Download e-book for iPad: Film History Theory and Practice by Douglas Gomery, Robert C. Allen

By Douglas Gomery, Robert C. Allen

ISBN-10: 0075548712

ISBN-13: 9780075548713

From Justin Smith, because of the unique uploader.

Within the tutorial group during the last 35 years, the examine of movie has built throughout 3 varieties of enquiry. Douglas Gomery and Robert C. Allen delineated those ways of their pioneering paintings, movie background: concept and perform (New York, 1985). the 1st paid cognizance to the character of the medium itself and its communicative strength, elaborating theories derived from Marxism, feminism, structuralism and poststructuralism, and psychoanalysis. Its essentialist goals intended that its buy upon movie tradition grew to become more and more tenuous the extra rarefied and internecine its postulations grew.

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Extra resources for Film History Theory and Practice

Example text

It is many networks (an art form, eco- which, since its inception, has of relationships. In other words, film is an open not just a set of components forming a whole, but an interrelated Realism as a Theory of Film History set of components tic effects that condition 17 and are conditioned by each other. The artiscinema at any given time are in part depen- that can be achieved in the dent on the state of film technology. Technological developments are conditioned in many by economic instances Economic decision making factors.

The film archivist, then, is placed in the difficult position of having to de- cide through the allocation of scarce preservation funds which pieces of filmand which will be forever lost. Should first priority be given to those nitrate films most in danger of deterioration? Should the films of established directors be preserved or an effort made to resurrect the historical evidence will survive Filmic Evidence 33 work of critically overlooked filmmakers? Could the film historian benefit most from the preservation of what were regarded as the "best" films of a particular period or should the archivist save a representative sample of work?

How do the variations differ? Has the historian actually seen the film he or she discusses or have editing style of Life of an editing techniques of Griffith scripts, catalog descriptions, reviews, or the analyses of other historians substituted? Keep in mind that textual variation is been not a problem limited to the dark days of the cinema's beginnings. " Movies shown on television are frequently to remove "objectionable" material. Some altered to fit a particular time slot or types of film historical research, such as Musser's work on the editing an American Fireman, demand the detailed analysis of specific films.

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Film History Theory and Practice by Douglas Gomery, Robert C. Allen

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