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020 _a9780691213156
_qPDF
024 7 _a10.1515/9780691213156
_2doi
035 _a(DE-B1597)9780691213156
035 _a(DE-B1597)554802
035 _a(OCoLC)1158125941
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN1995
_b.T46 1988eb
072 7 _aPER004030
_2bisacsh
082 0 4 _a791.43/75
_222
084 _aonline - DeGruyter
100 1 _aThompson, Kristin
_eautore
245 1 0 _aBreaking the Glass Armor /
_cKristin Thompson.
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2020]
264 4 _c©1988
300 _a1 online resource (376 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tPreface and Acknowledgments --
_tPART ONE. A Neoformalist Approach to Film Analysis --
_tPART TWO. The Ordinary Film --
_tPART THREE. Analyzing the Dominant --
_tPART FOUR. Defamiliarization within the Classical Cinema --
_tPART FIVE. A Formal Look at Realism --
_tPART SIX. The Perceptual Challenges of Parametric Form --
_tIndex --
_tIllustrations
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _a"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)
650 0 _aFilm criticism
_xPhilosophy.
650 0 _aMotion pictures.
650 7 _aPERFORMING ARTS / Film & Video / History & Criticism.
_2bisacsh
653 _aActing.
653 _aAmbiguity.
653 _aAnalysis.
653 _aBackgrounds.
653 _aBaring the device.
653 _aBordwell, David.
653 _aBound motifs.
653 _aCharacter.
653 _aClassical cinema.
653 _aDefamiliarization.
653 _aDevice.
653 _aDominant.
653 _aEditing.
653 _aFabula.
653 _aFlashback.
653 _aFraming.
653 _aFunction.
653 _aGenre.
653 _aHistory.
653 _aIdeology.
653 _aKeaton, Buster.
653 _aLate Spring.
653 _aLaura.
653 _aMarxism.
653 _aMeaning.
653 _aMethod.
653 _aMotivation.
653 _aNarration.
653 _aNorms and deviations.
653 _aOzu, Yasujiro.
653 _aParametric form.
653 _aPerception.
653 _aRealism.
653 _aSound.
653 _aSpectator.
653 _aStyle.
653 _aWodehouse, P. G.
653 _aYakir, Dan.
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780691213156?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780691213156
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9780691213156.jpg
942 _cEB
999 _c194984
_d194984