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Point of view in the cinema : a theory of narration and subjectivity in classical film /
Branigan effectively criticizes the communication model of narration, a task long overdue in Anglo-American circles. The book brings out the extent to which mainstream mimetic theories have relied upon the elastic notion of an invisible, idealized observer, a convenient spook whom critics can summon...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Berlin ; New York :
Mouton,
[1984]
|
| Colección: | Approaches to semiotics ;
66. |
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Branigan, Edward, |d 1945- |1 https://id.oclc.org/worldcat/entity/E39PBJfx8WCjVGYMQmrGJck7HC | |
| 245 | 1 | 0 | |a Point of view in the cinema : |b a theory of narration and subjectivity in classical film / |c Edward Branigan ; foreword by David Bordwell. |
| 264 | 1 | |a Berlin ; |a New York : |b Mouton, |c [1984] | |
| 264 | 4 | |c ©1984 | |
| 300 | |a 1 online resource (288 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a Approaches to semiotics ; |v 66 | |
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Online resource; title from PDF title page (ebrary, viewed November 13, 2013). | |
| 505 | 0 | |a Contents -- List Of Figures -- Foreword By David Bordwell -- Acknowledgments -- Chapter 1 The Problem Of Point Of View -- 1. Narration And Narrative -- 2. Two Theories: Point Of View As Perception And As Attitude -- 3. Point Of View As Identification -- 4. Point Of View As Language -- 5. Point Of View As A Logic Of Reading -- Chapter 2 Film As System -- Chapter 3 Narration -- 1. Narration As Symbolic Activity -- 2. Levels Of Narration -- 3. Two Ways Of Reading: By Error Or By Hypothesis -- 4. Elements Of Classical Representation | |
| 505 | 8 | |a 5. The Elements Of Representation In Film Chapter 4 Subjectivity -- 1. Subjectivity As Narration -- 2. The Classification Of Subjectivity Into Types -- 3. Types Of Subjectivity -- 4. Mental Process Narration -- 5. The Problem Of Color And Sound -- Chapter 5 The Point-Of-View Shot -- 1. The Elements Of Pov -- 2. The Framing Of Pov -- 3. A Repertory Of Simple Structures -- Chapter 6 Character Reflection And Projection -- 1. Metaphorical Framing -- 2. Character Reflection -- 3. Character Projection | |
| 505 | 8 | |a Chapter 7 The Modern Text: Subjectivity Under Siege From Fellini'S 8 1/2 To Oshima'S The Story Of A Man Who Left His Will On Film 1. Origin: The Problem Of Authorship -- 2. Vision: The Status Of The Image -- 3. Time: The Relation Of Narration And Narrative -- 4. Frame: The Relation Of Spectator And Spectacle -- 5. Mind: Toward A Redefinition Of Character -- Chapter 8 Metatheory -- 1. Empiricist Versus Rationalist Theories Of Point Of View And The Process Of Embedding -- 2. Recent Approaches To Narration -- 3. Summary Of My Theory Of Narration | |
| 505 | 8 | |a 4. Some Functions Of Narration Appendix Orthodox Theories Of Narration -- 1. Orthodox Literary Theories Of Point Of View And A Fatal Distinction: Telling Versus Showing -- 2. Hugo M�nsterberg And Film Psychology -- 3. André Bazin: Point Of View As A Real Condition Of Vision -- 4. The Categories Of Jean Mitry -- 5. From Literature To Film: Narration As Consciousness -- Suggested Further Reading -- Index | |
| 546 | |a English. | ||
| 520 | |a Branigan effectively criticizes the communication model of narration, a task long overdue in Anglo-American circles. The book brings out the extent to which mainstream mimetic theories have relied upon the elastic notion of an invisible, idealized observer, a convenient spook whom critics can summon up whenever they desire to "naturalize" style. The book also makes distinctions among types of subjectivity; after this, we will have much more precise ways of tracing the fluctuations among a character's vision, dreams, wishes, and so forth. Branigan also explains the necessity of distinguishing levels of narration | ||
| 590 | |a ProQuest Ebook Central |b Ebook Central Academic Complete | ||
| 650 | 0 | |a Motion picture plays |x History and criticism. | |
| 650 | 0 | |a Motion pictures |x Philosophy. | |
| 650 | 0 | |a Point of view (Literature) | |
| 650 | 0 | |a Subjectivity in motion pictures. | |
| 650 | 6 | |a Scénarios de cinéma |x Histoire et critique. | |
| 650 | 6 | |a Point de vue (Littérature) | |
| 650 | 6 | |a Subjectivité au cinéma. | |
| 650 | 6 | |a Cinéma |x Philosophie. | |
| 650 | 7 | |a Motion picture plays |2 fast | |
| 650 | 7 | |a Motion pictures |x Philosophy |2 fast | |
| 650 | 7 | |a Point of view (Literature) |2 fast | |
| 650 | 7 | |a Subjectivity in motion pictures |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 758 | |i has work: |a Point of view in the cinema (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGhRd9fyhFfpXDGj83FWTb |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Branigan, Edward. |t Point of View in the Cinema : A Theory of Narration and Subjectivity in Classical Film. |d Tubingen : De Gruyter Mouton, ©2012 |z 9789027930798 |
| 830 | 0 | |a Approaches to semiotics ; |v 66. | |
| 856 | 4 | 0 | |u https://ebookcentral.uam.elogim.com/lib/uam-ebooks/detail.action?docID=3044641 |z Texto completo |
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| 938 | |a ebrary |b EBRY |n ebr10789673 | ||
| 994 | |a 92 |b IZTAP | ||