Breaking the Glass Armor: Neoformalist Film Analysis

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9780691014531: Breaking the Glass Armor: Neoformalist Film Analysis

"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually.


Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie).


Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.

Le informazioni nella sezione "Riassunto" possono far riferimento a edizioni diverse di questo titolo.

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Here Kristin Thompson 'defamiliarizes' the reader with eleven different films. Developing the technique formulated in her Eisenstein's 'Ivan the Terrible', she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and -dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually.

Le informazioni nella sezione "Su questo libro" possono far riferimento a edizioni diverse di questo titolo.

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Editore: Princeton University Press (1992)
ISBN 10: 0691014531 ISBN 13: 9780691014531
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Descrizione libro Princeton University Press, 1992. PAP. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria WP-9780691014531

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Descrizione libro Princeton University Press, United States, 1988. Paperback. Condizione libro: New. Language: English . Brand New Book. Classical works have for us become covered with the glassy armor of familiarity, wrote Victor Shklovsky in 1914. Here Kristin Thompson defamiliarizes the reader with eleven different films. Developing the technique formulated in her Eisenstein s Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson s analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati s Les Vacances de Monsieur Hulot and Play Time and Godard s Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book s overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole. Codice libro della libreria AAH9780691014531

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Descrizione libro Princeton University Press, 1988. Paperback. Condizione libro: New. book. Codice libro della libreria 0691014531

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Descrizione libro Princeton University Press, 1992. PAP. Condizione libro: New. New Book. Shipped from US within 10 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. Codice libro della libreria IQ-9780691014531

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Descrizione libro Princeton University Press, United States, 1988. Paperback. Condizione libro: New. Language: English . Brand New Book. Classical works have for us become covered with the glassy armor of familiarity, wrote Victor Shklovsky in 1914. Here Kristin Thompson defamiliarizes the reader with eleven different films. Developing the technique formulated in her Eisenstein s Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson s analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati s Les Vacances de Monsieur Hulot and Play Time and Godard s Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book s overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole. Codice libro della libreria AAH9780691014531

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Descrizione libro Princeton University Press, 1988. Paperback. Condizione libro: New. Codice libro della libreria DADAX0691014531

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Descrizione libro Princeton University Press, 2017. Paperback. Condizione libro: New. This item is printed on demand. Codice libro della libreria P110691014531

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Descrizione libro Princeton University Press, 1992. PAP. Condizione libro: New. New Book. Delivered from our UK warehouse in 3 to 5 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. Codice libro della libreria IQ-9780691014531

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Descrizione libro Condizione libro: New. Depending on your location, this item may ship from the US or UK. Codice libro della libreria 97806910145310000000

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Descrizione libro Princeton University Press, United States, 1988. Paperback. Condizione libro: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. Classical works have for us become covered with the glassy armor of familiarity, wrote Victor Shklovsky in 1914. Here Kristin Thompson defamiliarizes the reader with eleven different films. Developing the technique formulated in her Eisenstein s Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson s analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati s Les Vacances de Monsieur Hulot and Play Time and Godard s Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book s overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole. Codice libro della libreria BTE9780691014531

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