Sesli kitapların büyülü dünyasına adım at.
1 of 13
Kurgu Dışı
“A rich and welcome addition to the surge of scholarly interest in the Berlin School.” —Studies in European Cinema
Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance.
She argues that a preoccupation with presence, liveness, and affect—all of which are viewed as critical components of live performance—can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of “slow cinema,” Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema.
© 2019 Indiana University Press (E-Kitap): 9780253038050
Yayın tarihi
E-Kitap: 8 Şubat 2019
1 of 13
Kurgu Dışı
“A rich and welcome addition to the surge of scholarly interest in the Berlin School.” —Studies in European Cinema
Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance.
She argues that a preoccupation with presence, liveness, and affect—all of which are viewed as critical components of live performance—can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of “slow cinema,” Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema.
© 2019 Indiana University Press (E-Kitap): 9780253038050
Yayın tarihi
E-Kitap: 8 Şubat 2019
Kids mode
Çevrimdışı modu
İstediğin zaman iptal et
Her yerde erişim
Sınırsızca dinlemek ve okumak isteyenler için.
1 hesap
Sınırsız erişim
İstediğin zaman iptal et
Sınırsızca dinlemek ve okumak isteyenler için.
1 hesap
Sınırsız erişim
İstediğin zaman iptal et
Ara sıra dinleyen ve okuyanlar için.
1 hesap
9 saat/ay
İstediğin zaman iptal et
Hikayeleri sevdikleri ile paylaşmak isteyenler için.
2 hesap
Sınırsız erişim
İstediğin zaman iptal et
Hikayeleri sevdikleri ile paylaşmak isteyenler için.
3 hesap
Sınırsız erişim
İstediğin zaman iptal et
Türkçe
Türkiye