LEADER 05700nam 2200997 450 001 9910820139803321 005 20230617023206.0 010 $a0-520-95901-9 024 7 $a10.1525/9780520959019 035 $a(CKB)3710000000230234 035 $a(EBL)1711019 035 $a(SSID)ssj0001407000 035 $a(PQKBManifestationID)11733037 035 $a(PQKBTitleCode)TC0001407000 035 $a(PQKBWorkID)11409040 035 $a(PQKB)10154654 035 $a(MiAaPQ)EBC1711019 035 $a(DE-B1597)518760 035 $a(OCoLC)994453366 035 $a(DE-B1597)9780520959019 035 $a(Au-PeEL)EBL1711019 035 $a(CaPaEBR)ebr10928477 035 $a(CaONFJC)MIL642428 035 $a(OCoLC)890441244 035 $a(EXLCZ)993710000000230234 100 $a20140919h20042004 uy 0 101 0 $aeng 135 $aur|nu---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aClosely watched films $ean introduction to the art of narrative film technique /$fMarilyn Fabe 210 1$aOakland, California :$cUniversity of California Press,$d2004. 210 4$dİ2004 215 $a1 online resource (313 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-27997-2 311 0 $a1-322-11177-4 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tList of Illustrations --$tAcknowledgments --$tIntroduction --$t1. The Beginnings of Film Narrative: D.W. Griffith's The Birth of a Nation --$t2 The Art of Montage: Sergei Eisenstein's The Battleship Potemkin --$t3. Expressionism and Realism in Film Form: F.W. Murnau's The Last Laugh and Charles Chaplin's The Adventurer --$t4. The Conversion to Sound and the Classical Hollywood Film: Howard Hawks's His Girl Friday --$t5. Expressive Realism: Orson Welles's Citizen Kane --$t6. Italian Neorealism: Vittorio De Sica's The Bicycle Thief --$t7. Auteur Theory and the French New Wave: François Truffaut's The 400 Blows --$t8. Hollywood Auteur: Alfred Hitchcock's Notorious --$t9. The European Art Film: Federico Fellini's 8 1/2 --$t10. Film and Postmodernism: Woody Allen's Annie Hall --$t11. Political Cinema: Spike Lee's Do the Right Thing --$t12. Feminism and Film Form: Patricia Rozema's I've Heard the Mermaids Singing --$t13. Digital Video and New Forms of Narrative: Mike Figgis's Timecode and James Cameron's Avatar --$tNotes --$tGlossary --$tBibliography --$tIndex 330 $aHow do films work? How do they tell a story? How do they move us and make us think? Through detailed examinations of passages from classic films, Marilyn Fabe supplies the analytic tools and background in film history and theory to enable us to see more in every film we watch. Ranging from D. W. Griffith's The Birth of a Nation to James Cameron's Avatar, and ending with an epilogue on digital media, Closely Watched Films focuses on exemplary works of fourteen film directors whose careers together span the history of the narrative film. Lively and down-to-earth, this concise introduction provides a broad, complete, and yet specific picture of visual narrative techniques that will increase readers' excitement about and knowledge of the possibilities of the film medium. Shot-by-shot analyses of short passages from each film ground theory in concrete examples. Fabe includes original and well-informed discussions of Soviet montage, realism and expressionism in film form, classical and modern sound theory, the classic Hollywood film, Italian neorealism, the French New Wave, auteur theory, modernism and postmodernism in film, political cinema, feminist film theory and practice, and narrative experiments in new digital media. Encompassing the earliest silent films as well as those that exploit the most recent technological innovations, this book gives us the particulars of how film-arguably the most influential of contemporary forms of representation-constitutes our pleasure, influences our thoughts, and informs our daily reality. Updated to include a discussion of 3-D and advanced special effects, this tenth anniversary edition is an essential film studies text for students and professors alike. 606 $aMotion pictures$xEvaluation 606 $aMotion pictures$xAesthetics 606 $aMotion pictures 610 $aanalytical tools. 610 $aauteur theory. 610 $aavatar. 610 $aclassic films. 610 $aclassical hollywood film. 610 $aclassical sound theory. 610 $adigital media. 610 $aexpressionism in film. 610 $afeminist film theory. 610 $afeminist theory. 610 $afilm history. 610 $afilm medium. 610 $afilm scholarship. 610 $afilm studies. 610 $afilm theory. 610 $afilm. 610 $afrench new wave film. 610 $ahollywood. 610 $aitalian neorealism. 610 $amodern sound theory. 610 $amodernism in film. 610 $anarrative film. 610 $apolitical cinema. 610 $apostmodernism in film. 610 $arealism in film. 610 $ashot by shot analysis. 610 $asoviet montage. 610 $aspecial effects. 610 $athe birth of a nation. 610 $avisual narratives. 615 0$aMotion pictures$xEvaluation. 615 0$aMotion pictures$xAesthetics. 615 0$aMotion pictures. 676 $a791.43/015 700 $aFabe$b Marilyn$01005714 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910820139803321 996 $aClosely Watched Films$92312867 997 $aUNINA LEADER 02841nam 2200661Ia 450 001 9910975035103321 005 20251117095325.0 010 $a1-136-50389-7 010 $a1-136-50390-0 010 $a0-203-14467-8 024 7 $a10.4324/9780203144671 035 $a(CKB)2550000000097290 035 $a(EBL)958346 035 $a(OCoLC)798530634 035 $a(SSID)ssj0000666188 035 $a(PQKBManifestationID)11404806 035 $a(PQKBTitleCode)TC0000666188 035 $a(PQKBWorkID)10647014 035 $a(PQKB)11709173 035 $a(MiAaPQ)EBC958346 035 $a(Au-PeEL)EBL958346 035 $a(CaPaEBR)ebr10545445 035 $a(CaONFJC)MIL500766 035 $a(OCoLC)787851107 035 $a(EXLCZ)992550000000097290 100 $a20110715d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 13$aAn actress prepares $ewomen and "the method" /$fRosemary Malague 205 $a1st ed. 210 $aLondon ;$aNew York $cRoutledge$dc2012 215 $a1 online resource (265 p.) 300 $aDescription based upon print version of record. 311 08$a0-415-68157-X 311 08$a0-415-68156-1 320 $aIncludes bibliographical references and index. 327 $aAn Actress Prepares Women and "the Method"; Copyright; Contents; Acknowledgments; 1. The "Given Circumstances"; 2. Emotional Control: Lee Strasberg as "Big Daddy" of the Method; 3. Script Analysis: Stella Adler's Feminist Subtext; 4. Exercises in Repetition: Sanford Meisner and "Instinct"; 5. Respect for the Actress: Uta Hagen on Playing Female Roles; 6. The "Magic If": Forward-Looking Conclusions; Notes; Bibliography; Index 330 $a'Every day, thousands of women enter acting classes where most of them will receive some variation on the Stanislavsky-based training that has now been taught in the U.S. for nearly ninety years. Yet relatively little feminist consideration has been given to the experience of the student actress: What happens to women in Method actor training?'An Actress Prepares is the first book to interrogate Method acting from a specifically feminist perspective. Rose Malague addresses ""the Method"" not only with much-needed critical distance, but also the crucial insid 606 $aMethod acting 606 $aFeminism and theater 606 $aSex discrimination against women 606 $aSexism 615 0$aMethod acting. 615 0$aFeminism and theater. 615 0$aSex discrimination against women. 615 0$aSexism. 676 $a792.082 700 $aMalague$b Rosemary$f1961-$01882066 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910975035103321 996 $aAn actress prepares$94497082 997 $aUNINA