists from the silent period to the aftermath of World War II. Its aim is to broaden the horizons of film studies, while making students of art history more comfortable when they approach the key texts of classical film theory.
Author: Sian Barber
Publisher: Oxford University Press
Category: Motion pictures
View: 3998This book is a hands-on study skills guide that explores how film and moving image can be used as sources. It is aimed at those who want to use film and moving image as the basis for research and offers advice on research methods, theory and methodology, archival work and film-based analysis. It draws on the disciplines of film and history to offer advice for students and researchers in these fields. The book includes sections on working with different kinds of moving images, how to explore visual sources, how to undertake film-related research and how to use film theory. In addition to providing detailed case studies, the guide also offers advice on research, writing and studying, creating a methodology, visiting archives, accessing material and exploring films from a historical perspective. The guide's focus is on good research practice, whether it be conducting an interview, visiting an archive, undertaking textual analysis or defining a research question.
From Entertainment to Art
Author: Shyon Baumann
Publisher: Princeton University Press
Category: Performing Arts
View: 7422Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
Author: Robert Sinnerbrink
Publisher: A&C Black
Category: Performing Arts
View: 479Authority is something we experience every day, but is it necessary? Many think that it is not, and that it exists only as a remedy for some defect in us. Victor Lee Austin sets about exploring the higher and nobler functions of authority, and in doing so reveals its human importance as more than simply a provision for human inadequacies. A significant contribution to Christian anthropology, the book illuminates an indispensable feature of human sociality: the need for, and the good provided by, authority. In enabling us to do more complex activities, to gain and communicate understanding of the world around us and to flourish in political communities, authority ultimately leads us to enjoy God. Victor Lee Austin makes a unique contribution to political theology by deliberating the ways that authority functions both socially and epistemologically. The field of ecclesiology is also enriched by the book's discussion of authority as at once necessary and fallible. Those interested in the work of Michael Polanyi, Yves Simon, or Oliver O'Donovan will find these authors brought into the broader conversation about authority in an engaging way.
Author: Annette W. Balkema,Henk Slager
View: 4164In the 21st century, the screen - the Internet screen, the television screen, the video screen and all sorts of combinations thereof - will be booming in our visual and infotechno culture. Screen-based art, already a prominent and topical part of visual culture in the 1990s, will expand even more. In this volume, digital art - the new media - as well as its connectedness to cinema will be the subject of investigation. The starting point is a two-day symposium organized by the Netherlands Media Art Institute Montevideo/TBA, in collaboration with the L&B (Lier en Boog) series and the Amsterdam School of Cultural Analysis (ASCA).Issues which emerged during the course of investigation deal with questions such as: How could screen-based art be distinguished from other art forms? Could screen-based art theoretically be understood in one definite model or should one search for various possibilities and/or models? Could screen-based art be canonized? What are the physical and theoretical forms of representation for screen-based art? What are the idiosyncratic concepts geared towards screen-based art? This volume includes various arguments, positions, and statements by artists, curators, philosophers, and theorists. The participants are Marie-Luise Angerer, Annette W. Balkema, René Beekman, Raymond Bellour, Peter Bogers, Joost Bolten, Noël Carroll, Sean Cubitt, Cãlin Dan, Chris Dercon, Honoré d'O, Anne-Marie Duquet, Ken Feingold, Ursula Frohne, hARTware curators, Heiner Holtappels, Aernout Mik, Patricia Pisters, Nicolaus Schafhausen, Jeffrey Shaw, Peter Sloterdijk, Ed S. Tan, Barbara Visser and Siegfried Zielinski.
A Visual Anthropology
Author: Gordon Gray
Category: Performing Arts
View: 9218Cinema: A Visual Anthropology provides a clear and concise summary of the key ideas, debates, and texts of the most important approaches to the study of fiction film from around the world. The book examines ways to address film and film experience beyond the study of the audience. Cross-disciplinary in scope, Cinema uses ideas and approaches both from within and outside of anthropology to further students' knowledge of and interest in fiction film. Including selected, globally based case studies to highlight and exemplify important issues, the book also contains suggested Further Reading for each chapter, for students to expand their learning independently. Exploring fundamental methods and approaches to engage this most interesting and vibrant of media, Cinema will be essential reading for students of anthropology and film.
Author: Eileen Bowser
Publisher: Univ of California Press
View: 6010"The Transformation of Cinema chronicles the history of the American film business from the days of storefront nickelodeons to the premiere of D.W. Griffith's The Birth of a Nation, complete with full symphony orchestra. Eileen Bowser here redresses the imbalance of the "Griffith did it all" cliché by discussing the efforts of countless lesser-known figures who also helped to create Hollywood and shape the growing film industry. The effect of the surroundings -- the size of the hall; whether the film was shown alone or along with vaudeville entertainment; and the size, quality, and relevance of the musical background -- are all examined for their impact on the filmgoing experience. Bowser documents the emergence of the star system, which set the stage for the classic silent-film era. By 1915 the silent film is seen as a full-fledged art form with its own style and place in the world of business."--Back cover.
A Challenge for Cinema and Theory
Author: Jörg Schweinitz
Publisher: Columbia University Press
Category: Performing Arts
View: 5005Since the early days of film, critics and theorists have contested the value of formula, cliché, conventional imagery, and recurring narrative patterns of reduced complexity in cinema. Whether it's the high-noon showdown or the last-minute rescue, a lonely woman standing in the window or two lovers saying goodbye in the rain, many films rely on scenes of stereotype, and audiences have come to expect them. Outlining a comprehensive theory of film stereotype, a device as functionally important as it is problematic to a film's narrative, Jörg Schweinitz constructs a fascinating though overlooked critical history from the 1920s to today. Drawing on theories of stereotype in linguistics, literary analysis, art history, and psychology, Schweinitz identifies the major facets of film stereotype and articulates the positions of theorists in response to the challenges posed by stereotype. He reviews the writing of Susan Sontag, Roland Barthes, Theodor W. Adorno, Rudolf Arnheim, Robert Musil, Béla Balázs, Hugo Münsterberg, and Edgar Morin, and he revives the work of less-prominent writers, such as René Fülöp-Miller and Gilbert Cohen-Séat, tracing the evolution of the discourse into a postmodern celebration of the device. Through detailed readings of specific films, Schweinitz also maps the development of models for adapting and reflecting stereotype, from early irony (Alexander Granowski) and conscious rejection (Robert Rossellini) to critical deconstruction (Robert Altman in the 1970s) and celebratory transfiguration (Sergio Leone and the Coen brothers). Altogether a provocative spectacle, Schweinitz's history reveals the role of film stereotype in shaping processes of communication and recognition, as well as its function in growing media competence in audiences beyond cinema.
Race, Gender and Sexuality at the Movies
Author: Mia Mask
View: 9762Contemporary Black American Cinema offers a fresh collection of essays on African American film, media and visual culture in the era of global multiculturalism. Integrating theory, history, and criticism, the contributing authors deftly connect interdisciplinary perspectives from American studies, cinema studies, cultural studies, political science, media studies, and Queer theory. This multidisciplinary methodology expands the discursive and interpretive registers of film analysis. From Paul Robeson's and Sidney Poitier's star vehicles to Lee Daniels' directorial forays, these essays include but surpass discussions of urban realism in New Black Cinema. These entries address the career legacies of film stars, examine various iterations of Blaxploitation-animation, question the comedic politics of fat suit films, and celebrate the innovation of avant-garde and experimental cinema.