Thanks to Lu Tedan for all his hard work! The translator is Fan Bei. Thanks to Luo Jin and Zhou Bin as well! Our thanks to the editors and translators who have made these editions possible. The entire issue is devoted to cinema, with spectacularly illustrated essays on Demy, Godard, and other filmmakers. My thanks to Jean-Pierre Criqui for his kind invitation to participate in this issue.
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Thanks to Lu Tedan for all his hard work! The translator is Fan Bei. Thanks to Luo Jin and Zhou Bin as well! Our thanks to the editors and translators who have made these editions possible. The entire issue is devoted to cinema, with spectacularly illustrated essays on Demy, Godard, and other filmmakers. My thanks to Jean-Pierre Criqui for his kind invitation to participate in this issue. We thank the translators and the publishers for bringing these books out.
So our thanks to Matt Zoller Seitz , filmmaker and film critic extraordinary, for his generous essay about our work. Along with the book comes a beautiful DVD including the masterpiece Anonimatografo. Film History: An Introduction has been issued in its third edition. It is considerably enhanced with material on the cinema of the s, including coverage of recent Chinese film, developments in American indies including Mumblecore , trends toward globalization, and a wholly new chapter on Digital Cinema.
That chapter tried to introduce the aims of the book and to float some general considerations about doing research into film history. Some of those concerns were practical, such as the difference between primary and secondary sources of information. Other concerns were more theoretical, such as the distinction between methodological holism and methodological individualism. Nothing like this introduction has ever appeared in any film textbook that we know, and we are somewhat sad to drop it.
Thanks to the Internets, however, nothing need be lost. That site includes our bibliographies and our chapter-by-chapter Notes and Queries, supplementary information and ideas about film history.
Also new is a big, very useful reference work edited by Paisley Livingson and Carl Plantinga. The Routledge Companion to Philosophy and Film is a vast treasure house of material on a great variety of topics, from Genre and Sound to Emotion, Empathy, and even Consciousness.
Go here for a table of contents. I wrote two of the entries, on Eisenstein and on cognitive theory. The book is very expensive and probably suitable only for library purchase. Papirus Editora, a Brazilian publisher who has issued books by Kristin and me in Portuguese, has just published a translation of Figures Traced in Light. A nice touch that English-language publishers have all but given up: The endnotes are now footnotes. Unhappily as well, the chart that was bungled in Poetics has also been presented inaccurately in the new anthology.
I hope that it can be corrected in future printings. Masters of Cinema label in the UK. The books he writes—go read them, absolutely!
As you can see, Chaplin would have approved of the cover, since he liked to watch the ladies. Not available online at filmquarterly. Bamberger asked to use my piece as a foreword to the paperback edition of the book; I provided a mostly new essay for the purpose.
The paperback has now appeared, though in a gesture of unsportsmanlike behavior the publisher has changed the subtitle.
Poetics Of Cinema
They move in many different directions, across the history of film, but they do conveniently highlight several areas of my research. Most important, all of these areas of inquiry put a film or batch of films at the center of the process. This automatically sets me off from some of my peers. Today there are many scholars studying the film industry and probably many more seeking to understand filmic reception by studying audiences in their sociocultural contexts. I need my movies!
Ozu and the Poetics of Cinema
About this title Bringing together twenty-five years of work on what he has called the "historical poetics of cinema," David Bordwell presents an extended analysis of a key question for film studies: how are films made, in particular historical contexts, in order to achieve certain effects? For Bordwell, films are made things, existing within historical contexts, and aim to create determinate effects. Beginning with this central thesis, Bordwell works out a full understanding of how films channel and recast cultural influences for their cinematic purposes. With more than five hundred film stills, Poetics of Cinema is a must-have for any student of cinema. His books have been translated into fifteen languages.