[mfa MAIN]  [Film Index]  [^^Main reading room of the Borges Library (HOME page)]
film Studies

See also:  -[Film (Absurd)]-


On this page:  {}
               {}
               {}
               {}
               {}
               {}
               {}
               {}
               {Avante Garde} (New York, 1960's so far)
               {Semiotics}




Avante Garde
 
(New York, 1960's so far)
The New York UnderGround
NOTE: Authors marked with * are essayed by/of, 
      in James, David E.(ed).

*Arthur, Paul 

*Bakaitis, Vyt

*Brakhage, Stan

*Breer, RObert

*Burckhardt, Rudy

*Curtis, David

Foreman, RIchard

*Gunning, Tom

*Harris, Bob

*Hoberman, J

*James, David E.(ed)

*Keller, Marjorie

*Kubelka, Peter

Kuchar, George

*Leacock, Richard

*Moore, Peter

*Nygren, Scott

*Paik, Nam June 

*Pruit, John

*Rabinovitz, Lauren 

*Renov, Michael 

*Ruoff, Jeffrey K. 

*Turim, Maureen




Modern European Directors
     

Main ref list is from:  [Horton 1981]


Antonioni - Blow Up, 1966     

Bresson - Diary of a Country Priest 1951

Delannoy - La Symphonie Pastorale (1946)

De Sica - Tow women, 1961

Felini - Satyricon

Godard =- :e   

Semiotics


Semiotics of Cinema
by Jurij Lotman

Any unit of a text can be n element of cinematic languiage
(visual image, graphics, sound) IF it has an ALTERNATIVE [empahsis mine], including non-use of the alternative, and thus does not a
appear in the text automatically, but is assoiated with a certain metning. It is, moreover, necessary that both its use and non-use, a perceptible order is manifested (rhythm).... If a film is made in whicht here is an alternation of old, worn segmntes, and new ones
I(the later will be perceived as neutral (ie, non-film) [ie, as NOW and not THEN or OTHER] and this altnernation is repeated in some peerceptible order, the poor contion the worn segmenetns becomes and elemtn of cinematic language.




[Quoted in Eabgle, P. 45]


Quotes



  Eisnenstein had continusal problems even in
this relative isolation: indeed, in part  because of it. He was accuse of withdrawing into an ivory tower, chargers whcih he countered by describing himeslef as at work in a laboratory on the toehretical p
pborblmes without whose solution practice would be prematrue, unoriented. Wuitye clearaly, however, the tendency of this theoreetical work ran counter
to the main lines of Stalinist aestehteics. his views on Joyce, for instnace3, were well known. He had met
Joyce and Joyce had once satid theat if EM Ulysses EM were to be filmed it should be either by Einsentein or Ruttman.
consequetnly, when in 1933 Vsevolod Vishnesvsky made a defence of Joyce in an artical entrtiled
"we Must Know the WEest", he cited Eisnettin as a great Soviet artist who recdognised the importance of Joyce. Vishnevsky's deefence unleahsed a controvlersy which rged until the
1934 Contress of Soviet Writers. Radek there gave his nottorious report, on section of which was entitled "james joynce or socialsti realism?" It was nbot hared to guess the answer: A taste for Joyce was denounced as a craving to flee from Magnetogorsk [??]. Eisnestein, however, refused [P. 56] to submit.
In his lectures at the Institute he objeserved: For two years there were discussions about translaating Joyce for
scientific purposes, but this plan was abandoned after the speech by Radek. Because of this the mass of Russian writers will lose a great deeal.
I was furiious at Radek's speech. When I analysed it, i found it to be quite a conventional interpretation of Joyce. [

"Joyce," concluded Eisnenstein hopefully, "extneds the line commenced by Balzac.".
  [Wollen, P. 55]



Refs


AFI dallas Intenratinoa Film Festival (2007).
    DD: 791.423'A111A or 43'A111A


Browne, Nick (1982). The Rehetoric of Filmic Narrative.
        DD: 791.43015'B833R

Chesler, Judd (1976). Toward a surrealist film aestehe with
         an investigation into the elements of surrealism in the
         marx brothers and jean vigo. 
         DD:  791.4301'C54T

Eagle, Herbert (1981). Russian Formalist Film Theory.
       DD:  791.4301'E11R

Grant, Barry K. (). Filme Genre: Theory and Criticism. 
DD 791.43015'F487

Harpole, charlse H. (1978), Gradients of Depth in the
         Cinema Image. 
         DD: 791.43015'H295G


Horton, Andrew S. and Joan Magretta (eds) (1981). Modern European 
        Film Makers and the Art of Adaptation.

Issarie, M. Ali and Doris A. Paul (1979). What is Cinema Veite?
         DD: 791.4301'I86W

James, David E.(ed) (1992). To Free the Cinema - Jonas Mekas
       & The New York Underground.
       DD: 791.43015'M516Y.



Klinge, Peter L. (1982). Introduction to Film Structure.

Kouvaros, George (2004). Where Does it Happen?
          John Cassavetes and Cinema at the breaking point.
          DD: 791.43023'C343Yk
                "Before the Scene and after it is finished"

Lanza, Joseph (1989). Fragile Geometry - The Films, Philo,
       and MisAdventures of Nicolas Roeg.

Mekas, Jonas -- texts???? (see James, David E. 

Metz, Christian (). Language and Cinema. 
      Cinema == 'total social fact'


Metz, Christian (1977). The Imaginary Signifier.
      DD: 791.43019'M596I

Monaco, James (1981). How to Read a Film - The Art, Technology, Language,
        History, and Thoeroy of Film and Media.
        DD:791.43015'M734H


mU:nsterberg, Hugo (1970). The Film - A Psychological Study.
             The Silent PhotoPly in 1916.
             DD: 791/43019'M969F


Wollen, Peter (1976). Signs and Meaning in the Cinema.
        DD: 791.4301'W86453