|
Showing 1 - 6 of
6 matches in All Departments
This is the first book in English exclusively devoted to the long
take, one of the key elements of film style. Increasingly visible
in contemporary international media, the long take currently
attracts a good deal of attention in criticism and commentary.
There are also significant strands of film theory in which duration
has become a recurrent concern. In keeping with the approach of
Palgrave Close Readings in Film and Television, this collection is
devoted to the detailed critical analysis of specific long takes,
explored in terms of how they function within their contexts, how
they shape the visual field, the meanings they generate and the
effects they create. The Long Take: Critical Approaches brings
together essays by established and emerging scholars (all but one
essay commissioned for this volume) in an exciting collection that
analyses works from a range of filmmaking traditions, from the
1930s to the present day, selected to represent varied long take
practices and to explore associated debates.
From the coming of sound to the 1960s, the musical was central to
Hollywood production. Exhibiting - often in spectacular fashion -
the remarkable resources of the Hollywood studios, musicals came to
epitomise the very idea of 'light entertainment'. Films like "Top
Hat" and "42nd Street, Meet Me in St. Louis" and "On the Town,
Singin' in the Rain and Oklahoma , West Side Story" and "The Sound
of Music" were hugely popular, yet were commonly regarded by
cultural commentators as trivial and escapist. It was the 1970s
before serious study of the Hollywood musical began to change
critical attitudes and foster an interest in musical films produced
in other cultures. Hollywood musicals have become less common, but
the genre persists and both academic interest in and fond nostalgia
for the musical shows no signs of abating. "100 Film Musicals"
provides a stimulating overview of the genre's development, its
major themes and the critical debates it has provoked. While
centred on the dominant Hollywood tradition, "100 Film Musicals"
includes films from countries that often tried to emulate the
Hollywood style, like Britain and Germany, as well as from very
different cultures like India, Egypt and Japan. Jim Hillier and
Douglas Pye also discuss post-1960s films from many different
sources which adapt and reflect on the conventions of the genre,
including recent examples such as "Moulin Rouge " and "High School
Musical, " demonstrating that the genre is still very much alive.
Approaches to the detailed analysis of film and related questions
about interpretations and value are once again being widely debated
in film studies. Style and meaning is the first edited collection
for many years to focus on these matters. The essays - which
include contributions by established film scholars (such as George
M. Wilson, V. F. Perkins and Laura Mulvey) and by younger writers
in the field - centre on methods of close analysis and ground their
discussion in the detail of individual films. With a common focus
on the choices made by filmmakers, the writers explores different
aspects of the relationship between textual detail and broader
conceptual frameworks. Some chapters examine individual aspects of
filmmaking - the long take, cinematography, space and point of
view, unreliable narration. Others take up different kinds of
questions which are equally crucial to textual analysis and
interpretation, including: meaning and value; emotional response;
the concept of 'the fictional world'; new technologies and film
analysis. The selection of films has been made to reflect not only
those areas of film history which traditionally been explored
through mise-en-scene criticism, but also areas such as the
avant-garde and television drama which have not tended to receives
such detailed investigation. In these ways the book conducts a
series of dialogues with issues in film study which are
specifically provoked by close analysis. Style and meaning is an
important new initiative in the varied literature of film studies.
its highly readable collection of analyses and variety of
approaches will prove popular on undergraduate courses while
providing an invaluable resource for graduate students and teachers
of film and media. -- .
From the coming of sound to the 1960s, the musical was central to
Hollywood production. Exhibiting - often in spectacular fashion -
the remarkable resources of the Hollywood studios, musicals came to
epitomise the very idea of 'light entertainment'. Films like Top
Hat and 42nd Street, Meet Me in St. Louis and On the Town, Singin'
in the Rain and Oklahoma!, West Side Story and The Sound of Music
were hugely popular, yet were commonly regarded by cultural
commentators as trivial and escapist. It was the 1970s before
serious study of the Hollywood musical began to change critical
attitudes and foster an interest in musical films produced in other
cultures. Hollywood musicals have become less common, but the genre
persists and both academic interest in and fond nostalgia for the
musical shows no signs of abating. 100 Film Musicals provides a
stimulating overview of the genre's development, its major themes
and the critical debates it has provoked. While centred on the
dominant Hollywood tradition, 100 Film Musicals includes films from
countries that often tried to emulate the Hollywood style, like
Britain and Germany, as well as from very different cultures like
India, Egypt and Japan. Jim Hillier and Douglas Pye also discuss
post-1960s films from many different sources which adapt and
reflect on the conventions of the genre, including recent examples
such as Moulin Rouge! and High School Musical, demonstrating that
the genre is still very much alive.
Victor Perkins (1936-2016) was a foundational figure for the study
of film both as a writer and as an educationalist and teacher who
played a key role in establishing film within British higher
education. Best known for his 1972 book Film as Film, Perkins has a
worldwide reputation within film studies that has been enhanced in
recent years by the interest among emerging scholars in the
practices of detailed film criticism. His extensive writing in
journals and edited collections, spanning sixty years, is less well
known, despite its importance and quality, partly because much of
it was published in small magazines with limited distribution. V.
F. Perkins on Movies: Collected Shorter Film Criticism, edited by
Douglas Pye, makes it possible to see his writing as a coherent
body of work, developed over a long career, and to appreciate its
great historical and cultural significance. Part 1 of the book
covers Perkins's early articles from 1960 to 1972, showing the
emergence of ways of thinking about criticism and movies that
remained constant throughout his career. Perkins was one of a small
group of British writers who pioneered the serious and systematic
discussion of Hollywood cinema. Beginning at the University of
Oxford in the pages of Oxford Opinion, and then in Movie, the
journal they established in 1962, these writers mounted a sustained
critique of established writing on film, arguing for a criticism
rooted in the detailed decisions that make up the complex texture
of a film. The work Perkins published in the 1980s and beyond,
which makes up part 2 of this volume, was resolute in upholding his
critical values. It elaborated his approach in studies of
individual movies and their makers and also reflected on major
critical and conceptual issues, while maintaining his lifelong
commitment to writing accessibly in ordinary language. V. F.
Perkins on Movies gives unimpeded access to one of the most
distinctive and distinguished of critical voices and will be widely
welcomed by academics, students of film, and informed film
enthusiasts.
Victor Perkins (1936-2016) was a foundational figure for the study
of film both as a writer and as an educationalist and teacher who
played a key role in establishing film within British higher
education. Best known for his 1972 book Film as Film, Perkins has a
worldwide reputation within film studies that has been enhanced in
recent years by the interest among emerging scholars in the
practices of detailed film criticism. His extensive writing in
journals and edited collections, spanning sixty years, is less well
known, despite its importance and quality, partly because much of
it was published in small magazines with limited distribution. V.
F. Perkins on Movies: Collected Shorter Film Criticism, edited by
Douglas Pye, makes it possible to see his writing as a coherent
body of work, developed over a long career, and to appreciate its
great historical and cultural significance. Part 1 of the book
covers Perkins's early articles from 1960 to 1972, showing the
emergence of ways of thinking about criticism and movies that
remained constant throughout his career. Perkins was one of a small
group of British writers who pioneered the serious and systematic
discussion of Hollywood cinema. Beginning at the University of
Oxford in the pages of Oxford Opinion, and then in Movie, the
journal they established in 1962, these writers mounted a sustained
critique of established writing on film, arguing for a criticism
rooted in the detailed decisions that make up the complex texture
of a film. The work Perkins published in the 1980s and beyond,
which makes up part 2 of this volume, was resolute in upholding his
critical values. It elaborated his approach in studies of
individual movies and their makers and also reflected on major
critical and conceptual issues, while maintaining his lifelong
commitment to writing accessibly in ordinary language. V. F.
Perkins on Movies gives unimpeded access to one of the most
distinctive and distinguished of critical voices and will be widely
welcomed by academics, students of film, and informed film
enthusiasts.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|