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[null,"1.","Record Nr.",null,"UNISA990000818450203316"]
[null,null,"Titolo",null,"Applied optics : a publication of the Optical society of America"]
[null,null,"Pubbl/distr/stampa",null,"Washington : Optical Society of America"]
[null,null,"ISSN",null,"0003-6935"]
[null,null,"Descrizione fisica",null,"v. ill."]
[null,null,"Disciplina",null,"621.3605"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Periodico"]
[null,null,null,"Note generali","Inizia nel1962"]
[{"$nulls":4},"Descrizione basata su: vol. 28, n. 1 (1 Jan. 1989)"]
[null,"2.","Record Nr.",null,"UNINA9910813854503321"]
[null,null,"Titolo",null,"The essay film : dialogue, politics, Utopia / / edited by Elizabeth A. Papazian and Caroline Eades"]
[null,null,"Pubbl/distr/stampa",null,"London, [England] ; ; New York, [New York] : , : Wallflower Press, , 2016"]
[{"$nulls":4},"©2016"]
[null,null,"ISBN",null,"0-231-85103-0"]
[null,null,"Descrizione fisica",null,"1 online resource (328 pages)"]
[null,null,"Collana",null,"Nonfictions"]
[null,null,"Disciplina",null,"704.94"]
[null,null,"Soggetti",null,"Experimental films - Political aspects"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Includes index."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references at the end of each chapters and index."]
[null,null,"Nota di contenuto",null,"Frontmatter -- Contents -- Acknowledgments -- Notes On Contributors -- Introduction Dialogue, Politics, Utopia -- Chapter 1. Essayism And Contemporary Film Narrative -- Chapter 2. Essaying The Forms Of Popular Cinema: Godard, Farocki And The Principle Of Shot/Countershot -- Chapter 3. The Practice Of Strangeness: L’Intrus, From Jean-Luc Nancy (2000) To Claire Denis (2004) -- Chapter 4. Cinéma-Vérité And Kino-Pravda: Rouch, Vertov And The Essay Form -- Chapter 5. Notes For A Revolution: Pasolini’S Postcolonial Essay Films -- Chapter 6. Chris Marker’S Description Of A Struggle And The Limits Of The Essay Film -- Chapter 7. A Woman With A Movie Camera: Chantal Akerman’S Essay Films -- Chapter 8. ‘What Does It Mean Today To Be A Communist?’: Nanni Moretti’S Palombella Rossa And La Cosa As Essay Films -- Chapter 9. Mohamed Soueid’S Cinema Of Immanence -- Chapter 10. Inside/Outside: Nicolasito Guillén Landrián’S Subversive Strategy In Coffea Arábiga -- Chapter 11. American Essays In How To Build A Home: Thoreau, Mekas, Proenneke -- Chapter 12. ‘To Speak, To Hold, To Live By The Image’: Notes In The Margins Of The New Videographic Tendency -- Afterword. The Idea Of Essay Film -- Index"]
[null,null,null,"Sommario/riassunto","With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) "]
[{"$nulls":4},"explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema—fiction film, popular cinema, and documentary, video installation, and digital essay.A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolás Guillén Landrián (Coffea Arábiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film—as process, as experience, as experiment—opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis."]