LEADER 02445cam a2200277 a 4500
001 1048506
008 200930s2019 nyua b 001 0 eng
010 $a2018037319
020 $a9780231190510$q(pbk.) :$cNT$1052
020 $a0231190514$q(pbk.)
035 $aNO000197001
037 $b公共圖書館臺南分區資源中心
040 $aLBSOR/DLC$beng$cDLC$dOCLCO$dERASA$dOCLCO$dOCLCF$dTOH$dYDX$dOBE$dTNTNM$eaacr2
042 $apcc
043 $an-us---
050 00$aTR848$b.K43 2019
082 00$a777$222
090 $a臺南市立圖書館
100 1 $aKeating, Patrick,$d1970-
245 14$aThe dynamic frame :$bcamera movement in classical Hollywood /$cPatrick Keating.
260 $aNew York :$bColumbia University Press,$cc2019.
300 $axi, 349 p. :$bill. ;$c24 cm.
490 1 $aFilm and Culture Series
504 $aIncludes bibliographical references and index.
505 0 $aAmerican cinema, German angles -- Purposes and parallels -- Dynamism, seriality, and convergence -- Constructing scenes with the camera -- Between subjective and objective -- An art of disclosures.
520 $a"The camera's movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures like F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer"--$cProvided by publisher.
650 0$aMotion pictures$zUnited States$xHistory$y20th century.
650 0$aCinematography$zUnited States$xHistory.
650 0$aMotion pictures$xAesthetics.
653 $a人文藝術
653 $a文化創意
830 0$aFilm and culture.