By James Monaco
First released in 1977, this renowned e-book has turn into the resource on movie and media. Now, James Monaco deals a revised and rewritten 3rd version incorporating each significant element of this dynamic medium correct as much as the present.
Looking at movie from many vantage issues, How to learn a movie: videos, Media, Multimedia explores the medium as either paintings and craft, sensibility and technological know-how, culture and expertise. After studying film's shut relation to such different narrative media because the novel, portray, images, tv, or even track, Monaco discusses these parts essential to know the way motion pictures express which means and, extra importantly, how we will most sensible figure all movie is trying to communicate.
In a key departure from the book's earlier variations, the recent and still-evolving electronic context of movie is now emphasised all through How to learn a Film. a brand new bankruptcy on multimedia brings media feedback into the twenty-first century with a radical dialogue of issues like digital truth, our on-line world, and the proximity of either to movie. Monaco has likewise doubled the scale and scope of his "Film and Media: A Chronology" appendix. The publication additionally includes a new advent, an improved bibliography, and countless numbers of illustrative black-and-white movie stills and diagrams. it's a needs to for all movie scholars, media buffs, and film lovers
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Additional info for How to Read a Film: The World of Movies, Media, Multimedia:Language, History, Theory
In the late twenties and thirties, b o t h Bertolt Brecht and A n t o n i n A r t a u d (still t h e m o s t influential theorists of d r a m a in t h e m o d e r n period) developed concepts of theater that depended on the continuing interac- Figure 1-11. Marcel Duchamp's Nude Descending 58" by 35". Philadelphia Museum a Staircase, no. 2. [1912, of Art. ) canvas, Film, Recording, and the Other Arts Figure 1-12. The visual conventions of Cubism were utilized by a n u m b e r of avant-garde film artists.
Moreover, there is an ethical aspect to this n e w artistic equation, for it implies strongly that the observer is the equal of the artist. The word "consumer," t h e n , is misleading, for t h e observers are n o longer passive b u t active. They participate fully in the process of art. The significance of this reappraisal of the roles of artist and observer cannot be underestimated. The most difficult challenge the arts have had to sustain in their seven-thousand-year history has been that posed by the techniques of mass production that grew u p with the industrial revolution.
Film was seen from the very beginning as a separate art from theater and painting and the FILM AS AN ART novel; b u t s o u n d recording even today is still subsumed u n d e r the category of music. Partially, this is the result of the mode of recording—discs—that pertained until the 1960s. Unlike film, discs could simply record a n d reproduce their material, not re-create it. But the development of tape and electronic technology added a n e l e m e n t of creativity to s o u n d recording. If anything, s o u n d recording is n o w more flexible and sophisticated t h a n image recording.
How to Read a Film: The World of Movies, Media, Multimedia:Language, History, Theory by James Monaco