The Cinema As Art, Film World, Film as Film

Kolme klassista yleisesitystä elokuvasta elokuvana, taiteena, bisneksenä ja sen vaiheista, keinoista, estetiikasta ja muusta.

V. F. Perkins: Film as Film. Inderstanding and Judging Movies (1972, pokkaripainos 1991.

Ralph Stephenson & Guy Phelps: The Cinema As Art (1965, pokkaripainos 1989)

Ivor Montagu: Film World. A Guide to Cinema (1964). Tässä pokkarin liimaukset hiukan pettäneet ja alkupään sivut tahtovat vapaiksi.

FILM AD FILM:

"Without fuss, this stimulating book enlarges the ways in which we can look at and listen to the screen."--Foster Hirsch, from his introduction

Here at last is an introduction to film theory and its history without the jargon. Noted film scholar V. F. Perkins presents criteria for expanding our understanding and enjoyment of movies. He employs commonsense words like balance, coherence, significance, and satisfaction to develop his insightful support of the subtle approach and of the unobtrusive director. Readers will learn why a scene from the humbler movie Carmen Jones is a deeper realization of filmmaking than the bravura lion sequence in the classic Battleship Potemkin. Along the way Perkins invites readers to re-experience with clarity, directness, and simplicity other famous scenes by directors like Hitchcock, Eisenstein, and Chaplin. Perkins examines the origins of movies and embraces their use of both realism and magic, their ability to record as well as to create. In the process he seeks to discover the synthesis between these opposing elements. With the delight of the fan and the perception of the critic, Perkins advances a film theory, based on the work of Bazin and other early film theorists, that is rich with suggestion for debate and further pursuit. Sit beside Perkins as he reacquaints you with cinema, heightens your awareness, deepens your pleasure, and increases your return every time you invest in a movie ticket.

Victor Francis Perkins, usually cited as V.F. Perkins, was an English film critic, best known for his work on film aesthetics and interpretation.

Perkins was a founder-editor of the journal Movie(1962 - 2000) and was employed as Teacher Adviser at the British Film Institute (BFI) before leaving to take up an academic post in 1968. He co-founded the film department at the University of Warwick in 1978, where he acted as a full time lecturer/senior lecturer until 2004.

Best known for his first book, Film as Film (1972), which quickly became a core text in Film Studies courses, Perkins influenced the way in which film is studied and became internationally known for his sharp intellect and jargon-less approach to the critical analysis of film. Perkins remained an active scholar until he died, continuing to lecture at Warwick University, as well as write and give papers on film analysis at home and abroad.

FILM WORLD

At a moment when the cinema is struggling to escape from both the Hollywood blockbuster and the art form, Film World is a reminder of the true nature of cinema itself. In a personal survey of astonishing range and uncommon perception Ivor Montagu shows us the facts of the film as art form, as industry, and as a means of social communication. The four parts of the book - Film as Science, Film as Art, Film as Commodity, and Film as Vehicle - cover every aspect of the medium - its history, its resemblance to and difference from other arts, its aesthetic laws, the compound effects of sound and vision, the business side and in particular the inherent tendency towards monopoly.

Here are the pros and cons of colour film, wide screen, documentary, blockbusters, realism and naturalism. The arguments and findings derive always from the nature of the cinema itself - an image of movement transmitted by film.

The author, one of the most experienced practitioners of the art and business of making films, is not here concerned with value judgements: he provides the intelligent cinemagoer with the information which will enable him to judge for himself.

327 pages, Paperback

First published January 1, 1964

THE CINEMA AS ART

Discusses the cinematic techniques used by international directors to produce the effects of fantasy, symbolism, and surrealism