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Author : Vlada Petrić
Publisher : Cambridge University Press
Page : 357 pages
File Size : 46,5 Mb
Release : 2012
Category : Art
ISBN : 9780521137881
This book examines the radical experiments of early Soviet filmmakers, with a detailed analysis of The Man with the Movie Camera (1929).
Author : Vlada Petric
Publisher : CUP Archive
Page : 356 pages
File Size : 47,5 Mb
Release : 1993-06-25
Category : Performing Arts
ISBN : 0521443873
Vlada Petric explicates the cinematic text of one of the most famous works of avant-garde nonfiction film, Dziga Vertov's Man with a Movie Camera
Author : Kamila Kuc
Publisher : Indiana University Press
Page : 246 pages
File Size : 49,7 Mb
Release : 2016-12-12
Category : Performing Arts
ISBN : 9780253024053
Warsaw- and London-based filmmakers Franciszka and Stefan Themerson are often recognized internationally as pioneers of the 1930s Polish avant-garde. Yet, from the turn of the century to the end of the 1920s, Poland's literary and art scenes were also producing a rich array of criticism and early experiments with the moving image that set the stage for later developments in the avant-garde. In this comprehensive and accessible study, Kamila Kuc draws on myriad undiscovered archival sources to tell the history of early Polish avant-garde movements—Symbolism, Expressionism, Futurism, and Constructivism—and to reveal their impact on later practices in art cinema.
Author : Rimgaila Salys
Publisher : Academic Studies PRess
Page : 452 pages
File Size : 41,7 Mb
Release : 2023-09-12
Category : Performing Arts
ISBN : 9798887193656
This two-volume reader is intended to accompany undergraduate courses in the history of Russian cinema and Russian culture through film. Each volume consists of newly commissioned essays, excerpts from English language criticism and translations of Russian language essays on subtitled films which are widely taught in American and British courses on Russian film and culture. The arrangement is chronological: Volume one covers twelve films from the beginning of Russian film through the Stalin era; volume two covers twenty films from the Thaw era to the present. General introductions to each period of film history (Early Russian Cinema, Soviet Silent Cinema, Stalinist Cinema, Cinema of the Thaw, Cinema of Stagnation, Perestroika and Post-Soviet Cinema) outline its cinematic significance and provide historical context for the non-specialist reader. Essays are accompanied by suggestions for further reading. The reader will be useful both for film studies specialists and for Slavists who wish to broaden their Russian Studies curriculum by incorporating film courses or culture courses with cinematic material. Volumes one and two may be ordered separately to accommodate the timeframe and contents of courses. Volume one films: Sten’ka Razin, The Cameraman’s Revenge, The Merchant Bashkirov’s Daughter, Child of the Big City, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, Battleship Potemkin, Bed and Sofa, Man with a Movie Camera, Earth, Chapaev, Circus, Ivan the Terrible, Parts I and II. Volume two films: The Cranes are Flying, Ballad of a Soldier, Lenin’s Guard, Wings, Commissar, The Diamond Arm, White Sun of the Desert, Solaris, Stalker, Moscow Does Not Believe in Tears, Repentance, Little Vera, Burnt by the Sun, Brother, Russian Ark, The Return, Night Watch, The Tuner, Ninth Company, How I Ended This Summer. Authors: Birgit Beumers, Robert Bird, David Bordwell, Mikhail Brashinsky, Oksana Bulgakova, Gregory Carlson, Nancy Condee, Julian Graffy, Jeremy Hicks, Andrew Horton, Steven Hutchings, Vida Johnson, Lilya Kaganovsky, Vance Kepley, Jr., Susan Larsen, Mark Lipovetsky, Tatiana Mikhailova, Elena Monastireva-Ansdell, Joan Neuberger, Vlada Petrić, Graham Petrie, Alexander Prokhorov, Elena Prokhorova, Rimgaila Salys, Elena Stishova, Vlad Strukov, Yuri Tsivian, Meghan Vicks, Josephine Woll, Denise J. Youngblood
Author : Magda Dragu
Publisher : Routledge
Page : 257 pages
File Size : 48,9 Mb
Release : 2020-02-06
Category : Art
ISBN : 9781000026221
This book uses intermedial theories to study collage and montage, tracing the transformation of visual collage into photomontage in the early avant-garde period. Magda Dragu distinguishes between the concepts of collage and montage, as defined across several media (fine arts, literature, music, film, photography), based on the type of artistic meaning they generate, rather than the mechanical procedures involved. The book applies theories of intermediality to collage and montage, which is crucial for understanding collage as a form of cultural production. Throughout, the author considers the political implications, as collages and montages were often used for propagandistic purposes. This book combines research methods used in several areas of inquiry: art history, literary criticism, analytical philosophy, musicology, and aesthetics.
Author : Christian Quendler
Publisher : Taylor & Francis
Page : 250 pages
File Size : 51,8 Mb
Release : 2016-11-18
Category : Social Science
ISBN : 9781317434191
This book explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century. By studying the very metaphor that cinema lives by, it provides a rich and insightful map of our understanding of cinema and film styles and shows how cinema shapes our understanding of the arts and media. As current new media technologies are attempting to shift the identity of cinema and moving imagery, it is hard to overstate the importance of this metaphor for our understanding of the modalities of vision. In what guises does the "camera eye" continue to survive in media that is called new?
Author : Catherine Fowler
Publisher : Psychology Press
Page : 296 pages
File Size : 44,7 Mb
Release : 2002
Category : History
ISBN : 0415240913
This comprehensive introduction to national cinemas in Europe brings together classic writings by key filmmakers such as Sergei Eisenstein, Luis Buñuel and John Grierson, and critics from Andre Bazin to Peter Wollen.
Author : Jarmo Valkola
Publisher : Cambridge Scholars Publishing
Page : 430 pages
File Size : 49,5 Mb
Release : 2016-09-23
Category : Performing Arts
ISBN : 9781443814379
This book explores the unique phenomenon of pictorialism and its connection with other arts in film and media studies. Pictorialism is motivated by the commitment to develop and increase the function and effectiveness of images, sounds, and performances that aesthetically formulate, translate, and change the effects of contemporary cinema to higher dimensions and qualities of art. The book’s main focus is when pictorialism as such is the major aesthetic convention used in filmmaking practice, and when pictorialism itself forms the key element of the narrative, considering a number of theoretical and practical issues of filmic narration, including: What are the main challenges of pictorial communication? How is pictorialism used in films? How far is the “pictorial image” a combination of the bodily performance of the characters, the surrounding landscape, and the evocative use of the soundscape? More generally, what is the state of image studies today? The first part of this book deals with the conventions of pictorialist connections in architecture, painting and photography, and their influences on cinematic representations and on film studies and film theory. The films analysed here combine various styles, but the focus is tracking down pictorialism’s influences through a large spectre of matters. The next section explores pictorialism’s development in Hollywood cinema, in European Cinema, in avant-garde film, and in documentary. Finally, the book concludes with three large sections devoted to the developers of modern pictorialist cinema, namely Theo Angelopoulos, Aki Kaurismäki and Béla Tarr. As such, this study offers a way to understand the main ideas, subjects and stylisation of pictorialism in cinema, to explore the main ingredients of this phenomenon, and to focus on narratives that are in the service of pictorial matters.
Author : Kamila Kuc
Publisher : Indiana University Press
Page : 0 pages
File Size : 51,8 Mb
Release : 2016-12-12
Category : Performing Arts
ISBN : 0253023971
Warsaw- and London-based filmmakers Franciszka and Stefan Themerson are often recognized internationally as pioneers of the 1930s Polish avant-garde. Yet, from the turn of the century to the end of the 1920s, Poland's literary and art scenes were also producing a rich array of criticism and early experiments with the moving image that set the stage for later developments in the avant-garde. In this comprehensive and accessible study, Kamila Kuc draws on myriad undiscovered archival sources to tell the history of early Polish avant-garde movements—Symbolism, Expressionism, Futurism, and Constructivism—and to reveal their impact on later practices in art cinema.
Author : Angela Dalle Vacche
Publisher : Springer
Page : 358 pages
File Size : 53,8 Mb
Release : 2012-06-12
Category : Art
ISBN : 9781137026132
In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric. Well aware that the twentieth century stands out as the only period in history with its own photographic film record for posterity, Angela Dalle Vacche has convened international scholars at The Sterling and Francine Clark Art Institute, and asked them to rethink the history and theory of the cinema as a new model for the museum of the future. By exploring the art historical tropes of face and landscape, and key areas of film studies such as early cinema, Soviet film theory, documentary, the avant-garde and the newly-born genre of the museum film, this collection includes detailed discussions of installation art, and close analyses of media relations which range from dance to painting to performance art. Thanks to the title of Andre Malraux's famous project, Film, Art, New Media: Museum Without Walls? invites readers to reflect on the museum of the future, where twentieth-century cinema will play a pivotal role by interrogating the relation between art and science, technology and nature, from the side of photography in dialogue with digitalization.
Author : Eleanor Rees
Publisher : Bloomsbury Publishing
Page : 281 pages
File Size : 43,6 Mb
Release : 2022-12-15
Category : Performing Arts
ISBN : 9781350246379
This book highlights the significant role that production artists played when Russian cinema was still in its infancy. It uncovers Russian cinema's connections with other art forms, examining how production artists drew on both aesthetic traditions and modernist experiments in architecture, painting and theatre as they explored the new medium of cinema and its potential to engender new models of perception and forms of audience engagement. Drawing on set design sketches, archival documents and film-makers' memoirs, Eleanor Rees reveals how less-canonical films such as Behind the Screen (Kulisy ekrana, 1919) and Palace and Fortress (Dvorets i krepost ́, 1923), were remarkable from a design perspective, and also provides new readings of well-known films, such as Children of the Age (Deti veka, 1915) and Strike (Stachka, 1925). Rees brings to light information on significant but understudied figures such as Vladimir Egorov and Sergei Kozlovskii, and highlights the involvement of well-known figures such as Lev Kuleshov and Aleksandr Rodchenko. Unlike the majority of late Imperial directors and camera operators, many early-Russian production artists continued to work in cinema in the Soviet era and to draw on practices forged before the 1917 Revolution. In spanning the entire silent era, this book highlights the often overlooked continuities between the late-Imperial and early-Soviet periods of cinema, thus questioning traditional historical periodisations.
Author : Michael Betancourt
Publisher : CRC Press
Page : 168 pages
File Size : 45,5 Mb
Release : 2016-02-19
Category : Art
ISBN : 9781317359159
Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today’s film editors, motion designers, and other media artists.
Author : Philip Cavendish
Publisher : Berghahn Books
Page : 362 pages
File Size : 45,8 Mb
Release : 2013-12-30
Category : Performing Arts
ISBN : 9781782380788
Unlike previous studies of the Soviet avant-garde during the silent era, which have regarded the works of the period as manifestations of directorial vision, this study emphasizes the collaborative principle at the heart of avant-garde filmmaking units and draws attention to the crucial role of camera operators in creating the visual style of the films, especially on the poetics of composition and lighting. In the Soviet Union of the 1920s and early 1930s, owing to the fetishization of the camera as an embodiment of modern technology, the cameraman was an iconic figure whose creative contribution was encouraged and respected. Drawing upon the film literature of the period, Philip Cavendish describes the culture of the camera operator, charts developments in the art of camera operation, and studies the mechanics of key director-cameraman partnerships. He offers detailed analysis of Soviet avant-garde films and draws comparisons between the visual aesthetics of these works and the modernist experiments taking place in the other spheres of the visual arts.
Author : Adelheid Heftberger
Publisher : Springer
Page : 311 pages
File Size : 50,7 Mb
Release : 2019-01-02
Category : Social Science
ISBN : 9783030028640
This book highlights the quantitative methods of data mining and information visualization and explores their use in relation to the films and writings of the Russian director, Dziga Vertov. The theoretical basis of the work harkens back to the time when a group of Russian artists and scholars, known as the “formalists,” developed new concepts of how art could be studied and measured. This book brings those ideas to the digital age. One of the central questions the book intends to address is, “How can hypothetical notions in film studies be supported or falsified using empirical data and statistical tools?” The first stage involves manual and computer-assisted annotation of the films, leading to the production of empirical data which is then used for statistical analysis but more importantly for the development of visualizations. Studies of this type furthermore shed light on the field of visual presentation of time-based processes; an area which has its origin in the Russian formalist sphere of the 1920s and which has recently gained new relevance due to technological advances and new possibilities for computer-assisted analysis of large and complex data sets. In order to reach a profound understanding of Vertov and his films, the manual or computer-assisted data analysis must be combined with film-historical knowledge and a study of primary sources. In addition, the status of the surviving film materials and the precise analysis of these materials combined with knowledge of historical film technology provide insight into archival policy and political culture in the Soviet Union in the 1920s and 30s.
Author : Richard Barsam
Publisher : Indiana University Press
Page : 508 pages
File Size : 49,6 Mb
Release : 1992-11-22
Category : Performing Arts
ISBN : 0253207061
"Richard Barsam has given us as comprehensive a study of the origins and development of the nonfiction mode in motion pictures as we are ever likely to have in one volume. He draws on all the major written sources and many which are little known, and he shares with us many eloquent descriptions of the films themselves, giving us a valuable textbook." --Richard Dyer MacCann "... superb work... " --Historical Journal of Film, Radio, and Television