Mitry was driven to explain the "why," "what if," and "how come" experiences that resulted after the "wow" experience in cinema. His theory uses psychology and phenomenology to understand how cinema can elevate the viewer from the everyday world.
This study analyses the value of semiotics in film analysis. It poses the question that if cinema is a language can it be understood through the techniques of linguistic analysis? The study includes signs, montage, codes, images and narrative.
Mitry was driven to explain the "why," "what if," and "how come" experiences that resulted after the "wow" experience in cinema. His theory uses psychology and phenomenology to understand how cinema can elevate the viewer from the everyday world.
This study analyses the value of semiotics in film analysis. It poses the question that if cinema is a language can it be understood through the techniques of linguistic analysis? The study includes signs, montage, codes, images and narrative.
This book is an exploration of the intellectual resources offered by the hybridisation of sociology and cinema: practicing sociology, or other human sciences, through images and sound. In the age of the image, the book invites sociological research, not only through the discipline's approach, but also through the joint learning of techniques (shooting and sound recording, derushing, editing, etc.) and film writing. Using concrete examples, the authors analyse what it means to think through the image, explain the different phases of making a sociological documentary, and question, through sociological film, the representations of reality and, more specifically, what remains invisible in the social world. The result is a reflective look at the theories and practices presented, to better equip the sociologist-filmmaker. Illustrated with numerous photographs that mark the history of documentary photography and film, the book is intended for both teachers-researchers and students in all disciplines of the humanities and social sciences who practice video and photography or wish to discover their uses. Students in documentary and film schools, as well as students on information and communication programs will also benefit from the book.
Seven short stories by the Prix Goncourt winner—“the most distinctive voice of his generation . . . master magician of the contemporary French novel” (The Washington Post). France’s preeminent fiction writer, Jean Echenoz is celebrated for his ability to craft stories with such precision that readers are caught off guard by the intense emotion and imagination just beneath the placid surface of his writing. As Gary Indiana put it in his essay “Conjuror of St. Germain”, “Echenoz risks everything in his fiction, gambling on the prodigious blandishments of his voice to lure his readers into a maze of improbabilities and preposterous happenings.” The Queen’s Caprice—seven stories available in English for the first time—reveals Echenoz at the height of his talents, taking readers on a journey across radically different landscapes. The title story explores a tiny corner of the French countryside; “Nelson” offers a brilliant miniaturist portrait of the hero of the Battle of Trafalgar; “In Babylon” sketches the ancient city of Mesopotamia, based on trace descriptions from Herodotus; and other stories visit the forests of England, the Luxembourg Gardens in Paris, Tampa Bay, and the interior of a submarine. Amid the thrill and allure of this voyage of words, “again and again we pause to savor the richness of Echenoz’s startling, crystalline observations” (Lydia Davis). “[A] terrific sense of humor tinged with existential mischief.” —L’Express
This book is for both the young and old. It shares a story about a superhero little girl and her love for her grandma. I dedicate this book to all my grandchildren and great-grandchildren.
Excerpts from the novels, plays, and poems of the French convict, prostitute, and literary artist join notes from his film, The Penal Colony, letters, essays, and a rare interview, all edited by a contemporary biographer.
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