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Mark Cousins

The Story of Film

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  • Алихан Исрапиловhar citeratför 5 år sedan
    Gombrich’s argument was that artistic influence is a matter of “schema plus correction”, but I would prefer the word “variation”. His point is that for an artform to evolve, original images can’t always be copied slavishly. They should be adjusted according to new technical possibilities, changing storytelling fashions, political ideas, emotional trends, etc.
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    Protazanov, Sjöström, Stiller, Bauer, Phalke and Murata
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    Only if man one was looking right and man two was looking left would their conversation have been spatially clear and their eye-lines have matched.
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    In the period from 1903 to 1918, many of the ingredients of Western storytelling cinema fell into place: continuity cutting, close-ups, parallel editing, expressive lighting, nuanced acting and reverse angle editing: an impressive array of techniques.9 However, one is missing, perhaps the most important one. Its exact origin is difficult to trace, but it appeared at the very end of this period – “eye-line matching”.
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    Rojo no Reikon/Souls on the Road (Japan, 1921)
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    Erich Von Stroheim
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    it ambitiously showed that a cut between shots could be a thematic tool, that it could be an intellectual signpost, asking the audience to notice, not something about the action or story, but about the meaning of the sequence
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    Intolerance appears stodgy today, but its relevance is twofold. First it took intercutting a stage further than Pathé’s The Horse that Bolted. His intercutting is not saying “Meanwhile”. He cut between different time periods, between events that were not happening simultaneously. He was not cutting for action (Porter) or temporally (Pathé), but was doing it thematically. He was saying, “Look, these very different events are examples of the same human trait” – intolerance, or the failure of love
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    Griffith’s visual ideas for Intolerance
  • Carlos Hernández Caudillohar citeratför 5 år sedan
    Griffith filmed the Babylon sequence from hot-air balloons and rigged up a type of dolly shot in mid-air, by placing the camera on a moving tower, which was a first.
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