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Describing cinema / Timothy Corrigan.

By: Corrigan, Timothy [author.]Material type: Text

TextPublisher: New York, NY : Oxford University Press, c2024Description: viii, 166 pages : illustrations ; 22 cmISBN: 978-0-19-762536-1Subject(s): FILM CRITICISM | MOTION PICTURES. -- PHILOSOPHY | MOTION PICTURES. -- AESTHETHICS | MOTION PICTURES. -- APPRECIATIONLOC classification: PN 1995 C67 2024

Contents:

Chapter 1 : Dis-chord : Meet me in St. Louis (Vincente Minnelli, 1944). -- Chapter 2 : The pedestrian : The bicycle thieves (Vittorio De Sica, 1948). -- Chapter 3 : Vacancy : Throne of blood (Akira Kurosawa, 1957). -- Chapter 4 : Ghosts : Pyassa (Guru Dutt, 1957). -- Chapter 5 : Exposures : Contempt (Jean-Luc Godard, 1963). -- Chapter 6 : Immobility : The conformist (1970). -- Chapter 7 : Red : Don't look now (Nicolas Roeg, 1973). -- Chapter 8 : Folds : The marriage of Maria Braun (R.W. Fassbinder,1978). -- Chapter 9 : Discretion : Sunless (Chris Marker, 1983). -- Chapter 10 : Emplacements : Do the right thing (Spike Lee, 1989). -- Chapter 11 : Noise : The piano (Jane Campion, 1993). -- Chapter 12 : Interiors : A taste of cherry (Abbas Kiarostami, 1997). -- Chapter 13 : Correspondence : Central Station (Walter Salles, 1998). -- Chapter 14 : Anticipation : In the mood for love (Wong Kar-wai, 2000). -- Chapter 15 : Gaming : The Bourne ultimatum (Paul Greengrass, 2007). -- Chapter 16 : The tactile : Adam (Maryam Touzani, 2019). -- Bibliographical references. -- Index.

Summary: "Describing Cinema is part theory, part rhetoric, and part pedagogy. It examines and demonstrates acts of describing scenes, shots, and sequences in films, as probably the most common and the most underestimated way viewers respond to movies. Practiced energetically and carefully, descriptions become exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. My motto might be an inversion of one character's tongue-in-cheek remark in Jean-Luc Godard's First Name, Carmen (played by Godard himself), "badly seen, badly said," rephrased for this project as "badly said, badly seen." Here, that phrase becomes an indication how acts of describing films or parts of films can measure and instantiate complex ways of seeing that are partly about accuracy but also about the mobility of understanding and interpretation. At its best, describing films never simply denotes actions, images, sounds, or styles but rather produces the orchestration of one or more of those dimensions as an often creative and intersubjective movement between images, viewers, and a rhetorical language. Here, especially, writing about film becomes thinking about film. Part I provides a theoretical basis for this argument. Part II features sixteen short essays from landmarks of post-war cinema that demonstrate the energy and movement of precise descriptions"-- Provided by publisher.

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Holdings
Item type	Current library	Home library	Collection	Shelving location	Call number	Status	Notes	Date due	Barcode
Books	NU Fairview College LRC	NU Fairview College LRC	School of Arts and Sciences	General Circulation	GC PN 1995 C67 2024 (Browse shelf(Opens below))	Available	Psychology		NUFAI000005761

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Includes bibliographical references and index.

"Describing Cinema is part theory, part rhetoric, and part pedagogy. It examines and demonstrates acts of describing scenes, shots, and sequences in films, as probably the most common and the most underestimated way viewers respond to movies. Practiced energetically and carefully, descriptions become exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. My motto might be an inversion of one character's tongue-in-cheek remark in Jean-Luc Godard's First Name, Carmen (played by Godard himself), "badly seen, badly said," rephrased for this project as "badly said, badly seen." Here, that phrase becomes an indication how acts of describing films or parts of films can measure and instantiate complex ways of seeing that are partly about accuracy but also about the mobility of understanding and interpretation. At its best, describing films never simply denotes actions, images, sounds, or styles but rather produces the orchestration of one or more of those dimensions as an often creative and intersubjective movement between images, viewers, and a rhetorical language. Here, especially, writing about film becomes thinking about film. Part I provides a theoretical basis for this argument. Part II features sixteen short essays from landmarks of post-war cinema that demonstrate the energy and movement of precise descriptions"-- Provided by publisher.

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