Theory of Film: The Redemption of Physical RealityPrinceton University Press, 1997 - Broj stranica: 364 Siegfried Kracauer's classic study, originally published in 1960, explores the distinctive qualities of the cinematic medium. The book takes its place alongside works in classical film theory by such figures as Béla Balázs, Rudolf Arnheim, and André Bazin, among others, and has met with much critical dispute. In this new edition, Miriam Bratu Hansen, examining the book in the context of Kracauer's extensive film criticism from the 1920s, provides a framework for appreciating the significance of Theory of Film for contemporary film theory. |
Sadržaj
V | 3 |
VI | 4 |
VII | 8 |
VIII | 12 |
IX | 13 |
X | 18 |
XI | 21 |
XII | 22 |
LXXXIII | 170 |
LXXXIV | 171 |
LXXXVI | 173 |
LXXXVII | 175 |
LXXXVIII | 177 |
XC | 178 |
XCII | 179 |
XCIII | 180 |
XIII | 25 |
XIV | 27 |
XV | 28 |
XVI | 30 |
XVIII | 33 |
XIX | 35 |
XX | 36 |
XXI | 37 |
XXII | 39 |
XXIII | 41 |
XXIV | 45 |
XXV | 46 |
XXVII | 57 |
XXVIII | 58 |
XXIX | 60 |
XXXI | 62 |
XXXII | 63 |
XXXIV | 64 |
XXXV | 68 |
XXXVI | 69 |
XXXVII | 71 |
XXXVIII | 72 |
XXXIX | 73 |
XL | 75 |
XLI | 77 |
XLIII | 79 |
XLIV | 82 |
XLV | 83 |
XLVI | 84 |
XLVII | 87 |
XLVIII | 90 |
XLIX | 93 |
LI | 94 |
LII | 95 |
LIV | 96 |
LV | 97 |
LVI | 98 |
LVII | 99 |
LVIII | 100 |
LIX | 102 |
LXI | 103 |
LXII | 104 |
LXIII | 111 |
LXIV | 124 |
LXV | 125 |
LXVI | 127 |
LXVII | 128 |
LXVIII | 133 |
LXX | 134 |
LXXI | 139 |
LXXIII | 144 |
LXXIV | 152 |
LXXV | 157 |
LXXVI | 158 |
LXXVII | 159 |
LXXVIII | 160 |
LXXIX | 163 |
LXXX | 166 |
LXXXI | 167 |
LXXXII | 169 |
XCIV | 181 |
XCV | 182 |
XCVII | 183 |
XCVIII | 187 |
XCIX | 192 |
C | 193 |
CI | 194 |
CII | 195 |
CIV | 196 |
CV | 199 |
CVI | 201 |
CVIII | 206 |
CIX | 211 |
CX | 215 |
CXI | 216 |
CXIII | 218 |
CXIV | 219 |
CXV | 220 |
CXVI | 221 |
CXVII | 222 |
CXVIII | 225 |
CXIX | 230 |
CXX | 231 |
CXXI | 232 |
CXXII | 233 |
CXXIII | 234 |
CXXIV | 237 |
CXXV | 239 |
CXXVI | 240 |
CXXVII | 242 |
CXXVIII | 245 |
CXXIX | 246 |
CXXX | 251 |
CXXXI | 252 |
CXXXII | 254 |
CXXXIII | 260 |
CXXXIV | 262 |
CXXXV | 263 |
CXXXVII | 265 |
CXXXVIII | 270 |
CXXXIX | 272 |
CXL | 283 |
CXLI | 285 |
CXLII | 287 |
CXLIII | 288 |
CXLIV | 291 |
CXLV | 294 |
CXLVI | 296 |
CXLVII | 297 |
CXLVIII | 298 |
CXLIX | 300 |
CL | 303 |
CLI | 304 |
CLII | 308 |
CLIII | 309 |
CLIV | 313 |
CLV | 339 |
| 351 | |
Ostala izdanja - Prikaži sve
Uobičajeni izrazi i fraze
actor actually aesthetic affinity ART FILM ART FILM LIBRARY artist audience avant-garde camera camera-reality character cinematic cinematic approach cinematic subjects cinématographe close-up comedy continuum contrapuntal D. W. Griffith dialogue dimension Documentary Film dream effect Eisenstein experience experimental film fantasy feature Federico Fellini film maker film's filmologie flow Frankfurter Zeitung function genre Griffith human Ibid Illus imagery images impression inner instance intrigue Jean Epstein Kracauer Marcel L'Herbier matter meanings medium MODERN ART FILM motif motion movement moviegoer narrative nature Newhall noises novel objects painting Paris patterns photographic physical existence physical reality pictorial Proust Pudovkin RASHOMON real-life realistic rendering René Clair Revue Rotha Sadoul says scenes screen sense sequence shots Siegfried Kracauer significance silent film sound spectator speech stage stagy street synchronized tendency theater theatrical story Theory of Film things tion UMBERTO D uncinematic visuals whole words York