Describing Cinema
- Publisher's listprice GBP 68.00
-
32 487 Ft (30 940 Ft + 5% VAT)
The price is estimated because at the time of ordering we do not know what conversion rates will apply to HUF / product currency when the book arrives. In case HUF is weaker, the price increases slightly, in case HUF is stronger, the price goes lower slightly.
- Discount 10% (cc. 3 249 Ft off)
- Discounted price 29 238 Ft (27 846 Ft + 5% VAT)
Subcribe now and take benefit of a favourable price.
Subscribe
32 487 Ft
Availability
printed on demand
Why don't you give exact delivery time?
Delivery time is estimated on our previous experiences. We give estimations only, because we order from outside Hungary, and the delivery time mainly depends on how quickly the publisher supplies the book. Faster or slower deliveries both happen, but we do our best to supply as quickly as possible.
Product details:
- Publisher OUP USA
- Date of Publication 22 March 2024
- ISBN 9780197625354
- Binding Hardback
- No. of pages176 pages
- Size 140x210x14 mm
- Weight 308 g
- Language English
- Illustrations 16 b&w halftones 547
Categories
Short description:
Written by award-winning author Timothy Corrigan, Describing Cinema is an argument for the creative energies of writing in general and for the revelatory intersection of personal experience and film analysis. Describing Cinema demonstrates the pleasures and energies of precise discussions and detailed writing about the films that move us.
MoreLong description:
In Describing Cinema, award-winning film scholar Timothy Corrigan explores the art and poetics of writing about film. Part theory, part rhetoric, and part pedagogy, the text examines and demonstrates acts of describing scenes, shots, and sequences in films as the most common and most underestimated way viewers respond to movies. Describing Cinema represents a global range of movies from Hollywood to Morocco to Rome, made from the 1940s to the present. As Corrigan shows, energetic and careful descriptions can serve as exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. At its best, the act of describing films never simply denotes actions, images, sounds, or styles but rather produces the orchestration of one or more of those dimensions as an often creative and intersubjective movement between images, viewers, and a rhetorical language. Providing an invaluable exploration of the challenges and rewards film scholars face in describing movies, Corrigan insists that writing about film becomes thinking about film.
MoreTable of Contents:
Preface
Part I: In Other Words: Film and the Spider Web of Description
Part II: “Badly Said, Badly Seen”: Describing . . .
1.Dis-chord: Meet Me in St. Louis (Vincente Minnelli, 1944)
2. The Pedestrian: The Bicycle Thieves (Vittorio De Sica, 1948)
3. Vacancy: Throne of Blood (Akira Kurosawa, 1957)
4. Ghosting: Pyassa (Guru Dutt, 1957)
5. Exposures: Contempt (Jean-Luc Godard, 1963)
6. Immobility: The Conformist (Bernardo Bertolucci, 1970)
7. Red: Don't Look Now (Nicolas Roeg, 1973)
8. Folds: The Marriage of Maria Braun (R.W. Fassbinder,1978)
9. Discretion: Sunless (Chris Marker, 1983)
10. Emplacements: Do the Right Thing (Spike Lee, 1989)
11. Noise: The Piano (Jane Campion, 1993)
12. Interiors: A Taste of Cherry (Abbas Kiarostami, 1997)
13. Correspondence: Central Station (Walter Salles, 1998)
14. Anticipation: In the Mood for Love (Wong Kar-wai, 2000)
15. Gaming: The Bourne Ultimatum (Paul Greengrass, 2007)
16. The Tactile: Adam (Maryam Touzani, 2019)
