Point of view in the cinema : a theory of narration and subjectivity in classical film /

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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...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Branigan, Edward, 1945-
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Berlin ; New York : Mouton, [1984]
Colección:Approaches to semiotics ; 66.
Temas:
Motion picture plays > History and criticism.
Motion pictures > Philosophy.
Point of view (Literature)
Subjectivity in motion pictures.
Scénarios de cinéma > Histoire et critique.
Point de vue (Littérature)
Subjectivité au cinéma.
Cinéma > Philosophie.
Motion picture plays
Motion pictures > Philosophy
Subjectivity in motion pictures
Criticism, interpretation, etc.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • 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
  • 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
  • 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
  • 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 MÃ?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

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