In this Book

summary
This book brings together two major filmmakers—German avant-gardist Harun Farocki and French New Wave master Jean-Luc Godard—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
9789089648914
MARC Record
OCLC
1112364138
Pages
348
Launched on MUSE
2019-08-18
Language
English
Open Access
Yes
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