| 000 | 05563nam a2201057 454500 | ||
|---|---|---|---|
| 001 | 195519 | ||
| 003 | IT-RoAPU | ||
| 005 | 20250106150359.0 | ||
| 006 | m|||||o||d|||||||| | ||
| 007 | cr || |||||||| | ||
| 008 | 240625t20222021nju fo d z eng d | ||
| 010 | _a2021948741 | ||
| 020 |
_a9780691225524 _qPDF |
||
| 024 | 7 |
_a10.1515/9780691225524 _2doi |
|
| 035 | _a(DE-B1597)9780691225524 | ||
| 035 | _a(DE-B1597)589312 | ||
| 035 | _a(OCoLC)1302166754 | ||
| 040 |
_aDE-B1597 _beng _cDE-B1597 _erda |
||
| 050 | 0 | 0 |
_aTR893.8 _b.C64 2022 |
| 050 | 4 |
_aPN1995 _b.C644 2022 |
|
| 072 | 7 |
_aSOC052000 _2bisacsh |
|
| 082 | 0 | 4 |
_a791.4301 _223 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aCohen, Margaret _eautore |
|
| 245 | 1 | 4 |
_aThe Underwater Eye : _bHow the Movie Camera Opened the Depths and Unleashed New Realms of Fantasy / _cMargaret Cohen. |
| 264 | 1 |
_aPrinceton, NJ : _bPrinceton University Press, _c[2022] |
|
| 264 | 4 | _c©2021 | |
| 300 |
_a1 online resource (344 p.) : _b28 color + 112 b/w illus. |
||
| 336 |
_atext _btxt _2rdacontent |
||
| 337 |
_acomputer _bc _2rdamedia |
||
| 338 |
_aonline resource _bcr _2rdacarrier |
||
| 347 |
_atext file _bPDF _2rda |
||
| 505 | 0 | 0 |
_tFrontmatter -- _tContents -- _tList of Illustrations -- _tNote on Timestamps -- _tAcknowledgments -- _tIntroduction -- _t1 Vision Immersed, 1840–1953 -- _t2 The Wet Camera, 1951–1961 -- _t3 Liquid Fantasies, 1963–2004 -- _tEpilogue: On the Underwater Film Sets of Documentary: Fact and Fiction in Blue Planet II -- _tNotes -- _tWorks Cited -- _tIndex -- _tA note on the type |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
|
| 520 | _aA rich history of underwater filmmaking and how it has profoundly influenced the aesthetics of movies and public perception of the oceansIn The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expanding the scope of popular imagination. Innovating on the most challenging film set on earth, filmmakers have tapped the emotional power of the underwater environment to forge new visions of horror, tragedy, adventure, beauty, and surrealism, entertaining the public and shaping its perception of ocean reality.Examining works by filmmakers ranging from J. E. Williamson, inventor of the first undersea film technology in 1914, to Wes Anderson, who filmed the underwater scenes of his 2004 The Life Aquatic with Steve Zissou entirely in a pool, The Underwater Eye traces how the radically alien qualities of underwater optics have shaped liquid fantasies for more than a century. Richly illustrated, the book explores documentaries by Jacques Cousteau, Louis Malle, and Hans Hass, art films by Man Ray and Jean Vigo, and popular movies and television shows such as 20,000 Leagues Under the Sea, Creature from the Black Lagoon, Sea Hunt, the Bond films, Jaws, The Abyss, and Titanic. In exploring the cultural impact of underwater filmmaking, the book also asks compelling questions about the role film plays in engaging the public with the remote ocean, a frontline of climate change. | ||
| 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 25. Jun 2024) | |
| 650 | 0 |
_aMotion pictures _xAesthetics. |
|
| 650 | 0 |
_aMotion pictures _xHistory. |
|
| 650 | 0 | _aUnderwater cinematography. | |
| 650 | 0 | _aWater in motion pictures. | |
| 650 | 7 |
_aSOCIAL SCIENCE / Media Studies. _2bisacsh |
|
| 653 | _a000 Leagues Under the Sea. | ||
| 653 | _a20. | ||
| 653 | _aCreature from the Black Lagoon. | ||
| 653 | _aHans Hass. | ||
| 653 | _aHow the Movie Camera Opened the Depths and Unleashed New Realms of Fantasy. | ||
| 653 | _aJ. E. Williamson. | ||
| 653 | _aJacques Cousteau. | ||
| 653 | _aJaws. | ||
| 653 | _aJean Vigo. | ||
| 653 | _aLouis Malle. | ||
| 653 | _aMan Ray. | ||
| 653 | _aMargaret Cohen. | ||
| 653 | _aPrinceton University Press. | ||
| 653 | _aSea Hunt. | ||
| 653 | _aSteve Zissou entirely. | ||
| 653 | _aThe Abyss. | ||
| 653 | _aThe Underwater Eye. | ||
| 653 | _aTitanic. | ||
| 653 | _aWes Anderson. | ||
| 653 | _aaesthetics of movies. | ||
| 653 | _aart films. | ||
| 653 | _aart. | ||
| 653 | _abooks about underwater photography. | ||
| 653 | _achallenge. | ||
| 653 | _achallenging film set on earth. | ||
| 653 | _acinema. | ||
| 653 | _adevelopment of modern diving equipment. | ||
| 653 | _adirecting. | ||
| 653 | _adocumentaries. | ||
| 653 | _aemotional power of the underwater environment. | ||
| 653 | _afilm making. | ||
| 653 | _afilmed the underwater scenes of his 2004 The Life Aquatic. | ||
| 653 | _afilmmakers. | ||
| 653 | _ainventor of the first undersea film technology in 1914. | ||
| 653 | _amovie equipment. | ||
| 653 | _amovie making. | ||
| 653 | _aocean. | ||
| 653 | _apopular movies and television shows. | ||
| 653 | _arich history of underwater filmmaking. | ||
| 653 | _athe Bond films. | ||
| 653 | _ausing pools. | ||
| 653 | _awater. | ||
| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9780691225524?locatt=mode:legacy |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9780691225524 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780691225524/original |
| 942 | _cEB | ||
| 999 |
_c195519 _d195519 |
||