In this Book

summary
There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create "film as theory."

Table of Contents

  1. Cover
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  1. Title Page, Copyright Page
  2. pp. 1-4
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  1. Contents
  2. pp. 5-6
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  1. Preface to the English Edition
  2. pp. 7-14
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  1. Introduction
  2. pp. 15-32
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  1. 1. Le film qui pense
  2. pp. 33-72
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  1. 2. The Camera as Brush—Film and Painting
  2. pp. 73-134
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  1. 3. Deviation as Norm—Notes on the Essay Film
  2. pp. 135-152
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  1. 4. Cut—Interlude in the Editing Room
  2. pp. 153-174
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  1. 5. Taking pictures—Photography and Film
  2. pp. 175-216
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  1. 6. Two or Three Ways of Speaking with the Hands
  2. pp. 217-254
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  1. Conclusion
  2. pp. 255-262
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  1. Bibliography
  2. pp. 263-276
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  1. Acknowledgments
  2. pp. 277-278
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  1. Illustration Credits
  2. pp. 279-280
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  1. Index of Film Titles
  2. pp. 281-282
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  1. Index of Names
  2. pp. 283-291
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Additional Information

ISBN
9789048527557
Related ISBN(s)
9789089648914
MARC Record
OCLC
1112364138
Pages
348
Launched on MUSE
2019-08-18
Language
English
Open Access
Yes

Copyright

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