| Record ID | marc_oapen/oapen.marc.utf8.mrc:13849456:1674 |
| Source | marc_oapen |
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LEADER: 01674 am a22002893u 450
001 611670
005 20191210
007 cu#uuu---auuuu
008 191210s|||| xx o 0 u eng |
020 $a9789089648914
024 7 $a10.5117/9789089648914$2doi
041 0 $aeng
042 $adc
072 7 $aAPFA$2bicssc
100 1 $aPantenburg, Volker$4aut
245 10 $aFarocki/Godard. Film as Theory
260 $a$bAmsterdam University Press$c2015
300 $a292
520 $aThere is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create "film as theory."
546 $aEnglish.
650 7 $aFilm theory & criticism$2bicssc
653 $aessay film
653 $aharun farocki
653 $afilm theory
653 $ajean-luc godard
856 40 $uhttp://www.oapen.org/download?type=document&docid=611670$zAccess full text online
856 40 $uhttps://creativecommons.org/licenses/by-nc-nd/3.0/$zCreative Commons License