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*1001 $aAndrew, J. Dudley$0(NO-TrBIB)90339837$4aut$_37852600
*24514$aThe major film theories :$ban introduction$cJ. Dudley Andrew
*260  $aOxford$bOxford University Press$c1976
*300  $aX, 278 s.$bill.
*490  $aA galaxy book
*504  $aBibliografi: s. 261-272.
*50500$gPart 1 :$tThe formative tradition --$tHugo Munsterberg.$tMatter and means ;$tForm and function --$tRudolf Arnheim.$tMaterial ;$tThe creative use of the medium ;$tFilm form ;$tThe purpose of film --$tSergei Eisenstein.$tThe raw material of film ;$tCinematic means : creation through montage ;$tFilm form ;$tThe final purpose of film --$tBéla Balázs and the tradition of formalism.$tA summary of formative film theory ;$tRussian formalism$t; Béla Balázs ;$tThe raw material of film art ;$tThe creative potential of film technique ;$tCinematic shape or form ;$tCinematic functions --$gPart 2 :$tRealist film theory --$tSiegfried Kracauer.$tMatter and means ;$tCompositional forms ;$tThe purpose of cinema ;$tRebuttals --$tAndré Bazin.$tThe raw material ;$tCinematic means and form ;$tThe function of cinema --$gPart 3 :$tContemporary French film theory --$tJean Mitry.$tThe raw material ;$tCreative potential in film ;$tThe form and purpose of cinema --$tChristian Metz and the semiology of the cinema.$tThe raw material ;$tThe means of signification in cinema ;$tThe forms and possibilities of film ;$tSemiology and the purposes of film --$tThe challenge of phenomenology :$tAmédée Ayfre and Henri Agel.
*520  $aDudley Andrew is a master at making the world of film theory accessible to a largely mystified public. Since the publication of his Major Film Theories , a classic in the field, the sophistication of the debate concerning the proper approach to film has grown. It is now the province of critics and universities instead of directors and artists, and this book concentrates on the main areas of the debate rather than on the individual figures. Andrew provides lucid explanations of theories which involve perceptual psychology and structuralism; semiotics and psychoanalysis; hermeneutics and genre study. Throughout he presents his own strong views on the relationship of film theory to criticism, history, and analysis. His clear approach to often obscure theories goes a long way towards bringing an important area of cultural discussion out of its academic exile.
*650  $aCinema films$aTheories$_37852700
*650 0$aMotion pictures$xAesthetics.$_37852800
*650 4$atheory$_17161100
*650 7$aFilmkunst$2tekord$_187131400
*653  $afilm$ateori$akritikk$afilmteori$aestetikk$_37852900
*830  $aGalaxy books$_37853000
*85642$3Forlagets beskrivelse (lang)$uhttps://contents.bibs.aws.unit.no/?isbn=0195019911
*85642$3Forlagets beskrivelse (lang)$uhttps://contents.bibs.aws.unit.no/?isbn=9780195019919
*85642$aloc.gov$3Gjenstandsbeskrivelse$uhttps://lccn.loc.gov/75025465$qtext/html$nLibrary of Congress, Washington DC
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*999  $aoai:nb.bibsys.no:998740106084702202$b2021-11-14T19:52:43Z$z998740106084702202
^