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Ästhetik und Psychologie des Kinos [Die Gesellschaft für Filmwissenschaft Tran-
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eBay-Artikelnr.:365045843632
Artikelmerkmale
- Artikelzustand
- ISBN
- 9780253213778
Über dieses Produkt
Product Identifiers
Publisher
Indiana University Press
ISBN-10
0253213770
ISBN-13
9780253213778
eBay Product ID (ePID)
1682717
Product Key Features
Number of Pages
424 Pages
Publication Name
Aesthetics and Psychology of the Cinema
Language
English
Subject
Film / General
Publication Year
2000
Type
Textbook
Subject Area
Performing Arts
Series
The Society for Cinema Studies Translation Ser.
Format
Trade Paperback
Dimensions
Item Height
1 in
Item Weight
1.6 Oz
Item Length
10 in
Item Width
7 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
96-054298
Dewey Edition
21
TitleLeading
The
Illustrated
Yes
Dewey Decimal
791.4/3/015
Synopsis
[Jean Mitry] is the Aristotle of film. --R.D. MacCann This text marks a watershed in film theory. Mitry sums up the first fifty years of theoretical writings on the cinema... --Richard Abel The rediscovery of Mitry could change the parameters of film teaching, breaking down the boundaries between the real and the formal, forcing us to see how they are inexorably fused together. --Leo Charney Christian Metz wrote that with this work, an entire era of film literature ends. Perhaps because it was so imposing, people like Metz turned in different directions--semiotics, structuralism, Marxism, psychoanalysis, and so on. --Charles Maland Jean Mitry's Aesthetics and Psychology of the Cinema presents a formalist, phenomenological approach to the aesthetics of cinema. It provides a historically interesting basis for a full-blown auteurist aesthetics, which continues to form the basis for a great deal of thinking about film. Mitry's book is also the basis out of which the semiotics of Christian Metz and others flourished in the late 1960's. It supplies the missing link between the classical film theorists like Balacz and Munsterberg and the film semioticians like Metz, who came later. Mitry is the apotheosis and grand summation of the psychological and formalist views of film. This one-volume condensation of the classic work concentrates purely on film matter. In it, Mitry discusses such topics as the film image, rhythm and montage, rhythm and moving shots, and time and space of the drama., Jean Mitry] is the Aristotle of film." --R.D. MacCann This text marks a watershed in film theory. Mitry sums up the first fifty years of theoretical writings on the cinema..." --Richard Abel The rediscovery of Mitry could change the parameters of film teaching, breaking down the boundaries between the real and the formal, forcing us to see how they are inexorably fused together." --Leo Charney Christian Metz wrote that with this work, an entire era of film literature ends. Perhaps because it was so imposing, people like Metz turned in different directions--semiotics, structuralism, Marxism, psychoanalysis, and so on." --Charles Maland Jean Mitry's Aesthetics and Psychology of the Cinema presents a formalist, phenomenological approach to the aesthetics of cinema. It provides a historically interesting basis for a full-blown auteurist aesthetics, which continues to form the basis for a great deal of thinking about film. Mitry's book is also the basis out of which the semiotics of Christian Metz and others flourished in the late 1960's. It supplies the missing link between the classical film theorists like Balacz and Munsterberg and the film semioticians like Metz, who came later. Mitry is the apotheosis and grand summation of the psychological and formalist views of film. This one-volume condensation of the classic work concentrates purely on film matter. In it, Mitry discusses such topics as the film image, rhythm and montage, rhythm and moving shots, and time and space of the drama., [Jean Mitry] is the Aristotle of film." --R.D. MacCann This text marks a watershed in film theory. Mitry sums up the first fifty years of theoretical writings on the cinema..." --Richard Abel The rediscovery of Mitry could change the parameters of film teaching, breaking down the boundaries between the real and the formal, forcing us to see how they are inexorably fused together." --Leo Charney Christian Metz wrote that with this work, an entire era of film literature ends. Perhaps because it was so imposing, people like Metz turned in different directions--semiotics, structuralism, Marxism, psychoanalysis, and so on." --Charles Maland Jean Mitry's Aesthetics and Psychology of the Cinema presents a formalist, phenomenological approach to the aesthetics of cinema. It provides a historically interesting basis for a full-blown auteurist aesthetics, which continues to form the basis for a great deal of thinking about film. Mitry's book is also the basis out of which the semiotics of Christian Metz and others flourished in the late 1960's. It supplies the missing link between the classical film theorists like Balacz and Munsterberg and the film semioticians like Metz, who came later. Mitry is the apotheosis and grand summation of the psychological and formalist views of film. This one-volume condensation of the classic work concentrates purely on film matter. In it, Mitry discusses such topics as the film image, rhythm and montage, rhythm and moving shots, and time and space of the drama.
LC Classification Number
PN1995
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