Farocki/Godard. Film as Theory

There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuo...

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Bibliografische gegevens
Hoofdauteur: Pantenburg, Volker (auth)
Formaat: Elektronisch Hoofdstuk
Taal:Engels
Gepubliceerd in: Amsterdam University Press 2015
Reeks:Film Culture in Transition
Onderwerpen:
Online toegang:OAPEN Library: download the publication
OAPEN Library: description of the publication
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520 |a There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create "film as theory." 
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653 |a harun farocki 
653 |a film theory 
653 |a jean-luc godard 
653 |a Photography 
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