Kapitel in diesem Buch

1. Frontmatter i
2. CONTENTS iii
3. LIST OF ILLUSTRATIONS vi
4. ACKNOWLEDGEMENTS vii
5. SECTION I FILM THEORY AND FILM FORM
6. Theory and Culture
7. INTRODUCTION 5
8. 1 AN AESTHETIC OF REALITY: NEOREALISM (CINEMATIC REALISM AND THE ITALIAN SCHOOL OF THE LIBERATION) 13
9. 2 NOIR NARRATION 25
10. 3 THE 'CINEMA OF POETRY' 37
11. 4 THE MODERN CINEMA AND NARRATIVITY 54
12. 5 SPATIAL AND TEMPORAL ARTICULATIONS 66
13. 6 THE MIND'S EYE 76
14. 7 BEYOND THE MOVEMENT-IMAGE 89
15. 8 IMAGING 103
16. 9 TOTALITY AS CONSPIRACY 119
17. 10 A CINEMA OF POETRY 133
18. Form and Process
19. 11 A TRAVELLING SHOT OVER EIGHTY YEARS 145
20. 12 CINEMA AND TECHNOLOGY: A HISTORICAL OVERVIEW 160
21. 13 THE ROLE OF THE APPARATUS 167
22. 14 TIME, RHYTHM, EDITING 181
23. 15 THE FACT OF REALISM AND THE FICTION OF OBJECTIVITY 188
24. 16 THE ARTIFICIAL INFINITE: ON SPECIAL EFFECTS AND THE SUBLIME 208
25. 17 NEG-EXPRESSIONISM AND BRITISH CINEMATOGRAPHY: THE WORK OF ROBERT KRASKER AND JACK CARDIFF 223
26. 18 DAYS OF HEAVEN (TERRENCE MALICK - 1976) 234
27. 19 MICHAEL CHAPMAN (INTERVIEW WITH MICHAEL CHAPMAN) 247
28. SECTION 2 INTERNATIONAL CINEMA
29. INTRODUCTION 261
30. 20 INTRODUCTION TO OZU 267
31. 21 FEMININITY BY DESIGN: VERTIGO 275
32. 22 INTRODUCTION TO ORSON WELLES, DIRECTOR 287
33. 23 BRESSON 298
34. 24 GODARD 307
35. 25 ANTONIONI'S RED DESERT 318
36. 26 TRANSFORMATIONS IN FASSBINDER'S BITTER TEARS OF PETRA VON KANT 333
37. 27 BLACK GOD, WHITE DEVIL: THE REPRESENTATION OF HISTORY 343
38. 28 THE SHOOT 356
39. 29 THE CARAPACE THAT FAILED: OUSMANE SEMBENE'S XALA 364
40. 30 THE BOOK DEPOSITORY 376
41. 31 THE FORCE OF SURFACES: DEFIANCE IN ZHANG YIMOU'S FILMS 384
42. 32 MONUMENTS OF TIME: THE WORKS OF THEO ANGELOPOULOS 399
43. 33 IMAGINARY IMAGES: AN EXAMINATION OF ATOM EGOYAN'S FILMS 410
44. 34 BERGMAN'S SILENCE 422
45. 35 REPENTANCE: STALINIST TERROR AND THE REALISM OF SURREALISM 426
46. INDEX 440