Karel Marten's work occupies a unique place in the present European art and design landscape. While working in the tradition of Dutch modernism, he maintains distance from the main developments of his time: from both the practices of routinized Modernism and the facile reactions against it. His work is personal and experimental, while at the same time publicly answerable. This ...(展开全部)

Karel Marten's work occupies a unique place in the present European art and design landscape. While working in the tradition of Dutch modernism, he maintains distance from the main developments of his time: from both the practices of routinized Modernism and the facile reactions against it. His work is personal and experimental, while at the same time publicly answerable. This ...(展开全部)

Toward the end of the nineteenth century, the hegemony of the printed word was shattered by the arrival of new media technologies that offered novel ways of communicating and storing data. Previously, writing had operated by way of symbolic mediation--all data had to pass through the needle's eye of the written signifier--but phonography, photography, and cinematography stored ...(展开全部)

Toward the end of the nineteenth century, the hegemony of the printed word was shattered by the arrival of new media technologies that offered novel ways of communicating and storing data. Previously, writing had operated by way of symbolic mediation--all data had to pass through the needle's eye of the written signifier--but phonography, photography, and cinematography stored ...(展开全部)

"Editing is the creative force of filmic reality." So Dmytryk, director of the American classic "The Caine Mutiny" begins this little book, which he hopes will aid film directors and editors in perfecting their art. It is informative for general audiences as well, demonstrating how deeply the experience of any film relies on the creativity and versatility of its editor. Product...(展开全部)

Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein's film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.

拉兹洛·莫霍利-纳吉（1895—1946)，是20世纪杰出的前卫艺术家之一。曾任教于早期的包豪斯，奠定三大构成基础，强调理性、功能，他在学术上对表现、构成、未来、达达和抽象派兼收并蓄，以各种手段进行拍摄试验。最为突出的研究是以光、空间和运动为对象。他曾以透明塑料和反光金属为实验材料，创作“光调节器”雕塑。

Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein's film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.

A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, "Times Literary Supplement" "Modern film theory begins with Metz."--Constance Penley, coeditor of...(展开全部)