Teaching sound film :: a reader /
Teaching Sound Film: A Reader is a film analysis-and-criticism textbook that contains 35 essays on 35 geographically diverse, historically significant sound films. The countries represented here are France, Italy, England, Belgium, Russia, India, China, Cuba, Germany, Japan, Russia, Romania, Czechos...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Rotterdam :
Sense Publishers,
2016.
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| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | Teaching Sound Film: A Reader is a film analysis-and-criticism textbook that contains 35 essays on 35 geographically diverse, historically significant sound films. The countries represented here are France, Italy, England, Belgium, Russia, India, China, Cuba, Germany, Japan, Russia, Romania, Czechoslovakia, Brazil, Taiwan, Austria, Afghanistan, South Korea, Finland, Burkina Faso, Mexico, Iran, Israel, Colombia, and the United States. The directors represented include Jean Renoir, Orson Welles, Akira Kurosawa, Federico Fellini, Woody Allen, Aki Kaurismäki, Ken Loach, Tomás Gutiérrez Alea, Abbas Kiarostami, Michael Haneke, and Hong Sang-soo. Written with university students (and possibly also advanced high school students) in mind, the essays in Teaching Sound Film: A Reader cover some of the central films treated--and central issues raised--in today's cinema courses and provide students with practical models to help them improve their own writing and analytical skills. These essays are clear and readable--that is, sophisticated and meaty yet not overly technical or jargon-heavy. This makes them perfect introductions to their respective films as well as important contributions to the field of film studies in general. Moreover, this book's scholarly apparatus features credits, images, bibliographies for all films discussed, filmographies for all the directors, a list of topics for writing and discussion, a glossary of film terms, and an appendix containing three essays, respectively, on film acting, avant-garde cinema, and theater vs. film. |
| Beschreibung: | 1 online resource |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9789463007269 9463007261 9463007245 9789463007245 9463007253 9789463007252 |
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| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a ADVANCE PRAISE FOR TEACHING SOUND FILM: A READER; TABLE OF CONTENTS; LIST OF FIGURES; INTRODUCTION; CHAPTER 1: THE FRONT PAGE, DRAMATIC FARCE, AND AMERICAN (FILM) COMEDY; BIBLIOGRAPHY; CHAPTER 2: PERIOD PIECE, PEACE PICTURE: RENOIR'S LA GRANDE ILLUSION RECONSIDERED; BIBLIOGRAPHY; CHAPTER 3: THE REAL FASCINATION OF CITIZEN KANE: WELLES'S MASTERPIECE RECONSIDERED; BIBLIOGRAPHY; CHAPTER 4: ITALIAN NEOREALISM, VITTORIO DE SICA, AND BICYCLE THIEVES; BIBLIOGRAPHY; CHAPTER 5: DEATH WISH, CHILD'S WHIM, AUTEURIST WILL: BOYER AND CLÉMENT'S FORBIDDEN GAMES REPLAYED; BIBLIOGRAPHY. | |
| 505 | 8 | |a CHAPTER 6: CIRCUMSTANTIAL EVIDENCE: AKIRA KUROSAWA AND THE SEVEN SAMURAIBIBLIOGRAPHY; CHAPTER 7: THE ARTISTIC ACHIEVEMENT OF FEDERICO FELLINI: THE NIGHTS OF CABIRIA AS EXEMPLUM; BIBLIOGRAPHY; CHAPTER 8: FARCE, DREAMS, AND DESIRE: BILLY WILDER'S SOME LIKE IT HOT RE-VIEWED; BIBLIOGRAPHY; CHAPTER 9: MARRIED TO THE JOB: ERMANNO OLMI'S IL POSTO; BIBLIOGRAPHY; CHAPTER 10: NEOREALIST ART VS. OPERATIC ACTING IN PASOLINI'S MAMMA ROMA; BIBLIOGRAPHY; CHAPTER 11: TRAINSPOTTING: JIŘÍ MENZEL'S CLOSELY WATCHED TRAINS; BIBLIOGRAPHY. | |
| 505 | 8 | |a CHAPTER 12: THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUMBIBLIOGRAPHY; CHAPTER 13: THE FALL OF BÉATRICE, THE SALVATION OF POMME: SIMULTANEITY AND STILLNESS IN GORETTA'S THE LACEMAKER; BIBLIOGRAPHY; CHAPTER 14: WOODEN ALLEN, OR MADE IN MANHATTAN; BIBLIOGRAPHY; CHAPTER 15: MEMORIES ARE MADE OF THIS: RAINER WERNER FASSBINDER'S VERONIKA VOSS; BIBLIOGRAPHY; CHAPTER 16: CASE REOPENED: MRINAL SEN'S THE CASE IS CLOSED; BIBLIOGRAPHY; CHAPTER 17: EPIPHANIES: NANNI MORETTI'S THE MASS IS ENDED; BIBLIOGRAPHY. | |
| 505 | 8 | |a CHAPTER 18: COMEDIES ARE PROVERBIAL: ERIC ROHMER'S BOYFRIENDS AND GIRLFRIENDSBIBLIOGRAPHY; CHAPTER 19: FINNISH CHARACTER: AKI KAURISMÄKI'S ARIEL; BIBLIOGRAPHY; CHAPTER 20: LAW OF THE JUNGLE: IDRISSA OUÉDRAOGO'S TILAÏ; BIBLIOGRAPHY; CHAPTER 21: MARÍA NOVARO'S DANZÓN IN LIGHT OF THE CINEMA OF PEDRO ALMODÓVAR; BIBLIOGRAPHY; CHAPTER 22: WORK, FAMILY, AND POLITICS: KEN LOACH'S RIFF-RAFF; BIBLIOGRAPHY; CHAPTER 23: THE USES OF HISTORY: CHEN KAIGE'S FAREWELL, MY CONCUBINE; BIBLIOGRAPHY; CHAPTER 24: THE PRISON-HOUSE OF SEXUALITY: TOMÁS GUTIÉRREZ ALEA'S STRAWBERRY AND CHOCOLATE; BIBLIOGRAPHY. | |
| 505 | 8 | |a CHAPTER 25: LOWER DEPTHS, HIGHER PLANES: THE DARDENNES' LA PROMESSEBIBLIOGRAPHY; CHAPTER 26: WIND AND DUST: ABBAS KIAROSTAMI'S THE WIND WILL CARRY US; BIBLIOGRAPHY; CHAPTER 27: OF HUMAN BONDAGE AND MALE INDULGENCE: AMOS GITAI'S KADOSH; BIBLIOGRAPHY; CHAPTER 28: LATINO ART THROUGH EUROPEAN EYES, OR AGAINST THE AMERICAN EVIL EYE: BARBET SCHROEDER'S OUR LADY OF THE ASSASSINS; BIBLIOGRAPHY; CHAPTER 29: ALL ABOUT MY, YOUR, THEIR MOTHER: ANDRUCHA WADDINGTON'S ME, YOU, THEM; BIBLIOGRAPHY; CHAPTER 30: THE SPACE OF TIME, THE SOUND OF SILENCE: TSAI MING-LIANG'S WHAT TIME IS IT THERE?; BIBLIOGRAPHY. | |
| 520 | |a Teaching Sound Film: A Reader is a film analysis-and-criticism textbook that contains 35 essays on 35 geographically diverse, historically significant sound films. The countries represented here are France, Italy, England, Belgium, Russia, India, China, Cuba, Germany, Japan, Russia, Romania, Czechoslovakia, Brazil, Taiwan, Austria, Afghanistan, South Korea, Finland, Burkina Faso, Mexico, Iran, Israel, Colombia, and the United States. The directors represented include Jean Renoir, Orson Welles, Akira Kurosawa, Federico Fellini, Woody Allen, Aki Kaurismäki, Ken Loach, Tomás Gutiérrez Alea, Abbas Kiarostami, Michael Haneke, and Hong Sang-soo. Written with university students (and possibly also advanced high school students) in mind, the essays in Teaching Sound Film: A Reader cover some of the central films treated--and central issues raised--in today's cinema courses and provide students with practical models to help them improve their own writing and analytical skills. These essays are clear and readable--that is, sophisticated and meaty yet not overly technical or jargon-heavy. This makes them perfect introductions to their respective films as well as important contributions to the field of film studies in general. Moreover, this book's scholarly apparatus features credits, images, bibliographies for all films discussed, filmographies for all the directors, a list of topics for writing and discussion, a glossary of film terms, and an appendix containing three essays, respectively, on film acting, avant-garde cinema, and theater vs. film. | ||
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| contents | ADVANCE PRAISE FOR TEACHING SOUND FILM: A READER; TABLE OF CONTENTS; LIST OF FIGURES; INTRODUCTION; CHAPTER 1: THE FRONT PAGE, DRAMATIC FARCE, AND AMERICAN (FILM) COMEDY; BIBLIOGRAPHY; CHAPTER 2: PERIOD PIECE, PEACE PICTURE: RENOIR'S LA GRANDE ILLUSION RECONSIDERED; BIBLIOGRAPHY; CHAPTER 3: THE REAL FASCINATION OF CITIZEN KANE: WELLES'S MASTERPIECE RECONSIDERED; BIBLIOGRAPHY; CHAPTER 4: ITALIAN NEOREALISM, VITTORIO DE SICA, AND BICYCLE THIEVES; BIBLIOGRAPHY; CHAPTER 5: DEATH WISH, CHILD'S WHIM, AUTEURIST WILL: BOYER AND CLÉMENT'S FORBIDDEN GAMES REPLAYED; BIBLIOGRAPHY. CHAPTER 6: CIRCUMSTANTIAL EVIDENCE: AKIRA KUROSAWA AND THE SEVEN SAMURAIBIBLIOGRAPHY; CHAPTER 7: THE ARTISTIC ACHIEVEMENT OF FEDERICO FELLINI: THE NIGHTS OF CABIRIA AS EXEMPLUM; BIBLIOGRAPHY; CHAPTER 8: FARCE, DREAMS, AND DESIRE: BILLY WILDER'S SOME LIKE IT HOT RE-VIEWED; BIBLIOGRAPHY; CHAPTER 9: MARRIED TO THE JOB: ERMANNO OLMI'S IL POSTO; BIBLIOGRAPHY; CHAPTER 10: NEOREALIST ART VS. OPERATIC ACTING IN PASOLINI'S MAMMA ROMA; BIBLIOGRAPHY; CHAPTER 11: TRAINSPOTTING: JIŘÍ MENZEL'S CLOSELY WATCHED TRAINS; BIBLIOGRAPHY. CHAPTER 12: THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUMBIBLIOGRAPHY; CHAPTER 13: THE FALL OF BÉATRICE, THE SALVATION OF POMME: SIMULTANEITY AND STILLNESS IN GORETTA'S THE LACEMAKER; BIBLIOGRAPHY; CHAPTER 14: WOODEN ALLEN, OR MADE IN MANHATTAN; BIBLIOGRAPHY; CHAPTER 15: MEMORIES ARE MADE OF THIS: RAINER WERNER FASSBINDER'S VERONIKA VOSS; BIBLIOGRAPHY; CHAPTER 16: CASE REOPENED: MRINAL SEN'S THE CASE IS CLOSED; BIBLIOGRAPHY; CHAPTER 17: EPIPHANIES: NANNI MORETTI'S THE MASS IS ENDED; BIBLIOGRAPHY. CHAPTER 18: COMEDIES ARE PROVERBIAL: ERIC ROHMER'S BOYFRIENDS AND GIRLFRIENDSBIBLIOGRAPHY; CHAPTER 19: FINNISH CHARACTER: AKI KAURISMÄKI'S ARIEL; BIBLIOGRAPHY; CHAPTER 20: LAW OF THE JUNGLE: IDRISSA OUÉDRAOGO'S TILAÏ; BIBLIOGRAPHY; CHAPTER 21: MARÍA NOVARO'S DANZÓN IN LIGHT OF THE CINEMA OF PEDRO ALMODÓVAR; BIBLIOGRAPHY; CHAPTER 22: WORK, FAMILY, AND POLITICS: KEN LOACH'S RIFF-RAFF; BIBLIOGRAPHY; CHAPTER 23: THE USES OF HISTORY: CHEN KAIGE'S FAREWELL, MY CONCUBINE; BIBLIOGRAPHY; CHAPTER 24: THE PRISON-HOUSE OF SEXUALITY: TOMÁS GUTIÉRREZ ALEA'S STRAWBERRY AND CHOCOLATE; BIBLIOGRAPHY. CHAPTER 25: LOWER DEPTHS, HIGHER PLANES: THE DARDENNES' LA PROMESSEBIBLIOGRAPHY; CHAPTER 26: WIND AND DUST: ABBAS KIAROSTAMI'S THE WIND WILL CARRY US; BIBLIOGRAPHY; CHAPTER 27: OF HUMAN BONDAGE AND MALE INDULGENCE: AMOS GITAI'S KADOSH; BIBLIOGRAPHY; CHAPTER 28: LATINO ART THROUGH EUROPEAN EYES, OR AGAINST THE AMERICAN EVIL EYE: BARBET SCHROEDER'S OUR LADY OF THE ASSASSINS; BIBLIOGRAPHY; CHAPTER 29: ALL ABOUT MY, YOUR, THEIR MOTHER: ANDRUCHA WADDINGTON'S ME, YOU, THEM; BIBLIOGRAPHY; CHAPTER 30: THE SPACE OF TIME, THE SOUND OF SILENCE: TSAI MING-LIANG'S WHAT TIME IS IT THERE?; BIBLIOGRAPHY. |
| ctrlnum | (OCoLC)961909620 |
| dewey-full | 791.43071/1 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43071/1 |
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OPERATIC ACTING IN PASOLINI'S MAMMA ROMA; BIBLIOGRAPHY; CHAPTER 11: TRAINSPOTTING: JIŘÍ MENZEL'S CLOSELY WATCHED TRAINS; BIBLIOGRAPHY.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">CHAPTER 12: THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUMBIBLIOGRAPHY; CHAPTER 13: THE FALL OF BÉATRICE, THE SALVATION OF POMME: SIMULTANEITY AND STILLNESS IN GORETTA'S THE LACEMAKER; BIBLIOGRAPHY; CHAPTER 14: WOODEN ALLEN, OR MADE IN MANHATTAN; BIBLIOGRAPHY; CHAPTER 15: MEMORIES ARE MADE OF THIS: RAINER WERNER FASSBINDER'S VERONIKA VOSS; BIBLIOGRAPHY; CHAPTER 16: CASE REOPENED: MRINAL SEN'S THE CASE IS CLOSED; BIBLIOGRAPHY; CHAPTER 17: EPIPHANIES: NANNI MORETTI'S THE MASS IS ENDED; BIBLIOGRAPHY.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">CHAPTER 18: COMEDIES ARE PROVERBIAL: ERIC ROHMER'S BOYFRIENDS AND GIRLFRIENDSBIBLIOGRAPHY; CHAPTER 19: FINNISH CHARACTER: AKI KAURISMÄKI'S ARIEL; BIBLIOGRAPHY; CHAPTER 20: LAW OF THE JUNGLE: IDRISSA OUÉDRAOGO'S TILAÏ; BIBLIOGRAPHY; CHAPTER 21: MARÍA NOVARO'S DANZÓN IN LIGHT OF THE CINEMA OF PEDRO ALMODÓVAR; BIBLIOGRAPHY; CHAPTER 22: WORK, FAMILY, AND POLITICS: KEN LOACH'S RIFF-RAFF; BIBLIOGRAPHY; CHAPTER 23: THE USES OF HISTORY: CHEN KAIGE'S FAREWELL, MY CONCUBINE; BIBLIOGRAPHY; CHAPTER 24: THE PRISON-HOUSE OF SEXUALITY: TOMÁS GUTIÉRREZ ALEA'S STRAWBERRY AND CHOCOLATE; BIBLIOGRAPHY.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">CHAPTER 25: LOWER DEPTHS, HIGHER PLANES: THE DARDENNES' LA PROMESSEBIBLIOGRAPHY; CHAPTER 26: WIND AND DUST: ABBAS KIAROSTAMI'S THE WIND WILL CARRY US; BIBLIOGRAPHY; CHAPTER 27: OF HUMAN BONDAGE AND MALE INDULGENCE: AMOS GITAI'S KADOSH; BIBLIOGRAPHY; CHAPTER 28: LATINO ART THROUGH EUROPEAN EYES, OR AGAINST THE AMERICAN EVIL EYE: BARBET SCHROEDER'S OUR LADY OF THE ASSASSINS; BIBLIOGRAPHY; CHAPTER 29: ALL ABOUT MY, YOUR, THEIR MOTHER: ANDRUCHA WADDINGTON'S ME, YOU, THEM; BIBLIOGRAPHY; CHAPTER 30: THE SPACE OF TIME, THE SOUND OF SILENCE: TSAI MING-LIANG'S WHAT TIME IS IT THERE?; BIBLIOGRAPHY.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Teaching Sound Film: A Reader is a film analysis-and-criticism textbook that contains 35 essays on 35 geographically diverse, historically significant sound films. 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| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:27:29Z |
| institution | BVB |
| isbn | 9789463007269 9463007261 9463007245 9789463007245 9463007253 9789463007252 |
| language | English |
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| spelling | Cardullo, Bert, author. Teaching sound film : a reader / R.J. Cardullo. Rotterdam : Sense Publishers, 2016. 1 online resource text txt rdacontent computer c rdamedia online resource cr rdacarrier text file Online resource; title from PDF title page (EBSCO, viewed November 10, 2016). Includes bibliographical references and index. ADVANCE PRAISE FOR TEACHING SOUND FILM: A READER; TABLE OF CONTENTS; LIST OF FIGURES; INTRODUCTION; CHAPTER 1: THE FRONT PAGE, DRAMATIC FARCE, AND AMERICAN (FILM) COMEDY; BIBLIOGRAPHY; CHAPTER 2: PERIOD PIECE, PEACE PICTURE: RENOIR'S LA GRANDE ILLUSION RECONSIDERED; BIBLIOGRAPHY; CHAPTER 3: THE REAL FASCINATION OF CITIZEN KANE: WELLES'S MASTERPIECE RECONSIDERED; BIBLIOGRAPHY; CHAPTER 4: ITALIAN NEOREALISM, VITTORIO DE SICA, AND BICYCLE THIEVES; BIBLIOGRAPHY; CHAPTER 5: DEATH WISH, CHILD'S WHIM, AUTEURIST WILL: BOYER AND CLÉMENT'S FORBIDDEN GAMES REPLAYED; BIBLIOGRAPHY. CHAPTER 6: CIRCUMSTANTIAL EVIDENCE: AKIRA KUROSAWA AND THE SEVEN SAMURAIBIBLIOGRAPHY; CHAPTER 7: THE ARTISTIC ACHIEVEMENT OF FEDERICO FELLINI: THE NIGHTS OF CABIRIA AS EXEMPLUM; BIBLIOGRAPHY; CHAPTER 8: FARCE, DREAMS, AND DESIRE: BILLY WILDER'S SOME LIKE IT HOT RE-VIEWED; BIBLIOGRAPHY; CHAPTER 9: MARRIED TO THE JOB: ERMANNO OLMI'S IL POSTO; BIBLIOGRAPHY; CHAPTER 10: NEOREALIST ART VS. OPERATIC ACTING IN PASOLINI'S MAMMA ROMA; BIBLIOGRAPHY; CHAPTER 11: TRAINSPOTTING: JIŘÍ MENZEL'S CLOSELY WATCHED TRAINS; BIBLIOGRAPHY. CHAPTER 12: THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUMBIBLIOGRAPHY; CHAPTER 13: THE FALL OF BÉATRICE, THE SALVATION OF POMME: SIMULTANEITY AND STILLNESS IN GORETTA'S THE LACEMAKER; BIBLIOGRAPHY; CHAPTER 14: WOODEN ALLEN, OR MADE IN MANHATTAN; BIBLIOGRAPHY; CHAPTER 15: MEMORIES ARE MADE OF THIS: RAINER WERNER FASSBINDER'S VERONIKA VOSS; BIBLIOGRAPHY; CHAPTER 16: CASE REOPENED: MRINAL SEN'S THE CASE IS CLOSED; BIBLIOGRAPHY; CHAPTER 17: EPIPHANIES: NANNI MORETTI'S THE MASS IS ENDED; BIBLIOGRAPHY. CHAPTER 18: COMEDIES ARE PROVERBIAL: ERIC ROHMER'S BOYFRIENDS AND GIRLFRIENDSBIBLIOGRAPHY; CHAPTER 19: FINNISH CHARACTER: AKI KAURISMÄKI'S ARIEL; BIBLIOGRAPHY; CHAPTER 20: LAW OF THE JUNGLE: IDRISSA OUÉDRAOGO'S TILAÏ; BIBLIOGRAPHY; CHAPTER 21: MARÍA NOVARO'S DANZÓN IN LIGHT OF THE CINEMA OF PEDRO ALMODÓVAR; BIBLIOGRAPHY; CHAPTER 22: WORK, FAMILY, AND POLITICS: KEN LOACH'S RIFF-RAFF; BIBLIOGRAPHY; CHAPTER 23: THE USES OF HISTORY: CHEN KAIGE'S FAREWELL, MY CONCUBINE; BIBLIOGRAPHY; CHAPTER 24: THE PRISON-HOUSE OF SEXUALITY: TOMÁS GUTIÉRREZ ALEA'S STRAWBERRY AND CHOCOLATE; BIBLIOGRAPHY. CHAPTER 25: LOWER DEPTHS, HIGHER PLANES: THE DARDENNES' LA PROMESSEBIBLIOGRAPHY; CHAPTER 26: WIND AND DUST: ABBAS KIAROSTAMI'S THE WIND WILL CARRY US; BIBLIOGRAPHY; CHAPTER 27: OF HUMAN BONDAGE AND MALE INDULGENCE: AMOS GITAI'S KADOSH; BIBLIOGRAPHY; CHAPTER 28: LATINO ART THROUGH EUROPEAN EYES, OR AGAINST THE AMERICAN EVIL EYE: BARBET SCHROEDER'S OUR LADY OF THE ASSASSINS; BIBLIOGRAPHY; CHAPTER 29: ALL ABOUT MY, YOUR, THEIR MOTHER: ANDRUCHA WADDINGTON'S ME, YOU, THEM; BIBLIOGRAPHY; CHAPTER 30: THE SPACE OF TIME, THE SOUND OF SILENCE: TSAI MING-LIANG'S WHAT TIME IS IT THERE?; BIBLIOGRAPHY. Teaching Sound Film: A Reader is a film analysis-and-criticism textbook that contains 35 essays on 35 geographically diverse, historically significant sound films. The countries represented here are France, Italy, England, Belgium, Russia, India, China, Cuba, Germany, Japan, Russia, Romania, Czechoslovakia, Brazil, Taiwan, Austria, Afghanistan, South Korea, Finland, Burkina Faso, Mexico, Iran, Israel, Colombia, and the United States. The directors represented include Jean Renoir, Orson Welles, Akira Kurosawa, Federico Fellini, Woody Allen, Aki Kaurismäki, Ken Loach, Tomás Gutiérrez Alea, Abbas Kiarostami, Michael Haneke, and Hong Sang-soo. Written with university students (and possibly also advanced high school students) in mind, the essays in Teaching Sound Film: A Reader cover some of the central films treated--and central issues raised--in today's cinema courses and provide students with practical models to help them improve their own writing and analytical skills. These essays are clear and readable--that is, sophisticated and meaty yet not overly technical or jargon-heavy. This makes them perfect introductions to their respective films as well as important contributions to the field of film studies in general. Moreover, this book's scholarly apparatus features credits, images, bibliographies for all films discussed, filmographies for all the directors, a list of topics for writing and discussion, a glossary of film terms, and an appendix containing three essays, respectively, on film acting, avant-garde cinema, and theater vs. film. Motion pictures Study and teaching (Higher) PERFORMING ARTS Reference. bisacsh Motion pictures Study and teaching (Higher) fast Print version: Cardullo, R.J. Teaching sound film : a reader. Rotterdam, Netherlands ; Boston, [Massachusetts] ; Taipei, [Japan] : Sense Publishers, ©2016 xix, 460 pages 9789463007245 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1403047 Volltext |
| spellingShingle | Cardullo, Bert Teaching sound film : a reader / ADVANCE PRAISE FOR TEACHING SOUND FILM: A READER; TABLE OF CONTENTS; LIST OF FIGURES; INTRODUCTION; CHAPTER 1: THE FRONT PAGE, DRAMATIC FARCE, AND AMERICAN (FILM) COMEDY; BIBLIOGRAPHY; CHAPTER 2: PERIOD PIECE, PEACE PICTURE: RENOIR'S LA GRANDE ILLUSION RECONSIDERED; BIBLIOGRAPHY; CHAPTER 3: THE REAL FASCINATION OF CITIZEN KANE: WELLES'S MASTERPIECE RECONSIDERED; BIBLIOGRAPHY; CHAPTER 4: ITALIAN NEOREALISM, VITTORIO DE SICA, AND BICYCLE THIEVES; BIBLIOGRAPHY; CHAPTER 5: DEATH WISH, CHILD'S WHIM, AUTEURIST WILL: BOYER AND CLÉMENT'S FORBIDDEN GAMES REPLAYED; BIBLIOGRAPHY. CHAPTER 6: CIRCUMSTANTIAL EVIDENCE: AKIRA KUROSAWA AND THE SEVEN SAMURAIBIBLIOGRAPHY; CHAPTER 7: THE ARTISTIC ACHIEVEMENT OF FEDERICO FELLINI: THE NIGHTS OF CABIRIA AS EXEMPLUM; BIBLIOGRAPHY; CHAPTER 8: FARCE, DREAMS, AND DESIRE: BILLY WILDER'S SOME LIKE IT HOT RE-VIEWED; BIBLIOGRAPHY; CHAPTER 9: MARRIED TO THE JOB: ERMANNO OLMI'S IL POSTO; BIBLIOGRAPHY; CHAPTER 10: NEOREALIST ART VS. OPERATIC ACTING IN PASOLINI'S MAMMA ROMA; BIBLIOGRAPHY; CHAPTER 11: TRAINSPOTTING: JIŘÍ MENZEL'S CLOSELY WATCHED TRAINS; BIBLIOGRAPHY. CHAPTER 12: THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUMBIBLIOGRAPHY; CHAPTER 13: THE FALL OF BÉATRICE, THE SALVATION OF POMME: SIMULTANEITY AND STILLNESS IN GORETTA'S THE LACEMAKER; BIBLIOGRAPHY; CHAPTER 14: WOODEN ALLEN, OR MADE IN MANHATTAN; BIBLIOGRAPHY; CHAPTER 15: MEMORIES ARE MADE OF THIS: RAINER WERNER FASSBINDER'S VERONIKA VOSS; BIBLIOGRAPHY; CHAPTER 16: CASE REOPENED: MRINAL SEN'S THE CASE IS CLOSED; BIBLIOGRAPHY; CHAPTER 17: EPIPHANIES: NANNI MORETTI'S THE MASS IS ENDED; BIBLIOGRAPHY. CHAPTER 18: COMEDIES ARE PROVERBIAL: ERIC ROHMER'S BOYFRIENDS AND GIRLFRIENDSBIBLIOGRAPHY; CHAPTER 19: FINNISH CHARACTER: AKI KAURISMÄKI'S ARIEL; BIBLIOGRAPHY; CHAPTER 20: LAW OF THE JUNGLE: IDRISSA OUÉDRAOGO'S TILAÏ; BIBLIOGRAPHY; CHAPTER 21: MARÍA NOVARO'S DANZÓN IN LIGHT OF THE CINEMA OF PEDRO ALMODÓVAR; BIBLIOGRAPHY; CHAPTER 22: WORK, FAMILY, AND POLITICS: KEN LOACH'S RIFF-RAFF; BIBLIOGRAPHY; CHAPTER 23: THE USES OF HISTORY: CHEN KAIGE'S FAREWELL, MY CONCUBINE; BIBLIOGRAPHY; CHAPTER 24: THE PRISON-HOUSE OF SEXUALITY: TOMÁS GUTIÉRREZ ALEA'S STRAWBERRY AND CHOCOLATE; BIBLIOGRAPHY. CHAPTER 25: LOWER DEPTHS, HIGHER PLANES: THE DARDENNES' LA PROMESSEBIBLIOGRAPHY; CHAPTER 26: WIND AND DUST: ABBAS KIAROSTAMI'S THE WIND WILL CARRY US; BIBLIOGRAPHY; CHAPTER 27: OF HUMAN BONDAGE AND MALE INDULGENCE: AMOS GITAI'S KADOSH; BIBLIOGRAPHY; CHAPTER 28: LATINO ART THROUGH EUROPEAN EYES, OR AGAINST THE AMERICAN EVIL EYE: BARBET SCHROEDER'S OUR LADY OF THE ASSASSINS; BIBLIOGRAPHY; CHAPTER 29: ALL ABOUT MY, YOUR, THEIR MOTHER: ANDRUCHA WADDINGTON'S ME, YOU, THEM; BIBLIOGRAPHY; CHAPTER 30: THE SPACE OF TIME, THE SOUND OF SILENCE: TSAI MING-LIANG'S WHAT TIME IS IT THERE?; BIBLIOGRAPHY. Motion pictures Study and teaching (Higher) PERFORMING ARTS Reference. bisacsh Motion pictures Study and teaching (Higher) fast |
| title | Teaching sound film : a reader / |
| title_auth | Teaching sound film : a reader / |
| title_exact_search | Teaching sound film : a reader / |
| title_full | Teaching sound film : a reader / R.J. Cardullo. |
| title_fullStr | Teaching sound film : a reader / R.J. Cardullo. |
| title_full_unstemmed | Teaching sound film : a reader / R.J. Cardullo. |
| title_short | Teaching sound film : |
| title_sort | teaching sound film a reader |
| title_sub | a reader / |
| topic | Motion pictures Study and teaching (Higher) PERFORMING ARTS Reference. bisacsh Motion pictures Study and teaching (Higher) fast |
| topic_facet | Motion pictures Study and teaching (Higher) PERFORMING ARTS Reference. |
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| work_keys_str_mv | AT cardullobert teachingsoundfilmareader |