Caroline eades (65 resultados)

Softcover. Condición: Very Good. No Dust Jacket. Crisp, bright, clean pages; no owners' marks; square, uncreased spine; soft cover shows very short wrinkles at the spine heel; otherwise excellent. xi, 315pp incl. index.

Condición: As New. Unread book in perfect condition.

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condición: New.

Paperback. Condición: new. Paperback. With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema-fiction film, popular cinema, and documentary, video installation, and digital essay.A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolas Guillen Landrian (Coffea Arabiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film-as process, as experience, as experiment-opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis. The essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. This volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. …

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condición: New. With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema-fiction film, popular cinema, and documentary, video installation, and digital essay.A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolas Guillen Landrian (Coffea Arabiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film-as process, as experience, as experiment-opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis.…

Paperback or Softback. Condición: New. Cin�ma et mythologie: Varda, Resnais, Honor�, Annaud. Book.

Condición: New.

Condición: New. Editor(s): Papazian, Elizabeth Astrid; Eades, Caroline. Series: Nonfictions. Num Pages: 216 pages, 24 b&w illustrations. BIC Classification: APFN. Category: (P) Professional & Vocational. Dimension: 155 x 229 x 27. Weight in Grams: 452. . 2016. Reprint. Paperback. . . . .

Condición: New. Editor(s): Papazian, Elizabeth Astrid; Eades, Caroline. Series: Nonfictions. Num Pages: 216 pages, 24 b&w illustrations. BIC Classification: APFN. Category: (P) Professional & Vocational. Dimension: 155 x 229 x 27. Weight in Grams: 452. . 2016. Reprint. Paperback. . . . . Books ship from the US and Ireland.…

Condición: New. In English.

Condición: New.

Condición: As New. Unread book in perfect condition.

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

Condición: good. Envoi rapide et soigné.

Paperback. Condición: New.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Softcover. Condición: Very Good+. Underlining in pencil to a few pages.; Greek Studies: Interdisciplinary Approaches; 8vo 8" - 9" tall; 384 pages.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1000grams, ISBN:9782204082013.

Paperback. Condición: Brand New. reprint edition. 216 pages. 9.00x6.00x0.60 inches. In Stock.

Condición: Neuf.

Paperback. Condición: new. Paperback. With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema-fiction film, popular cinema, and documentary, video installation, and digital essay.A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolas Guillen Landrian (Coffea Arabiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film-as process, as experience, as experiment-opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis. The essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. This volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. …

Condición: As New. Unread book in perfect condition.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condición: New. With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema-fiction film, popular cinema, and documentary, video installation, and digital essay.A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolas Guillen Landrian (Coffea Arabiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film-as process, as experience, as experiment-opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis.…

Condición: New.

Hardback. Condición: New. With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema-fiction film, popular cinema, and documentary, video installation, and digital essay.A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolas Guillen Landrian (Coffea Arabiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film-as process, as experience, as experiment-opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis.…