Farocki/Godard : Film as Theory / Volker Pantenburg ; translated by Micheal Turnbull.

By: Contributor(s): Material type: TextTextLanguage: English Original language: German Series: IKKM books ; volume 25 | Film Culture in Transition | Schriften des Internationalen Kollegs für Kulturtechnikforschung und Medienphilosophie ; Bd. 25. | Film culture in transition | Book collections on Project MUSEPublisher: Baltimore, Maryland : Project Muse, 2019Manufacturer: Baltimore, Md. : Project MUSE, 2019Copyright date: ©2019Description: 1 online resource (348 pages): illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9789048527557
Uniform titles:
  • Film als Theorie. English
Subject(s): Genre/Form: Additional physical formats: Print version:: No titleDDC classification:
  • 791
LOC classification:
  • PN1998.3.F365 P3613 2015
Online resources:
Contents:
Introduction: Two Image Researchers -- 1. Le film qui pense: Image, Theory, Practice -- Film as a "Concrete Medium" -- Film Theories / Film as Theory -- Difference and Theory -- Montage and Cinematic Thinking -- 2. The Camera as Brush -- Film and Painting: Narrating with Images: Breathless -- Exploding the Museum: Pierrot le fou -- Arranging Things: Still Life -- Processing Images: Passion -- 3. Deviation as Norm -- Notes on the Essay Film -- 4. Cut -- Interlude in the Editing Room: What an Editing Room is: Interface -- Montage, toujours: JLG/JLG -- 5. Taking Pictures -- Photography and Film: Displacing: The Carabineers -- Rendering: Before Your Eyes Vietnam -- Surveying: Images of the World and The Inscription of War -- 6. Two or Three Ways of Speaking with the Hands: Asking Oneself: La Chinoise / Vent d'est -- Offering Oneself: Nouvelle vague -- Wxpressing Oneself: Georg K. Glaser / The Expression of Hands -- Conclusion.
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."
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"Originally published as 'Volker Pantenburg, Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard', transcript Verlag, 2006"--Title page verso.

Issued as part of book collections on Project MUSE.

Includes bibliographical references (pages 263-275) and indexes.

Introduction: Two Image Researchers -- 1. Le film qui pense: Image, Theory, Practice -- Film as a "Concrete Medium" -- Film Theories / Film as Theory -- Difference and Theory -- Montage and Cinematic Thinking -- 2. The Camera as Brush -- Film and Painting: Narrating with Images: Breathless -- Exploding the Museum: Pierrot le fou -- Arranging Things: Still Life -- Processing Images: Passion -- 3. Deviation as Norm -- Notes on the Essay Film -- 4. Cut -- Interlude in the Editing Room: What an Editing Room is: Interface -- Montage, toujours: JLG/JLG -- 5. Taking Pictures -- Photography and Film: Displacing: The Carabineers -- Rendering: Before Your Eyes Vietnam -- Surveying: Images of the World and The Inscription of War -- 6. Two or Three Ways of Speaking with the Hands: Asking Oneself: La Chinoise / Vent d'est -- Offering Oneself: Nouvelle vague -- Wxpressing Oneself: Georg K. Glaser / The Expression of Hands -- Conclusion.

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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."

Description based on print version record.

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