barbara giannetti (5 resultados)

Paperback. Condición: New.

Paperback. Condición: New.

Paperback. Condición: New.

Paperback. Condición: New.

Wraps. Condición: Good. No. 1 [Stated] [PREMIER ISSUE}. The format is approximately 8.5 inches by 10.75 inches. 72 pages, plus covers. Illustrated front and back covers. Illustrations. RARE SURVIVING COPY! This was intended to be a quarterly publication. Its date of publication is not stated in the document, but is believed to be about 1970. The latest publication date of books reviewed is 1969. Its purpose was ".to clarify relationships, establish appropriate contexts, and, in short, to suggest some of the attitudes and techniques that film directors have used in communicating their themes." Mise-en-scene, is a term used in the legitimate theater and the cinema that refers to the arrangement of volumes (objects, actors, sets, etc.) in space within a given area. In the theater, this arrangement is three-dimensional and is usually confined by the proscenium arch. In movies, the mise-en-scene is photographed onto a two-dimensional screen, and is confined by the film frame, the metteur-en-scene, and in both cases the director, but because the theater is essentially a verbal medium, the stage director acts largely as an illustrator and interpreter of the playwright's ideas. film is essentially a visual medium, and thus the movie director's mise-en-scene is the basic technique of artistic expression, for that e are far more individual shots in a film than there are scenes in plays. In 1979, Case Western Reserve University Film Society started publishing a magazine called Mise-en-Scéne, a 70-plus-page cinephilic treasure chest with a series of high-quality articles on some of the most important filmmakers of all time and their work that had left a deep mark on film both in terms of the industry and the art. The articles were accompanied by wonderful high-definition photographs, and even a quick look at the table of contents shows you what kind of an apprehensive and knowledgeable handbook these issues really were. Unfortunately for us, there were only two issues published, most likely due to the inevitably high budget needed to keep a gem like this running. The staff of Mise-en-Scene hoped to achieve critically what the metteur-en-scene achieves artistically: to clarify relationships, establish appropriate contexts, and, in short, to suggest some of the attitudes and techniques that film directors have used in communication their themes. The Table of Contents of this premier issue includes The Audience as Protagonist in Three Hitchcock Films by John Tumlin; Ernst Lubitsch and the Comedy of the Thirties by John K. Barry; Fritz Lang and the Film Noir by Barry Lyons; My Name is Don Robertson by Barbara Paskay and Barbara Driscol; The Sounds of Silence by Carol Evans; The Sad State of Film Preservation by W. Scott Eyman; John Ford's The Grapes of Wrath by Richard W. Evans; John Ford and the Western by Amy Kotkin; Rock Music and Film by Anastasia J. Pantsios; Film Censorship: The Evolution of Self-Regulation by Christine W. Unger; Nathanael West's Hollywood by Erik R. Hazel; Arthur Penn: Directing Films and Plays by Wendy Bell; and Huston and Bogart by Joseph F. Bressi.