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  180910s2018 inua obq 001 eng

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  ▼a  2018043609

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  ▼a  1083641734

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  ▼a  9780253038043
  ▼q  electronic book

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  ▼a  0253038049
  ▼q  electronic book

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  ▼a  9780253038067
  ▼q  electronic book

• 020

  ▼a  0253038065
  ▼q  electronic book

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  ▼z  9780253038029
  ▼q  hardcover
  ▼q  alkaline paper

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  ▼z  9780253038036
  ▼q  paperback

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  ▼a  2012598
  ▼b  (N$T)

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  ▼a  (OCoLC)1051775391
  ▼z  (OCoLC)1083641734

• 037

  ▼a  22573/ctvbm8470
  ▼b  JSTOR

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  ▼a  DLC
  ▼b  eng
  ▼c  DLC
  ▼d  OCLCA
  ▼d  OCLCO
  ▼d  OCLCF
  ▼d  JSTOR
  ▼d  YDX
  ▼d  N$T
  ▼d  EBLCP
  ▼d  UAB
  ▼d  YDX
  ▼d  248023
  ▼e  rda

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  ▼a  pcc

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  ▼a  e-gx---

• 050

  ▼a  PN1993.5.G3
  ▼b  L32 2018

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  ▼a  791.430943/155
  ▼2  23

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  ▼a  Landry, Olivia,
  ▼e  author.

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  ▼a  Movement and performance in Berlin School cinema
  ▼h  [electronic resource]/
  ▼d  Olivia Landry..

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  ▼a  Bloomington, Indiana:
  ▼b  Indiana University Press,
  ▼c  [2018].

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  ▼a  1 online resource (ix, 215 pages).

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  ▼a  text
  ▼b  txt
  ▼2  rdacontent

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  ▼a  computer
  ▼b  c
  ▼2  rdamedia

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  ▼a  online resource
  ▼b  cr
  ▼2  rdacarrier

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  ▼a  New directions in national cinemas

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  ▼a  Includes bibliographical references and index.

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  ▼a  Media, death, and liveness -- Theatricality bleeds, the presence of dance -- Between movement and affect : the body's shared point of sense -- Accelerating performance : from car travel to car crash -- Nina Hoss's performance of the fugitive body; or, what to do with movement.

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  ▼a  "Through a study of the contemporary German film movement, the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance. She argues that a preoccupation with presence, liveness, and affect--all of which are viewed as critical components of live performance--can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of "slow cinema," Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers--such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler--invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema"--
  ▼c  Provided by publisher.

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  ▼a  Description based on online resource; title from digital title page (viewed on April 04, 2019).

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  ▼a  Motion pictures
  ▼z  Germany
  ▼z  Berlin
  ▼x  History.

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  ▼a  Movement (Acting)
  ▼x  History.

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  ▼i  Print version:
  ▼a  Landry, Olivia, author.
  ▼t  Movement and performance in Berlin School cinema.
  ▼d  Bloomington, Indiana : Indiana University Press, [2019],
  ▼z  9780253038029
  ▼w  (DLC) 2018019386

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  ▼a  New directions in national cinemas.

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  ▼3  EBSCOhost
  ▼u  http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2012598

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  ▼a  강리원
  ▼b  강리원

• 991

  ▼a  eBook