LEADER 03297nam 2200709 450 001 9910464774803321 005 20211015235451.0 010 $a3-11-081759-4 024 7 $a10.1515/9783110817591 035 $a(CKB)3390000000033297 035 $a(EBL)3044641 035 $a(OCoLC)922947941 035 $a(SSID)ssj0000560108 035 $a(PQKBManifestationID)11374006 035 $a(PQKBTitleCode)TC0000560108 035 $a(PQKBWorkID)10571847 035 $a(PQKB)10958959 035 $a(MiAaPQ)EBC3044641 035 $a(DE-B1597)43521 035 $a(OCoLC)979638771 035 $a(DE-B1597)9783110817591 035 $a(PPN)17556826X 035 $a(Au-PeEL)EBL3044641 035 $a(CaPaEBR)ebr10789673 035 $a(EXLCZ)993390000000033297 100 $a19840419h19841984 uy 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aPoint of view in the cinema $ea theory of narration and subjectivity in classical film /$fEdward Branigan ; foreword by David Bordwell 205 $aReprint 2010 210 1$aBerlin ;$aNew York :$cMouton,$d[1984] 210 4$dİ1984 215 $a1 online resource (262 p.) 225 0 $aApproaches to Semiotics [AS] ;$v66 300 $aDescription based upon print version of record. 311 0 $a3-11-177004-4 311 0 $a90-279-3079-1 320 $aIncludes bibliographies and index. 327 $tFront matter --$tChapter 1 The Problem of Point of View --$tChapter 2 Film as System --$tChapter 3 Narration --$tChapter 4 Subjectivity --$tChapter 5 The Point-of-view Shot --$tChapter 6 Character Reflection and Projection --$tChapter 7 The Modern Text: Subjectivity under Siege from Fellini's 8 1/2 to Oshima's The Story of a Man Who Left His Will on Film --$tChapter 8 Metatheory --$tAppendix Orthodox Theories of Narration --$tSuggested Further Reading --$tIndex --$tBackmatter 330 $aBranigan effectively criticizes the communication model of narration, a task long overdue in Anglo-American circles. The book brings out the extent to which mainstream mimetic theories have relied upon the elastic notion of an invisible, idealized observer, a convenient spook whom critics can summon up whenever they desire to "naturalize" style. The book also makes distinctions among types of subjectivity; after this, we will have much more precise ways of tracing the fluctuations among a character's vision, dreams, wishes, and so forth. Branigan also explains the necessity of distinguishing levels of narration. 410 0$aApproaches to Semiotics [AS] 606 $aMotion picture plays$xHistory and criticism 606 $aMotion pictures$xPhilosophy 606 $aPoint of view (Literature) 606 $aSubjectivity in motion pictures 608 $aElectronic books. 615 0$aMotion picture plays$xHistory and criticism. 615 0$aMotion pictures$xPhilosophy. 615 0$aPoint of view (Literature) 615 0$aSubjectivity in motion pictures. 676 $a791.43/01 700 $aBranigan$b Edward$f1945-$0780857 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910464774803321 996 $aPoint of View in the Cinema$91731940 997 $aUNINA