David Bordwell Bücher

INHALT: Andreas Rost, „Einleitendes zu den vielfältigen Erscheinungsformen postmoderner Geister“. David Bordwell, „Postmoderne und Filmkritik: Bemerkungen zu einigen endemischen Schwierigkeiten“. Mike Sandbothe, „Was heißt hier Postmoderne? - Von diffuser zu präziser Postmoderne-Bestimmung“. Ernst Schreckenberg, „Stakkatostöße, Kugelklacken - Von THE HUSTLER zu THE COLOR OF MONEY, von der klassischen zur postmodernen Inszenierung“. Thomas Elsaesser, "Augenweide am Auge des Maelstroms? - Francis Ford Coppola inszeniert BRAM STOKER'S DRACULA als den ewig jungen Mythos Hollywood„. Georg Seeßlen, “Die Faszination des Schreckens in WILD AT HEART von David Lynch„. Ernst Schreckenberg, “Was ist postmodernes Kino? - Versuch einer kurzen Antwort auf eine schwierige Frage".

Mit diesem Buch erscheint zum ersten Mal eine deutschsprachige Ausgabe der anschaulichen Lehre David Bordwells, die sich gleichermaßen an Fachleute und Laien richtet. Am Beispiel von vier ausgewählten Perioden der Filmgeschichte gibt der berühmte amerikanische Filmprofessor einen Überblick über die Kunst der Filmgestaltung. INHALT: Die Zeit des Stummfilms. Der frühe Tonfilm. Die Fünfzigerjahre. Die Neunzigerjahre.

INHALT: David Bordwell, „Modelle der Rauminszenierung im zeitgenössischen europäischen Kino“. Alain Robbe-Grillet, „Im Kaleidoskop der Lüste - Fragmentierung und Montage in GLISSEMENTS PROGRESSIFS DU PLAISIR“. Kristin Thompson, „Wiederholte Zeit und narrative Motivation in GROUNDHOG DAY / UND TÄGLICH GRÜSST DAS MURMELTIER“. Ian Christie, „Gegen den Naturalismus: Raum und Zeit in Filmen von Michael Powell und Emeric Pressburger“. Karel Reisz, „Die Kunst der Filmmontage“. Donald Richie, „Raum, Zeit und Tofu in den Filmen von Yasujiro Ozu“.

Film Art is often assigned to college students taking their first film class. Authors David Bordwell and Kristin Thompson do not follow the traditional method of teaching film art through a close analysis of individual films. Instead, they provide an overview of the major issues students confront when they watch movies. In clear, straightforward prose, the authors describe and dissect the complexities of filmmaking, film narrative, film form, and film technique. This book serves as a fine introduction not only to the field of film studies, but also to the theories and concerns of two of the most important scholars in that field.

This comprehensive survey not only acknowledges the contributions of Hollywood and films from other US sources, but broadens its scope to examine film-making internationally.

This definitive study of Hong Kong cinema examines the work of directors such as Tsui Hark, John Woo, Ringo Lam, Johnnie To, King Hu, and Wong Kar Wai.

Focusing on the historical poetics of cinema, the author delves into how films are crafted within specific historical contexts to evoke particular effects. Drawing on twenty-five years of research, the analysis explores the intricate relationship between filmmaking practices and the cultural, social, and technological influences that shape them, offering valuable insights for film studies.

Acclaimed for its breakthrough approach and its combination of theoretical analysis and empirical evidence, this is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s.

Bordwell scrutinizes the theories of style launched by various film historians and celebrates a century of cinema. The author examines the contributions of many directors and shows how film scholars have explained stylistic continuity and change.

"Arriving fifty years after Ebert published his first film review in 1967, this second edition of Awake in the Dark collects Ebert's essential writings. Featuring new Top Ten Lists and reviews of the years' finest films through 2012, this edition allows both fans and film buffs to bask in the best of an extraordinary lifetime's work."--Provided by publisher.