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Audiovisuelle Rhythmen. Filmmusik, Bewegungskomposition und die dynamische Affizierung des Zuschauers

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Book Series: Cinepoetics. Poetologien audiovisueller Bilder ISSN: 2509-436X ISBN: 9783110488319 9783110491210 Year: Volume: 3 Pages: viii, 291 DOI: 10.1515/9783110488319 Language: German
Publisher: De Gruyter
Subject: Performing Arts --- Music
Added to DOAB on : 2017-01-25 12:41:27
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The book explores the relationship of movement and music in film to study the aesthetic principles of audience affect. It begins by a reconstructive analysis and theoretical reflection on the rhythmicity of films – and goes on to show the extent to which the rhythmic dimension of audiovisual images offers access to intersubjective strategies to induce affect in the movie theater.

Arthur Schnitzler und der Film. Bedeutung, Wahrnehmung, Beziehung, Umsetzung, Erfahrung

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ISBN: 3866440588 Year: Pages: 210 DOI: 10.26530/OAPEN_422392 Language: German
Publisher: KIT Scientific Publishing
Subject: Media and communication
Added to DOAB on : 2012-07-29 10:36:57
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Keywords

movies --- media industry --- kunst --- film --- art --- filmindustrie

Affektpoetiken des New Hollywood. Suspense, Paranoia und Melancholie

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Book Series: Cinepoetics. Poetologien audiovisueller Bilder ISSN: 2509-436X ISBN: 9783110488739 9783110488760 Year: Volume: 2 Pages: ix, 374 DOI: 10.1515/9783110488739 Language: German
Publisher: De Gruyter
Subject: Performing Arts
Added to DOAB on : 2017-01-25 12:48:33
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How do spectators become emotionally involved in cinema? Starting from this question, the book suggests an original view about a critical period in United States film history. In a detailed analysis of individual films, an image emerges of a complex interplay between three affective modes – suspense, paranoia, and melancholy – which draw the spectators to reflect in unique ways about contradictions in their own feelings.

Proust Cinématographe. Wie Raoul Ruiz Proust las

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ISBN: 9783946054467 9783946054474 9783946054610 Year: Pages: 330 DOI: 10.17885/heiup.310.420 Language: German
Publisher: Heidelberg University Publishing (heiUP)
Subject: Performing Arts --- Languages and Literatures --- Visual Arts
Added to DOAB on : 2018-08-06 14:28:32
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"Proust Cinematographe – Ruiz reading In Search of Lost Time" takes a new look at the metapoetic program of Proust’s A la Recherche du Temps perdu. Selected text passages and film excerpts are analyzed, focusing on the fundamental questions of the novel about the perception and description of time, subject, and identity. It turns out that the novel of the nineteenth century anticipated the concepts of modern cinema on a surprisingly broad scale.

Dostojewskij intermedial

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Book Series: Jahrbuch der Deutschen Dostojewskij-Gesellschaft ISBN: 9783866881938 Year: Pages: 168 Language: German
Publisher: Peter Lang International Academic Publishing Group
Added to DOAB on : 2019-01-15 13:32:11
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Aus dem Inhalt: Gudrun Goes, Vorwort; Wolf Schmid, "Die Brüder Karamazov" - Dostoevskijs Pro und Contra; Philip Maroldt, Aus der allereigensten Enge; Lutz Keßler, Verbrechen und Strafe in Göttingen; Thomas Bischoff, Spielfassung von Fjodor Dostojewskijs "Verbrechen und Strafe" in der Übersetzung von Swetlana Geier für das Deutsche Theater in Göttingen; Anja Sackarendt, "Bin ich ein Mensch oder eine Laus?" Zur Magdeburger Inszenierung von "Schuld und Sühne"; Isabelle Kock, Josefine Preiss, Eine vergleichende Analyse ausgewählter stofflich-thematischer Ansätze in Dostojewskijs "Schuld und Sühne" und der gleichnamigen Inszenierung am Magdeburger Schauspielhaus; Dunja Brötz, Dostojewskijs "Schuld und Sühne" (Prestuplenie i nakazanie, 1866) als filmischer Albtraum bei Heithor Dhalia ("Nina" 2004) und Brad Anderson ("The Machinist" 2004); Thomas Blume, Wie viel Dostojewskij steckt in Tarkowskij? Eine Annäherung; Clemens Heithus, Deutsche Dostojewskij-Bibliographie 2010: Rezensionen.

No List of Political Assets

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Book Series: Slavistische Beitraege ISBN: 9783876904498 Year: Pages: 134 Language: German
Publisher: Peter Lang International Academic Publishing Group
Added to DOAB on : 2019-01-15 13:31:50
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Iurii Olesha (1899-1960) was a relative late-comer to film work, if compared to several other important fictional prose writers oft he Soviet ,experimental' (modernist) 1920s. Olesha's first major filmscript (and his first script to be filmed) was "Strogii iunosha (A Strict Youth"), written in Odessa in 29 days in May und June 1934.

Vergangenheit, die nicht vergeht

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ISBN: 9783706548533 Year: Pages: 272 Seiten DOI: 10.26530/OAPEN_437168 Language: German
Publisher: Studien Verlag Grant: Austrian Science Fund - D 4195
Added to DOAB on : 2013-03-27 11:49:06
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The publication entitled "Vergangenheit, die nicht vergeht. Das Gedächtnis der Shoah in Frankreich seit 1945 im Medium Film" (A past, that doesn't pass. Holocaust Memory in France since 1945 in the Media Film) explores the basic transformations of the Holocaust-memory in France on the basis of French fiction films that are to be identified as part of cinematography of the Holocaust. The chosen approach that can be described as a history of memory referring to models of collective memory in cultural science studies. The aim is to specify the change of collective memory at the level of the particular filmic narratives and - by doing so - to identify and to analyze the long term development and ruptures in the French culture of remembrance since 1945. The empiric part of this study is preceded by methodological reflections that on the one hand permit a clear and differentiating application of the terms used in the current cultural studies of collective memory. On the other hand this chapter should help to conceive the material of research "Fiction Film" as primal source for historical science. The investigation is divided into five chronological parts and involves altogether a sample of 50 films into the general study before electing cases for deeper analyses. The first section (1945-69) which is generally well covered by the research to date is paying particular attention to the creation and the formation of different formations of collective memory in France, a process that has left its prints in the early films about the Holocaust. The focus is laid on the complex relationship of national memory and other political collective memories as well as particular social memories which is forming the background of the creation of a Holocaust-memory in a strict sense at the begin of the 1960ies. The second - primarily concerning the 1970ies - section is dealing with a central momentum of modification of collective long term memory in France. The cinema of this period is to understand as prominent forum of discourses which does not only reflect the ongoing transformation from Résistance dominated memory into a Holocaust dominated memory but also significantly stimulating this shift. Film as one influencing value in a public-democratic sphere of collective memory is documenting on various (visual + narrative) levels the decline of the herocentric national remembrance towards a transnational victim based Holocaust memory. In the following third period which is located in the 1980ies and 1990ies this fundamental transformation is continuously specified and at the same time showing consequences. In the broader context of continuous medialization and politicization of the Holocaust on an international level the study is concentrating on three elements of the transformation in collective Holocaust remembrance: Universalization, Americanization and Victimization. The fourth section is for a moment dislocating its focus, as it turns from the production of French film to the public and intellectual reception of the most successful international Holocaust films in the 1990ies as well as the continued dispute over the appropriate representation of the Holocaust. The last part of the empiric part is locating and defining current tendencies in the filmic representation of the Holocaust in French cinema. The author is taking into account films presented until the year 2007. Besides a general description of the sometimes very divergent evolution of the cinematic-taking reference to the Shoah in France, the study continues to relate selected examples to general phenomena of social intercourse with the past, especially the "Patrimonialisation" (Pierre Nora), and the Sacralization and the Re -politicization of history. The diachronically oriented investigation - so far are sparse on the subject of research - and the wide coverage radius of empirical data prove - regarding the reconstruction and analysis of individual changes and constellations of

Der Filmkomponist Max Steiner (1888-1971)

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ISBN: 9783205788010 Year: Pages: 302 Seiten DOI: 10.26530/OAPEN_453612 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 4305
Added to DOAB on : 2013-09-21 22:37:40
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This is the first monograph about the Austro-American Composer Max Steiner (1888-1971), one of the great pioneers of film music in the so-called Golden Age of Hollywood. In the early 1930ies with his visionary energy he helped to establish symphonic film music as an integrated part in the film production process. In contrary to many of his colleagues, Mr. Steiner had devoted himself completely to film music. Therefore the preoccupation with Max Steiner's music gives a very valuable insight into the craft of film composing. Supported by many quotes and music examples, the first part of this monograph shows how Mr. Steiner wrote his film music. From the first viewing and the spotting session to the final exact timing of the cues, the whole creative and technical process of his film composing is demonstrated. The music of Max Steiner has a couple of quasi formulaic elements: the regular use of leitmotifs, quotations from his own music and the accurate synchronisation of screen action and music cues (with its extreme form, the so-called mickey mousing). The principles of the subjective use of harmonies as well as the technique of instrumentation are shown. The reader will also learn about the special relationship between composer and orchestrator. This distinctive form of collaboration was typical for the Hollywood cinema of the 30ies and 40ies of the 20th century, the so called Golden Age and still is today. Because the studios wanted to save the precious time of their employed composers, they wanted them to write their music on sketch paper with two to four staves, with the themes, voice leadings, harmonies and basic requirements of instrumentation. Then the orchestrator had to transform this into a complete score. Throughout his whole career, Mr. Steiner had been working with three orchestrators. This collaboration reached such an intuitive level, that is was sufficient that Max Steiner wrote only rudimentary musical information. When these sketches had been transformed into scores, Steiner conducted the studio orchestra, where he normally used the click. The second part of the book is based to a big extent on Steiner's yet unpublished autobiography. Born at the end of the 19th century in Vienna, Max Steiner was considered a musical wunderkind. His father as well as his grandfather before him was a famous theatre impresario. One of his teachers was Gustav Mahler. Steiner's first career as composer, arranger and conductor of operettas and musicals led him from Vienna to London and New York and lasted about 30 years. Then, in 1929, he got a call from Hollywood where he fulfilled his determination as dean of film music (Bette Davis). In the 50ies, when the symphonic film music lost its acceptance also Max Steiner's amount of work decreased. In 1965 he wrote his last of more than 300 scores. With the help of original documents from the archive of Warner Bros., such as memos, letters or billings the reader will get a three dimensional insight not only about how the movie Casablanca was made but on the mechanisms of the movie industry as a whole. Parts of the original sketches and the score of the music for Casablanca have been carefully transformed into a piano reduction to demonstrate even more clearly the efficient use of his skills and the yet highly artistic approach of Mr. Steiner Furthermore an example of this film music is compared to an excerpt of Richard Wagner's Ring des Nibelungen. There the reader will see how film music was not only inspired by but precisely obtained musical tools from the late romantic music theatre. Or, in Max Steiner's own words: "If Wagner would have lived in this century, he would be the number one film composer". Max Steiner is an outstanding protagonist of a generation of European immigrants who formed the cultural life in the USA. He is an important link between his native city Vienna and his new homeland America and through composers such as Steiner the tradition of the late European romantic m

Technik und Gender : Technikzukünfte als geschlechtlich codierte Ordnungen in Literatur und Film

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Book Series: Karlsruher Studien Technik und Kultur / Hrsg.: G. Banse, A. Böhn, A. Grunwald, K. Möser, M. Pfadenhauer ISSN: 18697194 ISBN: 9783731504870 Year: Volume: 8 Pages: II, 249 p. DOI: 10.5445/KSP/1000051991 Language: GERMAN
Publisher: KIT Scientific Publishing
Subject: Linguistics
Added to DOAB on : 2016-08-11 12:46:28
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Fictionally depicted technology appears to be dominated by gender stereotypes that reproduce common clichés and are based on the opposition of traditional, gender-associated characteristics. Thus, masculinity represents the technological principle whereas femininity is associated with the sphere of nature. But how stereotypical are visions of a future worlds involving innovative technology? The volume focuses on the gender-codification of technological futures in literature and film.

Anklang und Widerhall: Dostojewskij in medialen Kontexten

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Book Series: Jahrbuch der Deutschen Dostojewskij-Gesellschaft ISBN: 9783866884113 Year: Pages: 211 Language: German
Publisher: Peter Lang International Academic Publishing Group
Added to DOAB on : 2019-01-15 13:32:11
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Die Deutsche Dostojewskij-Gesellschaft (DDG) verfolgt das Ziel, das Werk Fjodor Michajlowitsch Dostojewskijs (1821-1881), des weltweit immer noch wirkmächtigsten russischen Autors, in Deutschland zu verbreiten und über aktuelle Trends vor allem der deutschsprachigen Dostojewskij-Rezeption zu informieren. Die Gesellschaft hat eine wichtige Scharnierfunktion zwischen Fachwissenschaft (Russischer bzw. Slawischer Philologie) einerseits und dem anhaltend großen Kreis deutschsprachiger Dostojewskij-Leserinnen und -Leser. Zur Zielgruppe gehören Hochschulinstitute und -dozenten ebenso wie Theologen, Psychologen, Philosophen, Mediziner, Gymnasiallehrer, Volkhochschuldozenten und andere interessierte Laien. Das Jahrbuch der DDG dient in erster Hinsicht der Publikation der Vorträge der Jahrestagungen der Gesellschaft, die stets einem bestimmten Themenkreis gewidmet sind. Daneben erscheinen in ihm aber auch neuere wissenschaftliche oder populärwissenschaftliche Abhandlungen zum Thema des jeweiligen Bandes oder zu Dostojewskij allgemein. In den fast drei Jahrzehnten seines Bestehens konnte sich das Jahrbuch als Forum der deutschsprachigen Dostojewskij-Forschung etablieren, das auch von Fachwissenschaftlern geschätzt und als Medium genutzt wird.

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