Film Art: An Introduction

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Film Art: An Introduction

Film Art: An Introduction

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In many classical films, groups of characters interact to create causes and motivations. Their actions, added together, steadily push the action forward. In Desperately Seeking Susan, however, the two protagonists, the staid New Jersey housewife Roberta and the wild, streetwise Susan, initially seem to have little connection to each other. The early portion of the plot alternates sequences involving the two women, but, although Roberta reads about Susan in the personals column and becomes fascinated with her, they do not interact directly. Yet the two women’s lives gradually begin to intertwine, until they finally meet at the end. The form of the film depends on devices of parallelism that point up how the women are actually somewhat alike. This format leaves something to be desired when talking about the pacing or tempo of a film, an essential aspect of experiencing a film (I must think of some good examples!) Chapter 2 “The Significance of Film Form”, covers form of a film and the significance of how it compares against the content in a film, and ultimately what those elements mean. There is a breakdown of the structural properties of The Wizard of Oz, as an example, and how the elements used in the movie are designed to create meaning.

The last stretch of the book is more polemical, arguing that by now we have all mastered these skills and we ought to move toward cultivating others—chiefly those of scrutinizing form and style. I argue that the most robust impulse in this direction is the tradition of film poetics. Put another way: interpretation has become easy, but analysis is still hard. This conclusion was misunderstood in a remarkable variety of ways: I wasn’t saying that a complete approach to film could do without interpretation, nor that it wasn’t worth doing (just that it has become predictable). Given all the things we might study in films, contemporary discourse seems very narrow. Print quality is fantastic so you’ll be able to make out every little detail of the concept paintings. This is great for concept artists who want to study other artwork and use that as a springboard to evaluate work quality. It's not a manual book of film techniques. Yet it does encompass that issues from an artsy point of view. This book discusses elements of films (e.g., shots, lighting, color, mood, tone, narrative, plots, acts, genres, hollywood era, and many more), precisely on how they constitue the overall look as well as meaning of a film. The vast explanations on every chapters are very informative for freshies in film study as they can understand film and the elements deeper than common viewers. Andreas Rost was host and organizer, and he went on, with the cooperation of Ingo Fliess of Verlag der Autoren, to edit and publish the talks in German. This little volume has a nifty design, with lovely pictures and a user-friendly layout. urn:lcp:filmartintroduct0000bord:epub:2e216a78-73e2-4543-a718-efe3fca70da1 Foldoutcount 0 Grant_report Arcadia #4281 Identifier filmartintroduct0000bord Identifier-ark ark:/13960/t66505j84 Invoice 2089 Isbn 9780071220576Print quality is fantastic and the book is pretty large measuring just over 13″ tall. There’s a lot of text and plenty of cast/crew interviews to keep you busy beyond just the pictures. Film art and filmmaking. Film as art : creativity, technology, and business -- Film form. The significance of film form ; Narrative as a formal system -- Film style. The shot : mise-en-scene ; The shot : cinematography ; The relation of shot to shot : editing ; Sound in the cinema ; Summary : style as a formal system -- Types of films. Film genres ; Documentary, experimental, and animated films -- Critical analysis of films. Film criticism : sample analyses -- Film history. Film art and film history

And you’ll find a bunch of interviews with production team members from every part of the creative process. Film Art: An Introduction" es un libro de David Bordwell y Kristin Thompson que como bien dice el título, nos habla en más de 500 páginas sobre el arte del cine de una manera más analítica. full sizeMy third book-length director study, again seeking to do several things at once. First, it gives an overview of Eisenstein’s cinematic work—the films he made, the theories he generated. Taking him as a director trying to fuse theory and practice, I analyze his theoretical writings and all of his films. Secondly, as usual, the book tries to put the director into a pertinent context. Traditionally he is thought of as Comrade Film Constructivist, cinema’s Rodchenko or Mayakovsky. But this doesn’t allow for what he did after 1930, except to consider it a sad decline into official art. Conner made A Movie, his first film, in 1958. Like Léger, he worked in the visual and plastic arts and was noted for his assemblage pieces—collages built up of miscellaneous found objects. Conner took a comparable approach to filmmaking. He typically used footage from old newsreels, Hollywood movies, soft-core pornography, and the like. By working in the found-footage genre, Conner juxtaposed two shots from widely different sources. When we see the two shots together, we strive to find some connection between them. From a series of juxtapositions, our activity can create an overall emotion or concept.Tiene un formato parecido a un libro de textos, de hecho es muy posible que sea usado en escuelas de cine. Aun así cualquiera lo puede leer, ya que está escrito de una manera muy sencilla (todo el tiempo dan ejemplos y explican a que se refieren con cada término) e incluso alguien quien no sabe nada de cine lo puede disfrutar, es un excelente punto de partida y no se siente para nada pesado. A lot of CGI was necessary for this movie and it’s pretty clear with just one look at the artwork how much effort went into production. Lccn 2009042923 Ocr tesseract 5.0.0-alpha-20201231-10-g1236 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9974 Ocr_module_version 0.0.12 Ocr_parameters -l eng Old_pallet IA18670 Openlibrary_edition Very good bibliographies at the end of each chapter – this book has gotten me reading many other books and articles about film by Ingmar Bergman, Andrei Tarkovsky, François Truffaut, Lotte Eisner, Siegfried Kracauer, Bruce Kawin, Bill Nichols and many more.

Comprehensive in scope, and structured to cover the industry as well as aesthetic concerns of film and newer media developments in video, Film Art is set up in six parts with a total of 12 chapters. Me gusta como nos da ejemplos todo el tiempo para ilustrar los puntos. Estis ejemplos suelen ser fotogramas de películas que podemos ir viendo durante todo libro. full sizeAnother venture into poetics, this time concentrating on international stylistics. It’s a book of historiography, reviewing three major trends in understanding the history of film style: the orthodox position that emerged in the 1920s (and still governs most history-writing); a counter-position that emerged with André Bazin’s generation in France during the 1940s and 1950s; and a modernist wave that emerged during the 1960s and 1970s, epitomized by the work of Noël Burch. A fourth chapter brings the story up to date, concentrating on “revisionist” work in early cinema (Charles Musser, Tom Gunning, Kristin Thompson, Ben Brewster, etal.). Each chapter offers some criticisms. The fifth chapter suggests studying the history of style as linked problems and solutions, and the approach is illustrated through a history of depth staging. full sizeThis ought to have been the most controversial book I produced, but although many have dismissed what they take to be its conclusions, I’m aware of only one sustained critique (by V.F.Perkins). MakingMeaning is about how we interpret films. (I thought about calling it Making MoviesMean, except Kristin pointed out to me that it might be taken as a manual for producing raw-edged action films.) How do we assign abstract significance to films, going beyond the “obvious” meanings and proposing ones that are “deeper”? The argument advances in three stages.A decent textbook focussed on different aspects of how to analyze a film – definitions and discussions of what constitutes narrative in film, examinations of the roles of editing/cinematography/lighting choice – Film Art was my first book on film studies. I was not yet an avid film students by then, but this book captured my interest so deep as then it made me impatiently waiting for my future film-study classes. full sizeIt was inevitable, once my old friend Noël Carroll came to Madison’s philosophy department in 1991, that we’d wind up collaborating. This anthology was an effort to gather a range of work in film theory, film analysis, film history, and the philosophy of film which seemed not to fit into the agenda canonized in academic cinema studies. The field had become defined by anthologies claimed that poststructuralism, postmodernism, cultural studies, and multiculturalism was where the action was—a Big Theory that was best qualified to explain cinema. So this book tries to suggest that there are alternatives: analytic philosophy, cognitive theory, close analysis of films, social theory that recognizes transcultural affinities, and empirical history. We hoped to open a dialogue with what the discipline took as its leading edge. Several essays in Post-Theory have been translated into various Eeuropean languages. Chapter 3 “Narrative as a Formal System”, covers what narrative is, ultimately defining the concept as a cause-and-effect chain of events occurring over a period of time. The authors talk about the films like Citizen Kane and others that manipulate time duration, and causality to create meaning. My favorite section is Part Three Film Style, because it covers a number of aesthetic elements and gives good examples that exist in current films and examples as well from historical artifacts.

I think, after readers dwell on this book, they won't see the film as they were. Their mind will questioned and analyzed the effectiveness and the appropriateness of the elements on films. As with Ozu, I try to challenge received opinion. I treat Eisenstein as seeking to synthesize many artistic traditions, both avant-garde and academic. In my account, he becomes a “conservative Constructivist” and an avant-garde Socialist Realist. The “poetics of cinema” theme enters too, but in a different key. Eisenstein himself set out to create a poetics of cinema, particularly of film style, and so the book tries to delineate that and show how it still has value for us. The Cinema of Eisenstein is my only book to win an award; it won the 1993 Theatre Library Association Award for the outstanding book in film, broadcasting, or recorded performance. It has been translated into Chinese (Taipei: Yuan-Liou, 1995) and Spanish (Barcelona: Ediciones Paidós Ibérica, 1999). The second edition contains a new preface. Italian readers may wish to consult “La stilistica della scenografia nel tardo Ejzenstejn,” in Sergej Ejzenstejn: Oltre il cinema, ed. Pietro Montani (Venice: La Biennale diVenezia/ Edizioni Biblioteca dell’Immagine, 1991), pp.138–145. The Art of Ghost in the Shell follows this unique adventure taking Ghost in the Shell from an overseas manga/anime into a full-blown live action movie. This book has tons of artwork from all costumes, weapons, vehicles, and of course the scenery designs. Hollywood churns out the finest talent in visual arts and it’s the largest entertainment center anywhere in the world. Because of this you’ll often find a lot of talent in movie art books featuring concept art, vis dev art, and custom sets/props.A fairly decent but not great book on film art, this book is more about the technical aspects of moviemaking and the history of film than seeking to find what makes film great or even art at all. So it comes across as large informative rather than enlightening. I’ve read many books on film and am a tremendous “Criterion” cinephile, really my point in reading a currently used college textbook was to find out what I didn’t know, and there were a few things. full sizeAn effort to propose a poetics of popular film, while also celebrating a tradition I love. It’s also a mix of academic film history and film analysis with a looser, more informal writing style. Writing it was quite hard, since the subject kept changing from week to week: new films, a fresh crisis in the industry, another batch of books and articles, a new wave of information bursting off the Net. But I hope both fans and nonspecialists find some of it worthwhile. Other Hong Kong pieces are noted in the articles section. Also be advised: at least in my copy (8th edition), the included CD-ROM does not function properly unless your computer has a PowerPC processor. Anyone with an interest in film or who likes to watch movies with an understanding of the processes that involve filmmaking, will get something from this excellent edition of a text book that has become the staple of film studies in a formal educational setting. Film Art: An Introduction (Eighth Edition) by David Bordwell and Kristin Thompson is an excellent updating of a great film resource text.



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