Film art: an introduction
Gespeichert in:
| Hauptverfasser: | , , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
McGraw-Hill Education
[2017]
|
| Ausgabe: | Eleventh edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xvii, 492, 6, 1, 26 Seiten Illustrationen 28 cm |
| ISBN: | 9781259534959 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV045094562 | ||
| 003 | DE-604 | ||
| 005 | 00000000000000.0 | ||
| 007 | t | ||
| 008 | 180719s2017 a||| |||| 00||| eng d | ||
| 020 | |a 9781259534959 |9 978-1-259-53495-9 | ||
| 035 | |a (OCoLC)952309424 | ||
| 035 | |a (DE-599)BVBBV045094562 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-473 | ||
| 084 | |a AP 43450 |0 (DE-625)7501: |2 rvk | ||
| 084 | |a AP 45400 |0 (DE-625)7522: |2 rvk | ||
| 100 | 1 | |a Bordwell, David |d 1947-2024 |0 (DE-588)119411091 |4 aut | |
| 245 | 1 | 0 | |a Film art |b an introduction |c David Bordwell, University of Wisconsin-Madison, Kristin Thompson, University of Wisconsin-Madison, Jeff Smith, University of Wisconsin-Madison |
| 250 | |a Eleventh edition | ||
| 264 | 1 | |a New York, NY |b McGraw-Hill Education |c [2017] | |
| 300 | |a xvii, 492, 6, 1, 26 Seiten |b Illustrationen |c 28 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 650 | 4 | |a Motion pictures | |
| 650 | 4 | |a Motion pictures / Aesthetics | |
| 650 | 7 | |a Filmkunst |2 gtt | |
| 650 | 7 | |a Filmtheorie |2 gtt | |
| 650 | 4 | |a Film | |
| 650 | 4 | |a Ästhetik | |
| 650 | 0 | 7 | |a Filmtheorie |0 (DE-588)4071216-3 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Film |0 (DE-588)4017102-4 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Filmästhetik |0 (DE-588)4140881-0 |2 gnd |9 rswk-swf |
| 655 | 7 | |8 1\p |0 (DE-588)4151278-9 |a Einführung |2 gnd-content | |
| 689 | 0 | 0 | |a Film |0 (DE-588)4017102-4 |D s |
| 689 | 0 | |5 DE-604 | |
| 689 | 1 | 0 | |a Filmästhetik |0 (DE-588)4140881-0 |D s |
| 689 | 1 | |5 DE-604 | |
| 689 | 2 | 0 | |a Filmtheorie |0 (DE-588)4071216-3 |D s |
| 689 | 2 | |5 DE-604 | |
| 700 | 1 | |a Thompson, Kristin |d 1950- |0 (DE-588)131823833 |4 aut | |
| 700 | 1 | |a Smith, Jeff |d 1962- |0 (DE-588)1052817300 |4 aut | |
| 856 | 4 | 2 | |m Digitalisierung UB Bamberg - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030485255&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-030485255 | ||
| 883 | 1 | |8 1\p |a cgwrk |d 20201028 |q DE-101 |u https://d-nb.info/provenance/plan#cgwrk | |
Datensatz im Suchindex
| _version_ | 1804178721177862144 |
|---|---|
| adam_text | BRIEF CONTENTS
PART ONE • Film Art and Filmmaking
1 Film as Art: Creativity, Technology, and Business 2
PART TWO • Film Form
2 The Significance of Film Form 50
3 Narrative Form 72
PART THREE * Film Style
4 The Shot: Mise-en-Scene 112
5 The Shot: Cinematography 159
6 The Relation of Shot to Shot: Editing 216
7 Sound in the Cinema 263
8 Summary: Style and Film Form 303
PART FOUR • Types of Films
9 Film Genres 326
10 Documentary, Experimental, and Animated Films 350
PART FIVE • Critical Analysis of Films
11 Film Criticism: Sample Analyses 400
PART SIX * Film Art and Film History
12 Historical Changes in Film Art: Conventions and Choices,
Tradition and Trends 452
a create “ film adaptations
a create™ WRITING a critical analysis of a film
a create™ ADDITIONAL resources for film art
Glossary G-1
Credits C-1
Index 1-1
XÜ
CONTENTS
Film Art and Filmmaking
Technology, and Business 2
PART ONE •
CHAPTER 1 Film as Art: Creativity,
Art vs. Entertainment? Art vs. Business? 3
Creative Decisions in Filmmaking 4
CREATIVE DECISIONS: To See Into the Night
in Collateral 5
Mechanics of the Movies 9
Illusion Machines 9
Making Films with Photographic Film 10
Filmmaking with Digital Media 13
Making the Movie: Film Production 17
The Scriptwriting and Funding Phase 18
The Preparation Phase 19
The Shooting Phase 20
The Assembly Phase 24
A CLOSER LOOK: Some Terms and Roles
in Film Production 25
Artistic Implications of the Production Process 29
Modes of Production 29
Large-Scale Production 30
Exploitation, Independent Production, and DIY 30
Small-Scale Production 31
Artistic Implications of Different Modes
of Production 33
Bringing the Film to the Audience: Distribution
and Exhibition 35
Distribution: The Center of Power 35
Exhibition: Theatrical and Nontheatrical 40
Ancillary Markets: Taking Movies beyond
the Theater 42
Artistic Implications of Distribution and Exhibition 43
Screens and Sounds: Stylistic Opportunities
and Challenges 45
SUMMARY 48
PART TWO • Film Form
CHAPTER 2 The Significance of Film Form 50
The Concept of Form in Film 51
Form as Pattern 51
“Form” Versus “Content” 52
Formal Expectations 54
Conventions and Experience 55
Form and Feeling 57
Form and Meaning 58
Evaluation: Good, Bad, or Indifferent? 61
Principles of Film Form 62
Function 62
Similarity and Repetition 63
A CLOSER LOOK: Creative Decisions:
Picking Out Patterns 64
Difference and Variation 66
Development 67
Unity and Disunity 70
SUMMARY 70
CHAPTER 3 Narrative Form 72
Principles of Narrative Form 72
What Is Narrative? 73
Telling the Story 74
CREATIVE DECISIONS: How Would You Tell
the Story? 74
Plot and Story 75
Cause and Effect 77
Time 79
A CLOSER LOOK: Playing Games
with Story Time 82
Space 84
Openings, Closings, and Patterns of Development 85
Narration: The Flow of Story Information 87
Range of Story Information: Restricted or Unrestricted ? 87
Depth of Story Information: Objective or Subjective? 90
The Narrator 93 ...
xiv CONTENTS
A CLOSER LOOK: When the Lights Go Down,
the Narration Starts 94
CREATIVE DECISIONS: Choices about Narration
in Storytelling 96
The Classical Hollywood Cinema 97
Narrative Form in Citizen Kane 99
Overall Narrative Expectations in Citizen Kane 99
Plot and Story in Citizen Kane 100
PART THREE • Film Style
CHAPTER 4 The Shot: Mise-en-Scene
What Is Mise-en-Scene? 112
The Power of Mise-en-Scene 113
Components of Mise-en-Scene 115
Setting 115
Costume and Makeup 119
Lighting 124
Staging: Movement and Performance 131
A CLOSER LOOK: The Film Actor’s Toolkit 134
Putting It All Together: Mise-en-Scene in Space
and Time 140
Citizen Kane’s Causality 102
Time in Citizen Kane 103
Motivation in Citizen Kane 105
Citizen Kane’s Parallelism 106
Patterns of Plot Development in Citizen Kane 107
Narration in Citizen Kane 108
SUMMARY 110
CREATIVE DECISIONS: Mise-en-Scene
in a Sequence from L’Awentura 141
Space 143
CREATIVE DECISIONS: Mise-en-Scene in Two Shots
from Day of Wrath 149
Time 150
Narrative Functions of Mise-en-Scene
in Our Hospitality 154
SUMMARY 158
CHAPTER 5 The Shot: Cinematography
The Photographic Image 159
The Range of Tonalities 159
Speed of Motion 164
A CLOSER LOOK: From Monsters
to the Mundane: Computer-Generated Imagery in
The Lord of the Rings 165
Perspective 168
Framing 177
A CLOSER LOOK: Virtual Perspective: 3D 179
Frame Dimensions and Shape 181
CREATIVE DECISIONS: Using Widescreen
Framing 183
Onscreen and Offscreen Space 185
159
Camera Position: Angle, Level, Height,
and Distance of Framing 187
CREATIVE DECISIONS: Camera Position in a Shot
from The Social Network 191
The Mobile Frame 194
CREATIVE DECISIONS: Mobile Framing and Film
Form in Grand Illusion and Wavelength 203
Duration of the Image: The Long Take 209
Real Time Is . . . What? 210
Functions of the Long Take 210
The Long Take and the Mobile Frame 212
SUMMARY 215
CHAPTER 6 The Relation of Shot to Shot: Editing 216
What Is Editing? 217
CREATIVE DECISIONS: Why Cut? Four Shots
from The Birds 218
Dimensions of Film Editing 219
Graphic Relations between Shot A and Shot B 219
Rhythmic Relations between Shot A and Shot B 224
Spatial Relations between Shot A and Shot B 225
Temporal Relations between Shot A and Shot B 226
Continuity Editing 230
Spatial Continuity: The 180° System 231
Continuity Editing in The Maltese Falcon 233
Continuity Editing: Some Fine Points 237
CREATIVE DECISIONS: Are You Looking at Me?
Point-of-View Cutting in Rear Window 241
Crosscutting 244
CONTENTS XV
A CLOSER LOOK: Intensified Continuity: Unstoppable,
L. A. Confidential, and Contemporary Editing 246
Temporal Continuity: Order, Frequency, and Duration 251
Alternatives to Continuity Editing 252
Graphic and Rhythmic Possibilities 253
Spatial and Temporal Discontinuity 254
CREATIVE DECISIONS: Discontinuity Editing
in October 259
SUMMARY 262
CHAPTER 7 Sound in the Cinema 263
Sound Decisions 263
The Powers of Sound 264
Sound Shapes Our Understanding of Images 265
Guiding Our Eye and Mind 265
Fundamentals of Film Sound 267
Perceptual Properties 267
Recording, Altering, and Combining Sounds 270
CREATIVE DECISIONS: Editing Dialogue: To Overlap
or Not to Overlap? 273
Musical Motifs in Breakfast at Tiffany s 278
A CLOSER LOOK: Orchestrating Romance
in Jules and Jim 280
Dimensions of Film Sound 281
Rhythm 281
Fidelity 284
Space 285
A CLOSER LOOK: Offscreen Sound and Optical
Point of View: The Money Exchange in Jackie
Brown 287
Sound Perspective 294
Time 296
Conversation Piece 300
SUMMARY 302
CHAPTER 8 Summary: Style and Film Form 303
The Concept of Style 303
CREATIVE DECISIONS: Style and the Filmmaker 304
Decision Making: Techniques Working Together 305
Watching and Listening: Style and the Viewer 306
Analyzing Style 306
1. What Is the Film’s Overall Form? 307
2. What Are the Main Techniques Being Used? 307
3. What Patterns Are Formed by the Techniques? 307
4. What Functions Do the Techniques
and Patterns Fulfill? 309
A CLOSER LOOK: Stylistic Synthesis in Shadow
of a Doubt 310
Style in Citizen Kane 312
Mystery and the Penetration of Space 312
Style and Narration: Restriction and Objectivity 314
Style and Narration: Omniscience 316
Narrative Parallels: Settings 316
Parallels: Other Techniques 317
A Convincing Newsreel 319
Plot Time through Editing 319
A CLOSER LOOK: Gravity: Film Style
in the Digital Age 322
SUMMARY 324
PART FOUR • Types of Films
CHAPTER 9 Film Genres 326
Four Genres 337
The Western 337
The Horror Film 339
The Musical 342
The Sports Films 346
SUMMARY 349
Understanding Genre 327
Defining a Genre 328
Analyzing a Genre 329
Genre History 331
A CLOSER LOOK: Creative Decisions in a Contemporary
Genre: The Crime Thriller as Subgenre 332
The Social Functions of Genres 335
xvi CONTENTS
CHAPTER 10 Documentary, Experimental, and Animated Films 350
Documentary 350
What Is a Documentary? 350
The Boundaries between Documentary and Fiction 352
Genres of Documentary 353
Form in Documentary Films 354
Categorical Form: Introduction 355
CREATIVE DECISIONS: Engaging Viewers Using
Categorical Form 356
An Example of Categorical Form:
Gap-Toothed Women 357
Rhetorical Form: Introduction 362
An Example of Rhetorical Form: The River 364
Experimental Film 369
A Range of Technical Choices 3 70
Types of Form in Experimental Films 371
Abstract Form: Introduction 371
CREATIVE DECISIONS: Designing Form in an
Abstract Film 371
An Example of Abstract Form: Ballet Mécanique 373
Associational Form: Introduction 378
An Example of Associational Form: Koyaanisqatsi 379
The Animated Film 387
Types of Traditional Animation 387
Types of Computer Animation 389
An Example of Traditional Animation: Duck Amuck 392
An Example of Experimental Animation: Dimensions
of Dialogue 394
SUMMARY 398
PART FIVE • Critical Analysis of Films
CHAPTER 11 Film Criticism: Sample Analyses 400
The Classical Narrative Cinema 401
His Girl Friday 401
North by Northwest 404
Do The Right Thing 408
Moonrise Kingdom 413
Narrative Alternatives to Classical Filmmaking 418
Breathless (A bout de souffle) 418
Tokyo Story (Tokyo Monogatari) 423
Chungking Express (Chung Hing sam lam) 428
Documentary Form and Style 432
Man with a Movie Camera (Chelovek s kinoapparatom) 432
The Thin Blue Line 436
Form, Style, and Ideology 441
Meet Me in St. Louis 441
Raging Bull 446
PART SIX • -ilm Art and Film History
CHAPTER 12 Historical Changes in Film Art: Conventions and Choices,
Tradition and Trends 452
CREATIVE DECISIONS: Film Form and Style across
History 453
Traditions and Movements in Film History 455
Early Cinema (1893-1903) 456
Photography and Cinema 457
Edison vs. Lumière 457
Early Form and Style 458
Méliès, Magic, and Fictional Narrative 459
The Development of the Classical Hollywood
Cinema ( 1908-1927) 460
Hollywood and the Studio System of Production 460
Classical Form and Style in Place 462
German Expressionism (1919-1926) 463
French Impressionism and Surrealism
(1918-1930) 466
Impressionism 467
Surrealism 468
Soviet Montage (1924-1930) 470
Artists and the State 470
NEP Cinema 471
The Priority of Editing 472
The Movement Ends 472
The Classical Hollywood Cinema after the Coming
of Sound (1926-1950) 474
Converting to Sound 474
Problems and Solutions 474
Studios, Genres, and Spectacle 475
Deep Focus and Narrative Innovations 476
Italian Neorealism (1942-1951) 477
Leaving the Studio 478
A New Model of Storytelling 478
The Movement’s End and Its Legacy 479
CONTENTS
Other Paths 484
The 1980s and After 485
Hollywood and Independents, To Be Continued 487
Hong Kong Cinema, 1980s-1990s 488
A Local Tradition Goes Global 488
The New Generation: Two Schools 489
Story and Style 489
Legacy Overseas 491
a create “ film adaptations
a create “ WRITING a critical analysis of a film
a create ADDITIONAL resources for film art
Glossary G-1
Credits C-1
Index 1-1
The French New Wave (1959-1964) 479
Critics Become Moviemakers 480
A New Wave Style 480
Neorealism Recast 481
Into the Mainstream and Beyond 481
The New Hollywood and Independent Filmmaking,
1970s-1980s 482
Blockbusters and Indie Pictures 483
The Rise of the Movie Brats 483
|
| any_adam_object | 1 |
| author | Bordwell, David 1947-2024 Thompson, Kristin 1950- Smith, Jeff 1962- |
| author_GND | (DE-588)119411091 (DE-588)131823833 (DE-588)1052817300 |
| author_facet | Bordwell, David 1947-2024 Thompson, Kristin 1950- Smith, Jeff 1962- |
| author_role | aut aut aut |
| author_sort | Bordwell, David 1947-2024 |
| author_variant | d b db k t kt j s js |
| building | Verbundindex |
| bvnumber | BV045094562 |
| classification_rvk | AP 43450 AP 45400 |
| ctrlnum | (OCoLC)952309424 (DE-599)BVBBV045094562 |
| discipline | Allgemeines |
| edition | Eleventh edition |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02149nam a2200529 c 4500</leader><controlfield tag="001">BV045094562</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">00000000000000.0</controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">180719s2017 a||| |||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781259534959</subfield><subfield code="9">978-1-259-53495-9</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)952309424</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV045094562</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-473</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">AP 43450</subfield><subfield code="0">(DE-625)7501:</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">AP 45400</subfield><subfield code="0">(DE-625)7522:</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Bordwell, David</subfield><subfield code="d">1947-2024</subfield><subfield code="0">(DE-588)119411091</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Film art</subfield><subfield code="b">an introduction</subfield><subfield code="c">David Bordwell, University of Wisconsin-Madison, Kristin Thompson, University of Wisconsin-Madison, Jeff Smith, University of Wisconsin-Madison</subfield></datafield><datafield tag="250" ind1=" " ind2=" "><subfield code="a">Eleventh edition</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">New York, NY</subfield><subfield code="b">McGraw-Hill Education</subfield><subfield code="c">[2017]</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">xvii, 492, 6, 1, 26 Seiten</subfield><subfield code="b">Illustrationen</subfield><subfield code="c">28 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Motion pictures</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Motion pictures / Aesthetics</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Filmkunst</subfield><subfield code="2">gtt</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Filmtheorie</subfield><subfield code="2">gtt</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Film</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Ästhetik</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Filmtheorie</subfield><subfield code="0">(DE-588)4071216-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Film</subfield><subfield code="0">(DE-588)4017102-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Filmästhetik</subfield><subfield code="0">(DE-588)4140881-0</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="8">1\p</subfield><subfield code="0">(DE-588)4151278-9</subfield><subfield code="a">Einführung</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Film</subfield><subfield code="0">(DE-588)4017102-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="1" ind2="0"><subfield code="a">Filmästhetik</subfield><subfield code="0">(DE-588)4140881-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="1" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="2" ind2="0"><subfield code="a">Filmtheorie</subfield><subfield code="0">(DE-588)4071216-3</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="2" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Thompson, Kristin</subfield><subfield code="d">1950-</subfield><subfield code="0">(DE-588)131823833</subfield><subfield code="4">aut</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Smith, Jeff</subfield><subfield code="d">1962-</subfield><subfield code="0">(DE-588)1052817300</subfield><subfield code="4">aut</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung UB Bamberg - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030485255&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-030485255</subfield></datafield><datafield tag="883" ind1="1" ind2=" "><subfield code="8">1\p</subfield><subfield code="a">cgwrk</subfield><subfield code="d">20201028</subfield><subfield code="q">DE-101</subfield><subfield code="u">https://d-nb.info/provenance/plan#cgwrk</subfield></datafield></record></collection> |
| genre | 1\p (DE-588)4151278-9 Einführung gnd-content |
| genre_facet | Einführung |
| id | DE-604.BV045094562 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T08:08:28Z |
| institution | BVB |
| isbn | 9781259534959 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030485255 |
| oclc_num | 952309424 |
| open_access_boolean | |
| owner | DE-473 DE-BY-UBG |
| owner_facet | DE-473 DE-BY-UBG |
| physical | xvii, 492, 6, 1, 26 Seiten Illustrationen 28 cm |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | McGraw-Hill Education |
| record_format | marc |
| spelling | Bordwell, David 1947-2024 (DE-588)119411091 aut Film art an introduction David Bordwell, University of Wisconsin-Madison, Kristin Thompson, University of Wisconsin-Madison, Jeff Smith, University of Wisconsin-Madison Eleventh edition New York, NY McGraw-Hill Education [2017] xvii, 492, 6, 1, 26 Seiten Illustrationen 28 cm txt rdacontent n rdamedia nc rdacarrier Motion pictures Motion pictures / Aesthetics Filmkunst gtt Filmtheorie gtt Film Ästhetik Filmtheorie (DE-588)4071216-3 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Filmästhetik (DE-588)4140881-0 gnd rswk-swf 1\p (DE-588)4151278-9 Einführung gnd-content Film (DE-588)4017102-4 s DE-604 Filmästhetik (DE-588)4140881-0 s Filmtheorie (DE-588)4071216-3 s Thompson, Kristin 1950- (DE-588)131823833 aut Smith, Jeff 1962- (DE-588)1052817300 aut Digitalisierung UB Bamberg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030485255&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Bordwell, David 1947-2024 Thompson, Kristin 1950- Smith, Jeff 1962- Film art an introduction Motion pictures Motion pictures / Aesthetics Filmkunst gtt Filmtheorie gtt Film Ästhetik Filmtheorie (DE-588)4071216-3 gnd Film (DE-588)4017102-4 gnd Filmästhetik (DE-588)4140881-0 gnd |
| subject_GND | (DE-588)4071216-3 (DE-588)4017102-4 (DE-588)4140881-0 (DE-588)4151278-9 |
| title | Film art an introduction |
| title_auth | Film art an introduction |
| title_exact_search | Film art an introduction |
| title_full | Film art an introduction David Bordwell, University of Wisconsin-Madison, Kristin Thompson, University of Wisconsin-Madison, Jeff Smith, University of Wisconsin-Madison |
| title_fullStr | Film art an introduction David Bordwell, University of Wisconsin-Madison, Kristin Thompson, University of Wisconsin-Madison, Jeff Smith, University of Wisconsin-Madison |
| title_full_unstemmed | Film art an introduction David Bordwell, University of Wisconsin-Madison, Kristin Thompson, University of Wisconsin-Madison, Jeff Smith, University of Wisconsin-Madison |
| title_short | Film art |
| title_sort | film art an introduction |
| title_sub | an introduction |
| topic | Motion pictures Motion pictures / Aesthetics Filmkunst gtt Filmtheorie gtt Film Ästhetik Filmtheorie (DE-588)4071216-3 gnd Film (DE-588)4017102-4 gnd Filmästhetik (DE-588)4140881-0 gnd |
| topic_facet | Motion pictures Motion pictures / Aesthetics Filmkunst Filmtheorie Film Ästhetik Filmästhetik Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030485255&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT bordwelldavid filmartanintroduction AT thompsonkristin filmartanintroduction AT smithjeff filmartanintroduction |