Read e-book online Teaching Sound Film: A Reader PDF
By R. J. Cardullo
Teaching Sound movie: A Reader is a movie analysis-and-criticism textbook that comprises 35 essays on 35 geographically assorted, traditionally major sound motion pictures. The nations represented listed here are France, Italy, England, Belgium, Russia, India, China, Cuba, Germany, Japan, Russia, Romania, Czechoslovakia, Brazil, Taiwan, Austria, Afghanistan, South Korea, Finland, Burkina Faso, Mexico, Iran, Israel, Colombia, and the us. The administrators represented comprise Jean Renoir, Orson Welles, Akira Kurosawa, Federico Fellini, Woody Allen, Aki Kaurismäki, Ken Loach, Tomás Gutiérrez Alea, Abbas Kiarostami, Michael Haneke, and Hong Sang-soo.
Written with college scholars (and probably additionally complicated highschool scholars) in brain, the essays in Teaching Sound movie: A Reader hide a number of the crucial motion pictures treated—and crucial concerns raised—in today’s cinema classes and supply scholars with functional versions to assist them enhance their very own writing and analytical talents. those essays are transparent and readable—that is, refined and meaty but no longer overly technical or jargon-heavy. This makes them excellent introductions to their respective movies in addition to vital contributions to the sphere of movie stories in general. additionally, this book’s scholarly gear positive factors credit, photos, bibliographies for all movies mentioned, filmographies for the entire administrators, a listing of themes for writing and dialogue, a word list of movie phrases, and an appendix containing 3 essays, respectively, on movie appearing, avant-garde cinema, and theater vs. film.
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Extra resources for Teaching Sound Film: A Reader
1979). Jean Renoir: A guide to references and resources. Boston, MA: G. K. Hall. Faulkner, C. (1986). The social cinema of Jean Renoir. Princeton, NJ: Princeton University Press. Kauffmann, S. (1966). A world on film. New York, NY: Harper & Row. O’Shaugnessy, M. (2000). Jean Renoir. Manchester, UK: Manchester University Press. Renoir, J. (1962). Renoir, my father (R. & D. ). Boston, MA: Little, Brown. Renoir, J. (1974). My life and my films (N. ). New York, NY: Atheneum. Renoir, J. (1989). Renoir on Renoir: Interviews, essays, and remarks (C.
It returns us, in other words, to what I have called the first clue to the strategy of the film that is about him. Other interpreters of Citizen Kane also feel that “Rosebud” returns us to Kane’s childhood and abandonment by his mother; but they view the sled as a conventional symbol, whereas I see it, or rather I see the revelation that the sled bears the name Kane called out on his deathbed, more as a final confirmation of the film’s unique 31 Chapter 3 artistic strategy. Alan Stanbrook, for instance, believes that “‘Rosebud’ becomes the symbol of [Kane’s] youthful innocence, lost when he was adopted into a family of bankers.
MacArthur, C. (1928). The front page. New York, NY: Covici-Friede. , & MacArthur, C. (2003). The front page (G. W. ). Hanover, NH: Smith and Kraus. Millichap, J. R. (1981). Lewis Milestone. Boston, MA: Twayne. Murray, G. (1965). The madhouse on Madison street. Chicago, IL: Follett Publishing Co. Starrett, V. (1965). Born in a bookshop: Chapters from the Chicago renaissance. Norman, OK: University of Oklahoma Press. 10 CHAPTER 2 PERIOD PIECE, PEACE PICTURE: RENOIR’S LA GRANDE ILLUSION RECONSIDERED It may not be remembered that before World War II, and even for some time after it, Jean Renoir was by no means ranked as the supreme French film director.
Teaching Sound Film: A Reader by R. J. Cardullo