02238nam 2200505 a 450 991081167920332120200520144314.00-520-92402-91-59734-792-2(CKB)111056485640900(EBL)222972(OCoLC)475926808(SSID)ssj0000217156(PQKBManifestationID)11186849(PQKBTitleCode)TC0000217156(PQKBWorkID)10202214(PQKB)11508338(MiAaPQ)EBC222972(EXLCZ)9911105648564090019990827d2000 uy 0engur|n|---|||||txtccrOverhearing film dialogue /Sarah Kozloff1st ed.Berkeley University of California Pressc20001 online resource (336 p.)Filmography: p. 289-295.0-520-22137-0 Includes bibliographical references (p. 297-310) and index.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 pictures.791.43/6Kozloff Sarah625446MiAaPQMiAaPQMiAaPQBOOK9910811679203321Overhearing Film Dialogue1731274UNINA