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What is non-fiction cinema? : on the very idea of motion picture communication 预览资料
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What is non-fiction cinema? : on the very idea of motion picture communication

著者: Trevor Ponech
出版商: Boulder, Colo. : Westview Press, 1999.
丛书: Thinking through cinema.
版本/格式:   图书 : 英语查看所有的版本和格式
提要:
In What Is Non-Fiction Cinema? Trevor Ponech has written a serious study of how to define "non-fiction" cinema. Working from the position that no cinematic representation is wholly factual, Ponech argues that what determines whether a film is fiction or nonfiction is what the filmmaker intends. Persuasively defending this unique position, the author provides a philosophically rigorous analysis of the communicative  再读一些...
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详细书目

附加的形体格式: Online version:
Ponech, Trevor.
What is non-fiction cinema?
Boulder, Colo. : Westview Press, 1999
(OCoLC)607311213
文件类型:
所有的著者/提供者: Trevor Ponech
ISBN: 0813367034 9780813367033
OCLC号码: 40856207
描述: vii, 302 p. ; 24 cm.
内容: 1. What Is Non-Fiction Cinema? The Meaning of Non-Fiction. Language, Cinema, and Assertion. Essentialism in Context. Skepticism About Intentions --
2. Representation and Depiction. Representational Systems. Cinematic Representation. Misrepresentation --
3. What About Reality? In Search of Sasquatch. Situations and Interpretations --
4. Plans for Non-Fiction. Intention. Moderate Intentionalism --
5. Planning for Content. Explaining Content with Intentions. Nanook of the North --
6. Planning for Force. Fiction. Fixed Boundaries, Mixed Intentions. Complex Illocutionary Plans --
7. Perceptual Access to Cinematic Meaning. Visual Perception. Perceptual Access to Cinematic Meaning. Projective Illusion. Imagined Seeing. Transparency.
丛书名: Thinking through cinema.
责任: Trevor Ponech.
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摘要:

In What Is Non-Fiction Cinema? Trevor Ponech has written a serious study of how to define "non-fiction" cinema. Working from the position that no cinematic representation is wholly factual, Ponech argues that what determines whether a film is fiction or nonfiction is what the filmmaker intends. Persuasively defending this unique position, the author provides a philosophically rigorous analysis of the communicative practices of filmmakers. In making his case, Ponech cogently presents major theoretical positions regarding documentary cinema and shows why each is incomplete. The result is a philosophical inquiry into purposiveness in film.

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