Arnheim for film and media studies / edited by Scott Higgins.Material type: TextSeries: AFI film readers: Publisher: New York : Routledge, 2011Description: xiii, 283 str. : ilustr. ; 24 cm.ISBN: 9780415801089; 0415801087.Subject(s): Arnheim, Rudolf -- Criticism and interpretation | Motion pictures -- Philosophy | Motion pictures -- Aesthetics | Arnheim, Rudolf | estetika filma
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Bibliografske bilješke uz poglavlja. - Bibliografija: str. -269. - Kazalo
Foreword : Rudolf Arnheim in retrospect / Dudley Andrew -- Introduction -- Rudolf Arnheim, clarity, simplicity, balance / David Bordwell -- Arnheim and modernism / Malcolm Turvey -- Rudolf Arnheim's early passage between social and aesthetic film criticism / Eric Rentschler -- Screening out sound : Arnheim and cinema's silence / Nora Alter -- A gestalt approach to film analysis / Meraj Dhir -- Deft trajectories for the eye : bringing Arnheim to Vincente Minnelli's color design / Scott Higgins -- Perfecting the complete cinema / Jinhee Choi -- Art, accident, and the interpretation of the modern world / Patrick Keating -- Visual thinking of the avant-garde film / Maureen Turim -- Arnheim on radio : materialtheorie and beyond / Shawn VanCour -- Television from afar : Arnheim's understanding of media / Doron Galili -- Arnheim and comics / Greg Smith -- Arnheim on style history / Colin Burnett -- Arnheim on the ontology of the photographic image / Vincent Bohlinger.
Rudolf Arnheim (1904-2007) was a pioneering figure in film studies, best known for his landmark book on silent cinema Film as Art. He ultimately became more famous as a scholar in the fields of art and art history, largely abandoning his theoretical work on cinema. However, his later aesthetic theories on form, perception and emotion should play an important role in contemporary film and media studies.
In this enlightening new volume in the AFI Film Readers series, an international group of leading scholars revisits Arnheim’s legacy for film and media studies. In fourteen essays, the contributors bring Arnheim’s later work on the visual arts to bear on film and media, while also reassessing the implications of his film theory to help refine our grasp of Film as Art and related texts. The contributors discuss a broad range topics including Arnheim’s film writings in relation to modernism, his antipathy to sound as well as color in film, the formation of his early ideas on film against the social and political backdrop of the day, the wider uses of his methodology, and the implications of his work for digital media.
This is essential reading for any film and media student or scholar seeking to understand the meaning and contemporary impact of Arnheim’s foundational work in film theory and aesthetics.