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book: Theory of Film Practice
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Theory of Film Practice

  • Translated by: and
Language: English
Published/Copyright: 2014

About this book

This classic in film theory, presents a systematic study of the techniques of the film medium and of their potential uses for creating formal structures in individual films such as Dovzhenko's Earth, Antonioni's La Notte, Bresson's Au Hasard Balthazar, Renoir's Nana, and Godard's Pierrot le Fou.

Originally published in 1981.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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    Frontmatter

    i
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  • Publicly Available

    Contents

    iii
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    Foreword

    v
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    I. Basic Elements

    1
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    II. Dialectics

    49
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    III. Perturbing Factors

    103
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    IV. Reflections on the Film Subject

    137
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    Index

    168
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Publishing information
Pages and Images/Illustrations in book
eBook published on:
July 14, 2014
eBook ISBN:
9781400853366
Edition:
Course Book
Pages and Images/Illustrations in book
View content
https://doi.org/10.1515/9781400853366
eBook ISBN: 9781400853366
Keywords for this book
Filmmaking; Sound effect; Close-up; Philosophy of film; Dissolve (filmmaking); Narrative; Art film; Decoupage; Propaganda film; Cinéma vérité; Screen direction; Film base; Footage; Fictional film; Underground film; Voice-over; Film studio; Film Culture; Acting; Shooting script; Film; Establishing shot; Dziga Vertov; The Cameraman; Abridgement; Michelangelo Antonioni; Mockumentary; Camera angle; Location shooting; Two shot; Analogy; Cross-cutting; Sound film; Soundtrack; Plot device; Horror film; Robert Aldrich; Contemporary Films; Art for art's sake; Action film; Narration; Art criticism; Marcel Duchamp; Genre; Visual gag; Camera lens; Color motion picture film; Melodrama; Camera; Maya Deren; Animation studio; Cinematography; Commercial director; Testimonial; Behind the Camera; Scenario; William Klein (photographer); Newsreel; Fioritura; Cinema of the United States; Kenji Mizoguchi; Luchino Visconti; Robert Bresson; Silent film; Alain Resnais; Werner Herzog; Time-lapse photography; Last Year at Marienbad; Jacques Feyder; Videotape
Audience(s) for this book
For an expert adult audience, including professional development and academic research
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