Описание: Nominated for the TaPRA Early Career Research Prize 2018In this book, Jo Scott shares writing and documentation from her practice as research (PaR) project, which explored and analysed a mode of performance she developed, called live intermediality.
Описание: Closely examines instances of theatre-in-film, in dialogue with the theory of intermediality
How do we experience theatre through film? Laura Sava critically engages with the filmic representation of theatre, focusing on a selection of art house and independent films which provide a sophisticated commentary on the interaction between the two media.
Through an in-depth analysis of films such as Jacques Rivette's L'Amour fou, Pedro Almod var's All About My Mother and Charlie Kaufman's Synecdoche, New York, this book analyses the embedment of theatre in film and the notion of spectatorial address. Using textual analysis in conjunction with concepts derived from narratology, performance philosophy, and film and theatre phenomenology, it explores the mechanisms of representation involved in the intermedial diegetisation of theatre in film.
Key features
Provides a detailed study of the ways in which film can accommodate theatre
Integrates the close reading of films with the theory of intermediality, with insights from both film and theatre theory
Includes case studies of works by major directors, such as Pedro Almod var, John Cassavetes, Jacques Rivette, Eric Rohmer, Manoel de Oliveira, Theo Angelopoulos and Takeshi Kitano
Case studies include:
The Double Life of V ronique (Krzysztof Kieślowski, 1991)
Dolls (Takeshi Kitano, 2002)
The Jester (Jos lvaro Morais, 1987)
All About My Mother (Pedro Almod var, 1999)
L'Amour fou (Jacques Rivette, 1969)
Synecdoche, New York (Charlie Kaufman, 2008)
Opening Night (John Cassavetes, 1977)
A Tale of Winter (Eric Rohmer, 1992)
I'm Going Home (Manoel de Oliveira, 2001)
The Travelling Players (Theo Angelopoulos, 1975)
My Dinner with Andr (Louis Malle, 1981)
Swimming to Cambodia (Jonathan Demme, 1987)
Monster in a Box (Nick Broomfield, 1992)
The Arbor (Clio Barnard, 2010)
Автор: Houwen Janna Название: Film and Video Intermediality ISBN: 1501349007 ISBN-13(EAN): 9781501349003 Издательство: Bloomsbury Academic Рейтинг: Цена: 5859.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: In Film and Video Intermediality, Janna Houwen innovatively rewrites the concept of medium specificity in order to answer the questions "what is meant by video?+? and "what is meant by film?+? How are these two media (to be) understood? How can film and video be defined as distinct, specific media? In this era of mixed moving media, it is vital to ask these questions precisely and especially on the media of video and film. Mapping the specificity of film and video is indispensable in analyzing and understanding the many contemporary intermedial objects in which film and video are mixed or combined.
Автор: Christopher Rowe Название: Michael Haneke: The Intermedial Void ISBN: 0810134608 ISBN-13(EAN): 9780810134607 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 15048.00 р. Наличие на складе: Нет в наличии.
Описание: The two primary goals of this ambitious study are to provide a new framework in which to interpret the films of Michael Haneke, including Funny Games , Cach? , and others, and to show how the concept of intermediality can be used to expand the possibilities of film and media studies, tying the two more closely together. Christopher Rowe argues that Haneke’s practice of introducing nonfilmic media into his films is not simply an aspect of his interest in society’s oversaturation in various forms of media. Instead, the use of video, television, photography, literary voice, and other media must be understood as modes of expression that fundamentally oppose the film medium itself. The “intermedial void” is a product of the absolute incommensurability of these media forms as perceptual and affective phenomena. Close analysis of specific films shows how their relationship to noncinematic media transforms the nature of the film image, and of film spectatorship.
Описание: In Film and Video Intermediality, Janna Houwen innovatively rewrites the concept of medium specificity in order to answer the questions “what is meant by video?” and “what is meant by film?” How are these two media (to be) understood? How can film and video be defined as distinct, specific media? In this era of mixed moving media, it is vital to ask these questions precisely and especially on the media of video and film. Mapping the specificity of film and video is indispensable in analyzing and understanding the many contemporary intermedial objects in which film and video are mixed or combined.
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