Der zweite Blick / The Second View

Konrad Kirsch

Editore: Edition Axel Menges Gmbh Okt 2012, 2012
ISBN 10: 3936681546 / ISBN 13: 9783936681543
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Neuware - Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a '700-layer cake'. These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcocks film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus vessel in Botticellis painting. Mela-nies name is another reference to Aphrodite, who was also known as Melaina, 'the black one'. In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: 'I think youre evil! Evil!' This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side - her union with Ares produced not only Harmonia, but also Deimos and Phobos: 'dread' and 'fear' 159 pp. Deutsch. Codice inventario libreria

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Riassunto: Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary
science-fiction film Blade Runner a »700-layer cake«. These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team.

Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock’s heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our »Venus«, wear furs?

Review: In this enterprising move, long-term architectural publisher Axel Menges (whose list running from the 1970s, currently extends to more than 240 titles, many now of historic value) has expanded his new film list with this volume of theory and critique, based on five fully worked case studies. In all, Kirsch has provided a superlative model for assessing the divisions of contemporary film thematics. First, the suspense drama: second, the comedy or satire; third, new science fiction; fourth, the slasher-horror typology; and finally Kirsch returns to a kind of revisionist realism, essentially an historical and rigorous corrective. In postmodern culture, the current parameters are open, the connections random and the galaxy infinite. What is interesting in comparing film critique today with actual contemporary architectural comment and analysis is the extent to which each can benefit from an informed comparability between both fields and it is to be hoped that the overlap can be more openly fostered in future. This volume is a useful, perhaps indispensable, contribution to the wider postmodernist debate pursued in film, a field still barely represented in recent museum and gallery exhibitions: but it is now humming for sure with both students and schools, in this world of instant electronic referencing and accessibility to other precedent and text. Michael Spens, in Studio International, March 2014

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Titolo: Der zweite Blick / The Second View
Casa editrice: Edition Axel Menges Gmbh Okt 2012
Data di pubblicazione: 2012
Legatura: Buch
Condizione libro: Neu

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Kirsch, Konrad:
Editore: Stuttgart; London: Ed. Menges, (2013)
ISBN 10: 3936681546 ISBN 13: 9783936681543
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Descrizione libro Stuttgart; London: Ed. Menges, 2013. Gebundene Ausgabe. Condizione libro: Wie neu. 159 Seiten, mit Abbildungen. Hardcoverband in neuwertigem Zustand. - Wie literarische Texte erzählen Filme häufig Geschichten auf meh-reren Ebenen; mit ironischem Unterton bezeichnet der Regisseur Ridley Scott seinen legendären Science-Fiction-Film Blade Runner darum als '700-layer-cake'. Solche untergründigen Strukturen werden auf zweierlei Arten erzeugt: durch Korrespondenzen innerhalb des Films und / oder durch Bezüge auf andere Filme, Texte, Mythen, Gemälde oder historische Ereignisse usw., die in je spezifischer Weise vom Regisseur, dem Drehbuchautor und dem Produktions-team transformiert werden. Beispielsweise ist die Protagonistin in Hitchcocks Die Vögel eine moderne Aphrodite / Venus: Wie die meerschaumgeborene Venus in einer Muschel an Land kommt, überquert Melanie die Bodega Bay in einem Boot, das nicht viel größer ist als das Gefährt ihres Vorbilds auf dem Gemälde von Botticelli. Auch Melanies Name stammt von Aphrodite, die unter anderem Melaina, die Schwarze, genannt wird. Und ebenso, ganz in schwarz gekleidet, betritt Melanie in der ersten Szene des Films die Zoohandlung, in der sie Mitch begegnen und die Lovebirds kaufen wird. Durch die Venus Melanie fühlen besonders die bürgerlichen Frauen ihre Welt bedroht; daher schleudert eine von ihnen Melanie hysterisch entgegen: 'I think you’re evil! Evil!' Auf diese Weise verschränken sich in dem Film Liebe und Horror. Eine dunkle Seite ist ebenfalls mit der antiken Aphrodite verbunden, da aus ihrer be-rühmten Beziehung mit Ares neben Harmonia auch Deimos und Phobos hervorgehen: Schrecken und Furcht. Für die Analyse genügt es nicht, versteckte Anspielungen offenzulegen, vielmehr muß es in einem weiteren Schritt darum gehen, zu klären, welche Funktion der Bezug innerhalb des jeweiligen Films einnimmt. So die Frage, welcher Schluß daraus zu ziehen ist, daß einerseits Hitchcocks Protagonistin von Vögeln angegriffen wird und andererseits das Tier, das Venus begleitet, eine Taube ist. Und weshalb trägt die Venus Melanie einen Pelz? Indem Kirsch solchen und ähnlichen Fragen nachgeht, entwickelt er neue Sichtweisen auf die behandelten Filme, die sich anhand der zahlreichen Abbildungen im Detail nachvollziehen lassen. Der Band macht so Lust, außer auf Die Vögel einen zweiten Blick zu werfen auf Der Partyschreck von Blake Edwards, Blade Runner und Gladiator von Ridley Scott sowie Anatomie von Stefan Ruzowitzky. (Verlagsanzeige) Sprache: Englisch Gewicht in Gramm: 900. Codice libro della libreria 57275

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Kirsch, Konrad:
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Descrizione libro Stuttgart / London, Edition Axel Menges, 2013. Kl.-4°, Ppbd. 160 S., mit 220 Farbabb. Neuwertiges Ex. / Fine Copy // Wie literarische Texte erzählen Filme häufig Geschichten auf meh-reren Ebenen; mit ironischem Unterton bezeichnet der Regisseur Ridley Scott seinen legendären Science-Fiction-Film Blade Runner darum als »700-layer-cake«. Solche untergründigen Strukturen werden auf zweierlei Arten erzeugt: durch Korrespondenzen innerhalb des Films und / oder durch Bezüge auf andere Filme, Texte, Mythen, Gemälde oder historische Ereignisse usw., die in je spezifischer Weise vom Regisseur, dem Drehbuchautor und dem Produktionsteam transformiert werden. Beispielsweise ist die Protagonistin in Hitchcocks Die Vögel eine moderne Aphrodite / Venus: Wie die meerschaumgeborene Venus in einer Muschel an Land kommt, überquert Melanie die Bodega Bay in einem Boot, das nicht viel größer ist als das Gefährt ihres Vorbilds auf dem Gemälde von Botticelli. Auch Melanies Name stammt von Aphrodite, die unter anderem Melaina, die Schwarze, genannt wird. Und ebenso, ganz in schwarz gekleidet, betritt Melanie in der ersten Szene des Films die Zoohandlung, in der sie Mitch begegnen und die Lovebirds kaufen wird. Durch die Venus Melanie fühlen besonders die bürgerlichen Frauen ihre Welt bedroht; daher schleudert eine von ihnen Melanie hysterisch entgegen: »I think you’re evil! Evil!« Auf diese Weise verschränken sich in dem Film Liebe und Horror. Eine dunkle Seite ist ebenfalls mit der antiken Aphrodite verbunden, da aus ihrer be-rühmten Beziehung mit Ares neben Harmonia auch Deimos und Phobos hervorgehen: Schrecken und Furcht. Für die Analyse genügt es nicht, versteckte Anspielungen offenzulegen, vielmehr muß es in einem weiteren Schritt darum gehen, zu klären, welche Funktion der Bezug innerhalb des jeweiligen Films einnimmt. So die Frage, welcher Schluß daraus zu ziehen ist, daß einerseits Hitchcocks Protagonistin von Vögeln angegriffen wird und andererseits das Tier, das Venus begleitet, eine Taube ist. Und weshalb trägt die Venus Melanie einen Pelz? Indem Kirsch solchen und ähnlichen Fragen nachgeht, entwickelt er neue Sichtweisen auf die behandelten Filme, die sich anhand der zahlreichen Abbildungen im Detail nachvollziehen lassen. Der Band macht so Lust, außer auf Die Vögel einen zweiten Blick zu werfen auf Der Partyschreck von Blake Edwards, Blade Runner und Gladiator von Ridley Scott sowie Anatomie von Stefan Ruzowitzky. ISBN: 9783936681543 Sprache: Deutsch Gewicht in Gramm: 802. Codice libro della libreria 17438

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Descrizione libro Edition Axel Menges. Hardcover. Condizione libro: New. 3936681546 *BRAND NEW* Ships Same Day or Next!. Codice libro della libreria NATARAJB1FI944369

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Descrizione libro Edition Axel Menges. Hardback. Condizione libro: new. BRAND NEW, Second Look: Hitchcock: The Birds; Edwards: The Party; Scott: Blade Runner; Ruzowitzky: Anatomy; Scott: Gladiator, Konrad Kirsch, Text in English & German. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a "700-layer cake". These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcock's film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus' vessel in Botticelli's painting. Melanie's name is another reference to Aphrodite, who was also known as Melaina, "the black one". In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women. One of them screams at her hysterically: "I think you're evil! Evil!". This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side -- her union with Ares produced not only Harmonia, but also Deimos and Phobos: "dread" and "fear". Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock's heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our "Venus", wear furs? Kirsch's investigations of this and other questions open up new perspectives on a number of films, with extensive illustrations allowing the reader to follow these in detail. The book invites us to take a second look at The Birds, Blake Edwards' The Party, Ridley Scott's Blade Runner and Gladiator and Stefan Ruzowitzky's Anatomy. Konrad Kirsch is a PhD in literature and an enthusiastic viewer of films. He has published texts on Georg Buchner, Elias Canetti, Robert Walser, Franz Kafka and William Shakespeare. Most recently, his article on Heinrich von Kleist was published in the Zeitschrift fur deutsche Philologie. Codice libro della libreria B9783936681543

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Descrizione libro 2012. Hardcover. Condizione libro: New. Hardcover. Text in English & German. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-.Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. 160 pages. 0.812. Codice libro della libreria 9783936681543

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Descrizione libro Edition Axel Menges (D), 2012. Hardback. Condizione libro: NEW. 9783936681543 This listing is a new book, a title currently in-print which we order directly and immediately from the publisher. Codice libro della libreria HTANDREE0531524

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Descrizione libro Edition Axel Menges, Germany, 2013. Hardback. Condizione libro: New. Bilingual. Language: German . Brand New Book. Text in English German. Like literary texts, films often tell stories on multiple levels. Ridley Scott made an ironic reference to this when he called his legendary science-fiction film Blade Runner a 700-layer cake . These buried structures are created in two ways: by elements that resonate throughout the film itself and by references to other films, texts, myths, paintings, historical events etc. that are adapted in a specific way by the director, the scriptwriter and the production team. The heroine in Hitchcock s film The Birds, for instance, is a modern Aphrodite / Venus. Just as Venus, born from the sea foam, was carried to land on a seashell, Melanie is carried across Bodega Bay in a boat that is not much bigger than Venus vessel in Botticelli s painting. Melanie s name is another reference to Aphrodite, who was also known as Melaina, the black one . In the fist scene of the film, in which she enters the pet shop where she later gets to know Mitch and buys the love birds, Melanie is also dressed in black. The Venus-like Melanie is felt to be a threat by others within their world, and especially by more conventional women.One of them screams at her hysterically: I think you re evil! Evil! . This creates a particular connection between love and horror in the film. The classical Aphrodite also had a dark side -- her union with Ares produced not only Harmonia, but also Deimos and Phobos: dread and fear . Detecting hidden references is only the first step in creating an analysis; the next step is to elucidate the function of the reference within the film. For instance, what does it mean that Hitchcock s heroine is attacked by birds, whereas Venus was depicted accompanied by a dove? And why does Melanie, our Venus , wear furs? Kirsch s investigations of this and other questions open up new perspectives on a number of films, with extensive illustrations allowing the reader to follow these in detail. The book invites us to take a second look at The Birds, Blake Edwards The Party, Ridley Scott s Blade Runner and Gladiator and Stefan Ruzowitzky s Anatomy. Konrad Kirsch is a PhD in literature and an enthusiastic viewer of films. He has published texts on Georg Buchner, Elias Canetti, Robert Walser, Franz Kafka and William Shakespeare.Most recently, his article on Heinrich von Kleist was published in the Zeitschrift fur deutsche Philologie. Codice libro della libreria AAG9783936681543

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