| Record ID | marc_nuls/NULS_PHC_180925.mrc:6210216:2041 |
| Source | marc_nuls |
| Download Link | /show-records/marc_nuls/NULS_PHC_180925.mrc:6210216:2041?format=raw |
LEADER: 02041cam 2200313 a 4500
001 9921199470001661
005 20161129144001.0
008 040106s2004 caua b s001 0 eng
010 $a 2004000202
020 $a0520238621 (cloth : alk. paper)
020 $a0520238915 (pbk. : alk. paper)
035 $a(CSdNU)u234037-01national_inst
035 $a(OCoLC)54001363
040 $aDLC$cDLC$dC#P$dDAY$dCUY
049 $aCNUM
050 00 $aPN1995.9.E9$bF17 2004
082 00 $a791.43/015$222
100 1 $aFabe, Marilyn.
245 10 $aClosely watched films :$ban introduction to the art of narrative film technique /$cMarilyn Fabe.
260 $aBerkeley :$bUniversity of California Press,$cc2004.
300 $axviii, 279 p. :$bill. ;$c24 cm.
504 $aIncludes bibliographical references (p. 267-272) and index.
505 0 $aThe beginnings of film narrative: D.W. Griffith's The birth of a nation -- The art of montage: Sergei Eisenstein's The battleship Potemkin -- Expressionism and realism in film form: F.W. Murnau's The last laugh and Charles Chaplin's The adventurer -- The conversion to sound and the classical Hollywood film: Howard Hawks's His girl Friday -- Expressive realism: Orson Welles's Citizen Kane -- Italian neorealism: Vittorio de Sica's The bicycle thief -- Auteur theory and the French new wave: Francois Truffaut's The 400 blows -- Hollywood auteur: Alfred Hitchcock's Notorious -- The European art film: Federico Fellini's 8 1/2 -- Film and postmodernism: Woody Allen's Annie Hall -- Political cinema: Spike Lee's Do the right thing -- Feminism and film form: Patricia Rozema's I've heard the mermaids singing -- Epilogue: digital video and new forms of narrative in Mike Figgis's Timecode.
650 0 $aMotion pictures$xEvaluation.
650 0 $aMotion pictures$xAesthetics.
650 0 $aMotion pictures.
949 $aPN 1995.9.E9 F17 2004$i31786101870340
994 $a92$bCNU
999 $aPN 1995.9.E9 F17 2004$wLC$c1$i31786101870340$d3/25/2007$e3/4/2007 $lCIRCSTACKS$mNULS$n1$rY$sY$tBOOK$u12/23/2004