Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 2
Book Description
Mr. Quay, from the Committee on Public Buildings and Grounds, Submitted the Following Report. [To Accompany S. 5553.]
Mr. Quay, from the Committee on Public Buildings and Grounds, Submitted the Following Report
Style Manual of the Government Printing Office
Mr. Quay, from the Committee on Public Buildings and Grounds, Submitted the Following Report: [To Accompany S. 131.]
Mr. Quay, from the Committee on Public Buildings and Grounds, Submitted the Following Report. [To Accompany S. 5538.]
Mr. Quay, from the Committee on Public Buildings and Grounds, Submitted the Following Report. [To Accompany S. 5540.]
Mr. Quay, from the Committee on Public Buildings and Grounds, Submitted the Following Report. [To Accompany Mr. Davis Amendment to H. R. 8428.]
Catalogue of the Public Documents of the ... Congress and of All Departments of the Government of the United States for the Period from ... to ...
Author: United States. Superintendent of Documents
Publisher:
ISBN:
Category : Government publications
Languages : en
Pages : 2868
Book Description
Publisher:
ISBN:
Category : Government publications
Languages : en
Pages : 2868
Book Description
Life to Those Shadows
Author: Noël Burch
Publisher: Univ of California Press
ISBN: 9780520071445
Category : Performing Arts
Languages : en
Pages : 328
Book Description
Noel Burch's new book is a critique of the assumptions underlying 'classical' approaches to film history: the assumption that what we call the language of film was a natural, organic development, that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being; and the assumption that this language was a universal, neutral medium, innocent of any social or historical meaning in itself." "His major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed -- in the capitalist and imperialist west between 1892 and 1929." "The book examines the chronology of the emergence of what it defines as cinema's Institutional Mode of Representation and the socio-historical circumstances in which this took place. It examines the principles of visualisation -- camera placement and movement, lighting, editing, mise-en-scene -- that film-makers and audiences came to internalize over the first three decades. Special emphasis is laid on the allimportant change that occurred in the imaginary placing of the spectator, from a position of exteriority to the film image, implicit in both film-form and viewing conditions during the primitive era (pre-1909), to the imaginary centering of the spectator-subject, completed only with the generalisation of lip-synch sound after 1929. It is the contention of this book that this imaginary centering of a sensorily isolated spectator is the keystone of the cinematic illusion of reality, still achieved today by the same means as it was sixty years ago.
Publisher: Univ of California Press
ISBN: 9780520071445
Category : Performing Arts
Languages : en
Pages : 328
Book Description
Noel Burch's new book is a critique of the assumptions underlying 'classical' approaches to film history: the assumption that what we call the language of film was a natural, organic development, that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being; and the assumption that this language was a universal, neutral medium, innocent of any social or historical meaning in itself." "His major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed -- in the capitalist and imperialist west between 1892 and 1929." "The book examines the chronology of the emergence of what it defines as cinema's Institutional Mode of Representation and the socio-historical circumstances in which this took place. It examines the principles of visualisation -- camera placement and movement, lighting, editing, mise-en-scene -- that film-makers and audiences came to internalize over the first three decades. Special emphasis is laid on the allimportant change that occurred in the imaginary placing of the spectator, from a position of exteriority to the film image, implicit in both film-form and viewing conditions during the primitive era (pre-1909), to the imaginary centering of the spectator-subject, completed only with the generalisation of lip-synch sound after 1929. It is the contention of this book that this imaginary centering of a sensorily isolated spectator is the keystone of the cinematic illusion of reality, still achieved today by the same means as it was sixty years ago.