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01831nam a2200241 a 4500 |
| 001 |
1987199 |
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20171111235924.0 |
| 008 |
121106s2004 cy da r 000 u eng d |
| 020 |
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|a 0520238915
|q pbk.
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| 020 |
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|a 9780520238916
|q pbk.
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| 040 |
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|a CY
|b University of Cyprus
|e AACR-2
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| 050 |
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|a PN1995.9.E9F17 2004
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| 100 |
1 |
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|a Fabe, Marilyn
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| 245 |
1 |
0 |
|a Closely watched films:
|b an introduction to the art of narrative film technique/
|c Marilyn Fabe
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| 260 |
1 |
0 |
|a Berkeley;
|b University of California Press,
|c [c2004]
|a Los Angeles:
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| 300 |
1 |
0 |
|a xviii, 267 p. :
|b ill. ;
|c 24 cm.
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| 504 |
1 |
0 |
|a Includes bibliography (p. 267-272) and index.
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| 505 |
0 |
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|a The 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.
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| 650 |
0 |
0 |
|a Motion pictures
|x Evaluation
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| 650 |
0 |
0 |
|a Motion pictures
|x Aesthetics
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| 650 |
0 |
0 |
|a Motion pictures
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| 952 |
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|a CY-NiOUC
|b 5a043fdd6c5ad14ac1ea6313
|c 998a
|d 945l
|e PN1995.9.E9F17 2004
|t 1
|x m
|z Books
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| 952 |
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|a GR-KeIUL
|b 59cc2ba06c5ad13446fa445a
|c 998a
|d 945l
|e 791.43015 FAB
|t 1
|x m
|z Books
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