02423nam 22005533u 450 991078008000332120230422042427.00-520-92402-91-59734-792-2(CKB)111056485640900(EBL)222972(OCoLC)475926808(SSID)ssj0000217156(PQKBManifestationID)11186849(PQKBTitleCode)TC0000217156(PQKBWorkID)10202214(PQKB)11508338(MiAaPQ)EBC222972(EXLCZ)9911105648564090020130418d2000|||| u|| |engur|n|---|||||txtccrOverhearing film dialogue /[electronic resource]. /Sarah KozloffBerkeley University of California Press20001 online resource (336 p.)Description based upon print version of record.0-520-22137-0 Preliminaries; Contents; Acknowledgments; Introduction; 1. The Functions of Dialogue in Narrative Film; 2. Structural and Stylistic Variables; 3. Integration; 4. Verbal Frontiers: Dialogue in Westerns; 5. Word Play: Dialogue in Screwball Comedies; 6. Words as Weapons: Dialogue in Gangster Films; 7. Misunderstandings: Dialogue in Melodramas; Conclusion; Notes; Select Filmography; Bibliography; IndexSince the birth of cinema, film has been lauded as a visual rather than a verbal medium; this sentiment was epitomized by John Ford's assertion in 1964 that, ""When a motion picture is at its best, it is long on action and short on dialogue."" Little serious work has been done on the subject of film dialogue, yet what characters say and how they say it has been crucial to our experience and understanding of every film since the coming of sound.Dialogue in motion picturesDialogue in motion picturesFilmHILCCMusic, Dance, Drama & FilmHILCCDialogue in motion pictures.Dialogue in motion picturesFilmMusic, Dance, Drama & Film791.43/6Kozloff Sarah625446AU-PeELAU-PeELAU-PeELBOOK9910780080003321Overhearing Film Dialogue1731274UNINA