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Leader |
LDR
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cam i 00 |
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Control # |
1
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74022968 |
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Date |
5
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20190911110413.0 |
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Fixed Data |
8
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761220m19761985caua b 00100 eng |
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ISBN |
20
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$a0520028902 (v. 1) :$c$20.00 |
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ISBN |
20
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$a0520031512 (pbk. : v. 1) :$c$7.95 |
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ISBN |
20
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$a0520054083 (v. 2) |
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ISBN |
20
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$a0520054091 (pbk. : v. 2) |
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Obsolete |
39
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$a58004$cTLC |
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LC Call |
50
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00 |
$aPN1994$b.M7 1976 |
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Dewey Class |
82
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00 |
$a791.43 |
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Title |
245
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00 |
$aMovies and methods :$ban anthology /$cedited by Bill Nichols. |
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Imprint |
260
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$aBerkeley :$bUniversity of California Press,$cc1976-c1985. |
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Phys Descrpt |
300
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$a2 v. :$billus. ;$c25 cm. |
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Note:General |
500
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$aIncludes index. |
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Note:Bibliog |
504
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$aBibliography: v. 2, p. [735]-743. |
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Note:Content |
505
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00 |
$gvol. 1. $tThe Lef arena /$rO. Brik & V. Shklovsky -$tCinema/ideology/criticism /$rJean-Luc Comolli & Jean Narboni -$tFascinating fascism /$rSusan Sontag -$tTowards a third cinema /$rFernando Solanas and Ocavio Gettino -$tFrank Capra and the cinema of populism /$rJeffrey Richards -$tSerpico /$rIrwin Silber -$tGodfather II: a deal Coppola couldn't refuse /$rJohn Hess $tVent d'Est or Godard and Rocha at the crossroads /$rJames Roy MacBean -$tCycles and genres /$rRichard Griffith -$tGenre and critical methodology /$rAndrew Tudor -$tMeep Meep /$rRichard Thompson -$tProspects of the ethnographic film /$rDavid MacDougall -$tThe evolution of the western /$rAndré Bazin -$tGenre: a reply to Ed Buscombe /$rRichard Collins -$tThe western /$rAlan Lovell -$tVivre sa vie /$rSiew Hwa Beh $tSisters of the night /$rKaryn Kay -$tThe divided woman : Bree Daniels in Klute /$rDiane Giddis -$tThe woman's film /$rSiew Hwa Beh $tCries and whispers /$rConstance Penley -$tWomen's cinema as counter-cinema /$rClaire Johnston -$tA certain tendency of the French cinema /$rFrançois Truffaut -$tTowards a theory of film history /$rAndrew Sarris -$tThe cinema of Nicholas Ray /$rV.F. Perkins -$tSix films of Josef von Sternberg /$rRaymond Durgnat -$tCitizen Kane /$rDavid Bordwell -$tShock corridor by Sam Fuller /$rThomas Elsaesser -$tTo have (written) and have not (directed) /$rRobin Wood -$tBlow-job and pornography /$rStephen Koch -$tThe long take /$rBrian Henderson -$tSome visual motifs of Film Noir /$rJ.A. Place & L.S. Peterson -$tDisputed passage /$rFred Camper -$tMostly on Rio Lobo /$rGreg Ford -$tShape and a black point /$rGeoffrey Nowell-Smith -$tPaul Sharits: illusion and object /$rRegina Cornwell -$tColour film /$rSergei Eisenstein -$tTwo types of film theory /$rBrian Henderson -$tA critical history of early film theory /$rV.F. Perkins -$tToward a non-bourgeois camera style /$rBrian Henderson -$tThe tutor-code of classical cinema /$rDaniel Dayan -$tAgainst "The system of the suture" /$rWilliam Rothman -$tTotems and movies /$rSam Rohdie -$tCinema and semiology: some points of contact /$rPeter Wollen -$tJohn Ford's Young Mr. Lincoln /$rThe editors, Cahiers du cinma -$tThe Auteur theory /$rPeter Wollen -$tThe cinema of poetry /$rPier Paolo Pasolini -$tStructure and meaning in the cinema /$rRonald Abramson -$tCurrent problems of film theory: Jean Mitry's L'Esthtique et psychologie du cinma, vol. 2 /$rChristian Metz -$tFrom logos to lens /$rYves de Laurot -$tOn the notion of cinematographic language /$rChristian Metz -$tArticulations of the cinematic code /$rUmberto Eco -$tStyle, grammar and the movies /$rBill Nichols. |
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Note:Content |
505
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00 |
$gvol. 2. -$tThe Stalin myth in Soviet cinema (with an introduction by Dudley Andrew) /$rAndre Bazin -$tTechnique and ideology : camera, perspective, depth of field /$rJean-Louis Comolli -$tTechnological and aesthetic influences on the development of deep-focus cinematography in the United States /$rPatrick Ogle -$tSound and color /$rEdward Buscombe -$tNotes on Columbia Pictures Corporation 1926-1941 /$rEdward Buscombe -$tWriting the history of the American film industry : Warner Brothers and Sound /$rDouglas Gomery -$tColor and cinema : problems in the writing of history /$rEdward Branigan -$tMass-produced photoplays : economic and signifying practices in the first years of Hollywood /$rJanet Staiger -$tTales of sound and fury : observations on the family melodrama /$rThomas Elsaesser -$tMinnelli and melodrama /$rGeoffrey Nowell-Smith -$tAn introduction to the American horror film /$rRobin Wood -$tEntertainment and utopia /$rRichard Dyer -$tBeyond Verite : Emile de Antonio and the new documentary of the seventies /$rThomas Waugh -$tThe voice of documentary /$rBill Nichols -$tBeyond observational cinema /$rDavid MacDougall -$tThe avant-garde : history and theories /$rConstance Penley & Janet Bergstrom -$tVisual pleasure and narrative cinema /$rLaura Mulvey -$tTowards a feminist film practice : some theses /$rClaire Johnston -$tJeanne Dielman : death in installments /$rJayne Loader -$tIn the name of feminist film criticism /$rB. Ruby Rich -$tThe right of re-vision : Michelle Citron's Daughter rite /$rLinda Williams & B. Ruby Rich -$tGentlemen consume blondes /$rMaureen Turim -$tThe place of woman in the cinema of Raoul Walsh /$rPam Cook & Claire Johnston -$tSignification in the cinema /$rPaul Sandro -$tThe anatomy of a proletarian film : Warner's Marked woman /$rCharles Eckert -$tThe Searchers : an American dilemma/$rBrian Henderson -$tMildred Pierce reconsidered /$rJoyce Nelson -$tThe Spectator-in-the-text : the rhetoric of Stagecoach /$rNick Browne -$tS/Z and The Rules of game /$rJulia Lesage -$tGodard and counter cinema : Vent d'Est /$rPeter Wollen -$tJaws, ideology, and film theory /$rSteven Heath -$tPsychoanalysis and cinema : the imaginary discourse /$rCharles F. Altman -$tIdeological effects of the basic cinematographic apparatus /$rJean-Louis Baudry -$tStory/Discourse : notes on two kinds of voyeurism /$rChristian Metz -$tA Note on story/discourse /$rGeoffrey Nowell-Smith -$tOn the naked thighs of Miss Dietrich /$rPeter Baxter -$tThe Voice in the cinema : the articulation of body and space /$rMary Ann Doane -$tThe Avant-garde and its imaginary /$rConstance Penley -$tMasochism and the perverse pleasures of the cinema /$rGaylyn Studlar -$tThe neglected tradition of phenomenology in film theory /$rDudley Andrew -$tColonialism, racism and representation : an introduction /$rRobert Stam & Louise Spence -$tResponsibilities of a gay film critic /$rRobin Wood -$tA Brechtian cinema? Towards a politics of self-reflexive film/$rDana Polan -$tThe Point-of-view shot /$rEdward Branigan -$tStatistical style analysis of motion pictures /$rBarry Salt -$tThe Space between shots /$rDai Vaughn -$tClass and allegory in contemporary mass culture : Dog day afternoon as a political film /$rFrederic Jameson. |
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Subj:Topical |
650
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0 |
$aMotion pictures. |
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AE:Pers Name |
700
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1 |
$aNichols, Bill,$d1942- |
