Cinema 1

Basic Information

Title

Cinema 1

Subtitle

The Movement-Image

Parallel Title

(원서명)Cinéma. 1. L'image-mouvement

Country

국외

Production Date

1986-**-**

Language

영어

Size (mm)

137 x 214

Pages

250쪽

ISBN/ISSN

0816614008

Edition

-

Master Files

-

Producer

Gilles Deiduze (저자), Hugh Tomlinson ; Barbara Habberjam (역자), University of Minnesota Press (발행처)

Description

-

Contents

Contents

Preface to the English edition = ix Translators' introduction = xi Preface to the French edition = xiv Chapter 1. Theses on movement First commentary on Bergson 1. First thesis: movement and instant = 1 2. Second thesis: privileged instants and any-instant-whatevers = 3 3. Third thesis: movement and change = 8 the whole, the Open or duration the three levels: the set and its parts: movement the whole and its changes Chapter. 2 Frame and shot, framing and cutting 1. The first level: frame, set or closed system = 12 the functions of the frame the out-of-field: its two aspects 2. The second level: shot and movement = 18 the two facets of the shot: directed towards sets and their parts, directed towards the whole and its changes the movement-image mobile section, temporal perspective 3. Mobility: montage and movement of the camera = 24 the question of the unity of the shot (sequence-shots) the importance of false continuity Chapter 3. Montage 1. The third level: the whole, the composition of movement images and the indirect image of time = 29 the American school: organic composition and montage in Griffith the two aspects of time: the interval and the whole, the variable present and immensity 2. The Soviet school: dialectical composition = 32 the organic and the pathetic in Eisenstein: spiral and qualitative leap: Pudovkin and Dovzhenko Vertov's materialist composition 3. The pre-war French school: quantitative composition = 40 Rhythm and mechanics the two aspects of the quantity of movement: relative and absolute Gance and the mathematical sublime the German Expressionist school: intensive composition light and shadows (Murnau, Lang) Expressionism and the dynamic sublime Chapter 4. The movement-image and its three varieties Second commentary on Bergson 1. The identity of the image and the movement = 56 movement-image and light-image 2. From the movement-image to its varieties = 61 perception-image, action-image, affection-image 3. The reverse proof: how to extinguish the three varieties (Beckett's Film) = 66 how the three varieties are formed Chapter 5. The perception-image 1. The two poles, objective and subjective = 71 the 'semi-subjective' or the free indirect image (Pasolini, Rohmer) 2. Towards another state of perception: liquid perception = 76 the role of water in the pre-war French school Grémillon, Vigo 3. Towards a gaseous perception = 80 content and interval according to Vertov the engramme a tendency of the experimental cinema (Landow) Chapter 6. The affection-image Face and close-up 1. The two poles of the face: power and quality = 87 2. Griffith and Eisenstein = 91 Expressionism lyrica abstraction: light, white and refraction (Sternberg) 3. The affect as entity = 95 the icon 'Firstness' according to Peirce The limit of the face or nothingness: Bergman how to escape from it Chapter 7. The affection-image Qualities, powers, any-space-whatevers 1. The complex entity or the expressed = 102 virtual conjunctions and real connections the affective components of the close-up (Bergman) from close-up to other shots: Dreyer 2. The spiritual affect and space in Bresson = 108 what is an 'any-space-whatever'? 3. The construction of any-space-whatevers = 111 shadow, opposition and struggle in Expressionism the white, alternation and the alternative in lyrical abstraction (Sternberg, Dreyer, Bresson) colour and absorption (Minnelli) the two kinds of any-space-whatevers, and their frequency in contemporary cinema (Snow) Chapter 8. From affect to action The impulse image 1. Naturalism = 123 originary worlds and derived milieux impulses and fragments, symptoms and fetishes two great naturalists: Stroheim and Buñuel parasitic impulse entropy and the cycle 2. A characteristic of Bunuel's work: power of repetition in the image = 130 3. The difficulty of being naturalist: King Vidor = 133 the case and the evolution of Nicholas Ray the third great naturalist: Losey impulse to servility the reversal against self the co-ordinates of naturalism Chapter 9. The action-image The large form 1. From situation to action: 'secondness' = 141 the encompasser and the duel the American Dream the great genres: the psycho-social film (King Vidor), the Western (Ford), the historical film (Griffith, Cecil B. De Mille) 2. The laws of organic composition = 151 3. The sensory-motor link = 155 Kazan and the Actors Studio the impression Chapter 10. The action-image The small form 1. From action to situation = 160 the two kinds of indices the comedy of manners (Chaplin, Lubitsch) 2. The Western in Hawks: functionalism = 164 the neo-Western and its type of space (Mann, Peckinpah) 3. The law of the small form and burlesque = 169 Chaplin's evolution: the figure of discourse the paradox of Keaton: the minoring and recurrent functions of the great machines Chapter 11. Figures, or the transformation of forms 1. The passage from one form to another in Eisenstein = 178 montage of attractions the different types 2. The figures of the Large and the Small in Herzog = 184 3. The two spaces: the breath-Encompasser and the line of the Universe = 186 breath in Kurosawa: from the situation to the question lines of the Universe in Mizoguchi: from outline to obstacle Chapter 12. The crisis of the action-image 1. Peirce's 'thirdness' and mental relations = 197 the Marx Brothers the mental image according to Hitchcock marks and symbols how Hitchcock brings the action-image to completion by carrying it to its limit the crisis of the action-image in the American cinema (Lumet, Cassavetes, Altman) the five characteristics of this crisis the loosening of the sensory-motor link 2. The origin of the crisis: Italian neo-realism and the French new wave = 205 the critical consciousness of cliché problem of a new conception of the image 3. Towards a beyond of the movement-image = 211 Glossary = 217 Notes = 219 Index = 243

Holdings Information 3