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...Berlin Tiergarten. Summer Night. A long road. Derelict buildings at either side. It is late at night. In the distance, Kenneth Lindsay Jones is walking towards the camera. Silence. The camera moves sideways to disclose a brightly lit...

Humphrey Jennings

The Projection of Britain : A History of the GPO Film Unit

British Film Institute, 2011

Book

2

... Arts-and-Crafts-style houses, and his artist mother painted and sold pottery. As a student at Cambridge University he mixed with an artistic and intellectual crowd that included William Empson, Julian Trevelyan, Michael Redgrave and Henri...

The Temporal/Spatial Logic of Japanese Nationalism: The Narrative Structure of Film and Memory

Violating Time : History, Memory, and Nostalgia in Cinema

Continuum, 2008

Book

2

... of obsessive recollection and total forgetting—in the in-between of two abstract negations, as Hegel would say.In his groundbreaking work Imagined Communities (1983), Benedict Anderson historicizes the formation of the modern nation-state as a work...

Joanna

Michael Schulman

Michael Schulman is a contributor and arts editor at The New Yorker. His work has appeared in the New York Times, Vanity Fair, and other publications. He lives in New York City. Author affiliation details are correct at time of print publication.

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Her Again : Becoming Meryl Streep

Faber & Faber, 2016

Book

1

...Six months.That’s how long it took. Six months and change. On March 12, 1978, the love of Meryl Streep’s life died as she sat by his bedside. By late September, she was married to another man.Six months in which Michael Cimino hacked away...

Visual History

Michael Rizzo

Michael Rizzo is a writer, artist, photographer, teacher, art director, and web designer. He currently works as the Art Director of GLEE at Paramount Studios. Among the films he has both art directed and production designed are Vanilla Sky, Notes from Underground, Joy Ride, My Fellow Americans, Rocketman, Gone Fishin’, Murder in the First, So I Married an Axe Murderer, Body of Evidence, White Sands and My Cousin Vinny, and JFK. His TV credits include Glee, The Hunley, The Day Lincoln was Shot, The Lost Battalion, Ghost Whisperer, Comic Relief, Golden Gate, and All My Children. Author affiliation details are correct at time of print publication.

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The Art Direction Handbook for Film & Television

Focal Press, 2015

Book

1

... to be N OTES 1 Anderson, Joseph and Barbara, 1993. “The Myth of Persistence of Vision Revisited,” Journal of Film and Video, Vol. 45, No. 1: 3–12. 2 www.wordiq.com/defi nition/Persistence_of_vision. 3...

Professionalism, the Protestant Ethic and the New Deal

Howard Hawks : New Perspectives

British Film Institute, 2016

Book

2

...With the yammering protests of the prison yard rising into his penitentiary office, Warden Mark Brady (Walter Huston), the lead of Howard Hawks’s The Criminal Code (1931), makes one of the more concentrated declarations of the director...

Herbert Zettl, Approaches to Building Screen Space and Vectors

Michael Frierson

Michael Frierson is a Professor in Media Studies at the University of North Carolina at Greensboro. He is the author of Clay Animation: American Highlights 1908 to the Present (1994), which won the McLaren-Lambart Award from the National Film Board of Canada for the Best Scholarly Book on Animation for 1995. He teaches film theory, film/video production and editing, and has produced, shot and edited feature documentaries, as well as short films for Nickelodeon, Children’s Television Workshop, MSN Video, and AT&T Blue Room. Author affiliation details are correct at time of print publication.

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Film and Video Editing Theory : How Editing Creates Meaning

Routledge, 2018

Book

1

... frames). As she does, the camera dollies in closer signaling the resolution of their reunion. Another quirky version of this figure of style, the “romantic convergence,” is found in Moonrise Kingdom (Wes Anderson, 2012) where Sam (Jared...

Discovery of Space

Michael Chanan

MICHAEL CHANAN is a documentary film-maker and Professor of Film and Video at Roehampton University. His films include 'Detroit - Ruin of a City' (with George Steinmetz, 2005). His books include 'Cuban Cinema' (2003) and 'Repeated Takes: A Short History of Recording and its Effects on Music' (1995). Author affiliation details are correct at time of print publication.

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The Politics of Documentary

British Film Institute, 2007

Book

1

... As another reviewer puts it, ‘Even when they are shot in real places, movies create fantasy spaces – streets are renamed, buildings are moved, one city stands in for another.’Jason Anderson...

Essays and Endeavours

Michael Chanan

MICHAEL CHANAN is a documentary film-maker and Professor of Film and Video at Roehampton University. His films include 'Detroit - Ruin of a City' (with George Steinmetz, 2005). His books include 'Cuban Cinema' (2003) and 'Repeated Takes: A Short History of Recording and its Effects on Music' (1995). Author affiliation details are correct at time of print publication.

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The Politics of Documentary

British Film Institute, 2007

Book

1

... by the Real.Elizabeth Cowie, ‘The Spectacle of Actuality’, in Jane Gaines and Michael Renov (eds), Collecting Visible Evidence (Minneapolis and London: University of Minnesota Press, 1999), p. 21. Lacan’s Real is not the external physical reality...

Rhythmic and Graphic Editing

Michael Frierson

Michael Frierson is a Professor in Media Studies at the University of North Carolina at Greensboro. He is the author of Clay Animation: American Highlights 1908 to the Present (1994), which won the McLaren-Lambart Award from the National Film Board of Canada for the Best Scholarly Book on Animation for 1995. He teaches film theory, film/video production and editing, and has produced, shot and edited feature documentaries, as well as short films for Nickelodeon, Children’s Television Workshop, MSN Video, and AT&T Blue Room. Author affiliation details are correct at time of print publication.

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Film and Video Editing Theory : How Editing Creates Meaning

Routledge, 2018

Book

1

... is a precise approach to mise-en-scène and cinematography that takes a series of discontinuous shots, and cloaks their discontinuity in a system of cutting that renders them “continuous.” Michael Betancourt acknowledges the long-standing maxim...