Montage Eisenstein (Theories of representation and difference)

Text: English, French (translation)

Montage Eisenstein (Theories of Representation and Difference)

Humor & Entertainment

Aumont, Jacques

Movies

Indiana Univ. Pr

Aesthetics of Film (Texas Film Studies Series)

Winner, A Choice Magazine Outstanding Academic BookA concise, lively, and readable summary of classical and contemporary film theory, Aesthetics of Film is the work of experts who are defining the parameters of film criticism internationally. First published in French (L'Esthetique du film) in 1983, the book provides an essential introduction to all major areas of film study, including semiotics, narratology, psychoanalysis as a part of film theory, and the theory of spectatorship.Because current film criticism is part of a historical debate about the role of cinema in society, the authors probe the contributions of significant film theorists of the past. They consider the earliest writings of Munsterberg, Balazs, and Eisenstein, move on to Bazin, the Filmologists, and Mitry, and address the linguistic, semiotic, and psychoanalytic contributions offered by Barthes, Metz, and many of their contemporaries.The chapters include "Film as Audiovisual Representation," "Montage," "Cinema and Narration," "Cinema and Language," and "Film and its Spectator." With numerous references to specific films and many black-and-white stills, the book will be useful for both beginning film students and advanced scholars who need a summary of the major stages in the development of film theory and aesthetics.

Marie, Michel

Bergala, Alain

Vernet, Marc

University of Texas Press

Winner, A Choice Magazine Outstanding Academic Book
A concise, lively, and readable summary of classical and contemporary film theory, Aesthetics of Film is the work of experts who are defining the parameters of film criticism internationally. First published in French (L'Esthetique du film) in 1983, the book provides an essential introduction to all major areas of film study, including semiotics, narratology, psychoanalysis as a part of film theory, and the theory of spectatorship.
Because current film criticism is part of a historical debate about the role of cinema in society, the authors probe the contributions of significant film theorists of the past. They consider the earliest writings of Munsterberg, Balazs, and Eisenstein, move on to Bazin, the Filmologists, and Mitry, and address the linguistic, semiotic, and psychoanalytic contributions offered by Barthes, Metz, and many of their contemporaries.
The chapters include "Film as Audiovisual Representation," "Montage," "Cinema and Narration," "Cinema and Language," and "Film and its Spectator." With numerous references to specific films and many black-and-white stills, the book will be useful for both beginning film students and advanced scholars who need a summary of the major stages in the development of film theory and aesthetics.

BFI Publishing

Book by Aumont, Jacques, Pajackowska, Claire

The Image

Pajackowska, Claire

British Film Inst

Product Description Describing editing as cinema's formal and aesthetic soul because of its ability to represent time, in this wide-ranging essay Jacques Aumont surveys the theory and practice of editing and montage from early cinema to the digital era. Aumont addresses the Soviet filmmaker-theorists of the 1920s, of course – he is a translator of Eisenstein and the author of a book on Eisenstein's montage – but also brings into the discussion contemporary directors such as Jia Zhangke, Abbas Kiarostami, Aleksandr Sokurov, Kathryn Bigelow and Lisandro Alonso, with stops along the way for the ideas of André Bazin, Jean-Luc Godard and Pier Paolo Pasolini. This original essay is essential reading by one of the leading film scholars at work in the world today and a rare opportunity for English speakers to enjoy his work. This expanded and revised edition adds a dozen pages to the original volume. "We have entered into a period in which the reign of vision has become contested by that of the image, with the result that editing has changed nature, because its job is no longer to regulate a succession of shots as much as it is to regulate a succession of images. And while the shot has a responsibility towards reality, the image is responsible only to itself." ― Jacques Aumont About the Author Jacques Aumont taught cinema and aesthetics for forty years in Paris universities. His work has focused on three related fields: (1) theoretical problems around representation and the aesthetics of visual art; (2) the relationship of film and fiction; and (3) film analysis, its methodology and related concepts. He is the author, co-author, editor or translator of more than twenty books, including in English Montage Eisenstein, The Image and Aesthetics of Film. In 2019, he received the prestigious Balzan Prize for his career in film studies.

Montage

Arts & Photography

History & Criticism

caboose

Ève et Pandora: La création de la femme

Literature & Fiction

COLLECTIFS

Vernant, Jean-Pierre

Baschet, Jérôme

Schmitt-Pantel, Pauline

Lissarague, François

Angliviel de la Beaumelle, Laurent

Douaire-Marsaudon, Françoise

Van der Lugt, Maaike

Wajeman, Lise

Essays & Correspondence

Gallimard]

L'image (2e ed.)

Reference

Foreign Language Study & Reference

NATHAN

Depuis sa première édition il y a 25 ans, "l’Analyse des films" est devenu un classique des études cinématographiques. Après avoir défini l’activité analytique, l’ouvrage présente successivement l’analyse du fait narratif et du récit, l’analyse plastique et sonore, et enfin le rapport à l’histoire. Jacques Aumont et Michel Marie y démontrent que l’analyse prend tout son sens si elle débouche sur une réflexion générale, qui dépasse le cas particulier de l’œuvre étudiée. Ils se sont efforcés de décrire et de commenter les meilleures analyses publiées en français et dans d’autres langues, et d’en retenir les acquis méthodologiques. Les divers outils d’analyse sont illustrés à l’aide de tableaux, de schémas ou de photogrammes, et portent sur des films puisés dans toute l’histoire du cinéma. Entièrement refondue et repensée, enrichie d’exemples récents, cette troisième édition de l’Analyse des films est plus que jamais «une bible et un sésame» pour tous les étudiants en cinéma et les cinéphiles. Au sommaire: 1: La démarche analytique; 2: Objets analysables, instruments de l'analyse; 3: L'analyse du fait narratif; 4: Un médium visuel et sonore; 5: Brève histoire de l'analyse; 6: Analyse de films et histoire du cinéma; 7: Portée de l'analyse.

L'analyse des films - 3e édition

Photography & Video

ARMAND COLIN

L'interprétation des films

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