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Eisenstein’s Aesthetics

Peter Wollen

Peter Wollen taught film at UCLA, USA. He was the author of several books, including Signs and Meaning in the Cinema (1969, 2012), the BFI Film Classic on ‘Singin’ in the Rain’ (1992, 2012) and was the co-writer of Michelangelo Antonioni’s film The Passenger (1974). Author affiliation details are correct at time of print publication.

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DN Rodowick

Signs and Meaning in the Cinema

British Film Institute, 2013

Book

0

...S. M. EisensteinEven today the Bolshevik Revolution reverberates through our lives. During those heroic days Eisenstein was a student at the Institute of Civil Engineering in Petrograd. He was nineteen years old. He was not prepared...

The Writings of Lee Russell: New Left Review (1964–7)

Peter Wollen

Peter Wollen taught film at UCLA, USA. He was the author of several books, including Signs and Meaning in the Cinema (1969, 2012), the BFI Film Classic on ‘Singin’ in the Rain’ (1992, 2012) and was the co-writer of Michelangelo Antonioni’s film The Passenger (1974). Author affiliation details are correct at time of print publication.

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DN Rodowick

Signs and Meaning in the Cinema

British Film Institute, 2013

Book

0

...Samuel Fuller[First published in NLR no. 23, January/February 1964, pp. 86–9]Samuel Fuller was one year old when Walsh made his first film, three years old when Chaplin made his first, four years old when Griffith made Birth of a Nation...

Conclusion (1972)

Peter Wollen

Peter Wollen taught film at UCLA, USA. He was the author of several books, including Signs and Meaning in the Cinema (1969, 2012), the BFI Film Classic on ‘Singin’ in the Rain’ (1992, 2012) and was the co-writer of Michelangelo Antonioni’s film The Passenger (1974). Author affiliation details are correct at time of print publication.

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DN Rodowick

Signs and Meaning in the Cinema

British Film Institute, 2013

Book

0

...Looking back over this book, even after a short distance of time, it strikes me that it was written at the beginning of a transitional period which is not yet over. What marks this period, I think, is the delayed encounter of the cinema...

The Auteur Theory

Peter Wollen

Peter Wollen taught film at UCLA, USA. He was the author of several books, including Signs and Meaning in the Cinema (1969, 2012), the BFI Film Classic on ‘Singin’ in the Rain’ (1992, 2012) and was the co-writer of Michelangelo Antonioni’s film The Passenger (1974). Author affiliation details are correct at time of print publication.

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DN Rodowick

Signs and Meaning in the Cinema

British Film Institute, 2013

Book

0

...The politique des auteurs – the auteur theory, as Andrew Sarris calls it – was developed by the loosely knit group of critics who wrote for Cahiers du cinéma and made it the leading film magazine in the world. It sprang from the conviction...

Introduction

Peter Wollen

Peter Wollen taught film at UCLA, USA. He was the author of several books, including Signs and Meaning in the Cinema (1969, 2012), the BFI Film Classic on ‘Singin’ in the Rain’ (1992, 2012) and was the co-writer of Michelangelo Antonioni’s film The Passenger (1974). Author affiliation details are correct at time of print publication.

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DN Rodowick

Signs and Meaning in the Cinema

British Film Institute, 2013

Book

0

...The general purpose of this book is to suggest a number of avenues by which the outstanding problems of film aesthetics might be fruitfully approached. My guiding principle has been that the study of film does not necessarily have to take...

The Semiology of the Cinema

Peter Wollen

Peter Wollen taught film at UCLA, USA. He was the author of several books, including Signs and Meaning in the Cinema (1969, 2012), the BFI Film Classic on ‘Singin’ in the Rain’ (1992, 2012) and was the co-writer of Michelangelo Antonioni’s film The Passenger (1974). Author affiliation details are correct at time of print publication.

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and

DN Rodowick

Signs and Meaning in the Cinema

British Film Institute, 2013

Book

0

...In recent years a considerable degree of interest has developed in the semiology of the cinema, in the question of whether it is possible to dissolve cinema criticism and cinema aesthetics into a special province of the general science...