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Leader |
LDR
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pam i 00 |
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Control # |
1
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2017009183 |
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Control # Id |
3
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DLC |
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Date |
5
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20190911110928.0 |
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Fixed Data |
8
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170605s2017 nyuaf b 001 0 eng |
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LC Card |
10
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$a 2017009183 |
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ISBN |
20
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$a9780231182249 (cloth : alk. paper) |
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ISBN |
20
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$a9780231182256 (pbk. : alk. paper) |
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ISBN |
20
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$z9780231544061 (e-book) |
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Obsolete |
39
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$a313346$cTLC |
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Cat. Source |
40
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$aDLC$beng$erda$cDLC$dGCG |
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Authen. Ctr. |
42
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$apcc |
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LC Call |
50
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00 |
$aPN1994$b.I4645 2017 |
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Dewey Class |
82
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00 |
$a791.43$223 |
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ME:Pers Name |
100
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1 |
$aInsdorf, Annette,$eauthor. |
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Title |
245
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10 |
$aCinematic overtures :$bhow to read opening scenes /$cAnnette Insdorf. |
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Tag 264 |
264
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1 |
$aNew York :$bColumbia University Press,$c[2017] |
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Phys Descrpt |
300
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$axi, 188 pages, 2 unnumbered pages of plates :$billustrations ;$c23 cm. |
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Tag 336 |
336
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$atext$btxt$2rdacontent |
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Tag 337 |
337
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$aunmediated$bn$2rdamedia |
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Tag 338 |
338
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$avolume$bnc$2rdacarrier |
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Series:Diff |
490
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1 |
$aLeonard Hastings Schoff memorial lectures |
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Note:Bibliog |
504
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$aIncludes bibliographical references and index. |
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Note:Content |
505
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0 |
$aThe crafted frame (Saul Bass, Talk to Her, Knife in the Water, Camouflage) -- The opening translated from literature (The Conformist, The Tin Drum, The Unbearable Lightness of Being, All the President's Men, Cabaret) -- Narrative withing the frame: mise-en-scène and the long take (Touch of Evil, The Player, Aguirre: The Wrath of God, The Piano, Bright Star, In Darkness) -- Narrative between the frames: montage (Z; Hiroshima, Mon Amour; Seven Beauties; Schindler's List; Three Colors: Red; The Shipping News; Shine) -- Singular point of view (The Graduate, Taxi Driver, Apocalypse Now, Come and See, Lebanon, Good Kill) -- The collective protagonist (La Ciudad, 3 Backyards, Little Miss Sunshine, Le Bal, Day for Night, A Separation, Where Do We Go Now?) -- Misdirection/visual narration (The Hourglass Sanatorium, Before the Rain, Ajami, Under Fire, The Converstaion, Rising Sun, Psycho, The Truman Show) -- Voice-over narration/flashback (Sunset Boulevard, American Beauty, Fight Club, Badlands). |
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Abstract |
520
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$aA great movie's first few minutes provide the key to the rest of the film. ..., they draw the viewer in, setting up the thematic concerns and stylistic approach that will be developed over the course of the narrative. [Some] sequences lead the viewer to trust the filmmakers. Other times, opening shots are intentionally misleading....From Joe Gillis's voice-over in Sunset Boulevard as he lies dead in a swimming pool to the hallucinatory opening of Apocalypse Now, from the stream-of-consciousness montage as found in Hiroshima, Mon Amour to the slowly unfolding beginning of Schindler's List, [the book] analyzes opening shots from a range of Hollywood as well as international films. Including dozens of frame enlargements that illustrate the strategies of opening scenes.-- From publisher data. |
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Local Note |
590
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$aRecommended in Resources for College Libraries. |
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Subj:Topical |
650
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0 |
$aMotion pictures. |
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Subj:Topical |
650
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0 |
$aMotion pictures$xProduction and direction$xTechnique. |
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Subj:Topical |
650
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0 |
$aMotion picture plays$xHistory and criticism. |
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Subj:Topical |
650
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0 |
$aOpenings (Rhetoric) |
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SE:Ufm Title |
830
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0 |
$aUniversity seminars/Leonard Hastings Schoff memorial lectures. |
