Relevant bibliographies by topics / Bordwell, David

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Bordwell, David'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Bordwell, David"

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Lehman, Peter. "Reply to David Bordwell." Cinema Journal 37, no. 2 (1998): 90. http://dx.doi.org/10.2307/1225645.

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Przylipiak, Mirosław. "On the Notion of Norm in David Bordwell’s System." Panoptikum, no. 22 (December 17, 2019): 79–102. http://dx.doi.org/10.26881/pan.2019.22.02.

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The paper scrutinizes a notion of norm in David Bordwell’s system of film aesthetics. It concerns such issues as: a relationship between Jan Mukařovský’s concept of norm and the use Bordwell is making of it; procedures of establishing norms on the basis of sample analysis; justification of norms; list of norms and their status; a dialectic of norm and deviation as a tool for film analysis.
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Eagle, Herbert. "The Cinema of Eisenstein David Bordwell." Film Quarterly 48, no. 2 (1994): 58–60. http://dx.doi.org/10.2307/1213098.

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Eagle, Herbert. ": The Cinema of Eisenstein . David Bordwell." Film Quarterly 48, no. 2 (1994): 58–60. http://dx.doi.org/10.1525/fq.1994.48.2.04a00090.

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Kozloff, Sarah. ": Narration in the Fiction Film . David Bordwell." Film Quarterly 40, no. 1 (1986): 43–45. http://dx.doi.org/10.1525/fq.1986.40.1.04a00150.

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Johnson, William. ": Ozu and the Poetics of Cinema . David Bordwell." Film Quarterly 42, no. 4 (1989): 29–31. http://dx.doi.org/10.1525/fq.1989.42.4.04a00100.

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Belton, John. ": On the History of Film Style . David Bordwell." Film Quarterly 52, no. 4 (1999): 55–57. http://dx.doi.org/10.1525/fq.1999.52.4.04a00180.

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Carrillo Canán, Alberto J. L., May Zindel, and Víctor Gerardo Rivas López. "Las emociones cinematográficas en Bordwell." Nuevo Itinerario, no. 10 (November 16, 2015): 1. http://dx.doi.org/10.30972/nvt.010888.

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<p>Para explicar la experiencia del espectador la teoría cognitiva del cine narrativo (TCC) recurre a capacidades humanas de corte universal que funcionan independientemente del medio cinematográfico como tal y que, en particular, son las comunes en la experiencia de la literatura narrativa. El caso de las emociones ilustra esta situación. Sin embargo, en la obra original de la TCC, el famoso libro de David Bordwell <em>Narration in the Fiction Film </em>(1985), el tratamiento que se da ahí a las emociones muestra que Bordwell no solamente privilegia emociones de carácter lit
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Wyatt, Justin. ": Post-Theory: Reconstructing Film Studies . David Bordwell, Noel Carroll." Film Quarterly 51, no. 1 (1997): 55–57. http://dx.doi.org/10.1525/fq.1997.51.1.04a00170.

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Kozloff, Sarah. "Review: Narration in the Fiction Film by David Bordwell." Film Quarterly 40, no. 1 (1986): 43–45. http://dx.doi.org/10.2307/1212310.

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Dissertations / Theses on the topic "Bordwell, David"

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Ekenberg, Jonatan. "Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40289.

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Uppsatsens syfte ligger i att undersöka huruvida filmteoretikern David Bordwells två inflytelserika berättarmodeller från 1980-talet fortfarande återfinns inom samtida filmproduktion. Jag fördjupar mig i det klassiska- respektive konstfilmsberättandet och jämför vidare de typiska elementen från de två berättarmodellerna med formatet slow cinema. I definitionen av slow cinema utgår jag ifrån filmvetaren Matthew Flanagans utredning av vad formatet innebär samt de tre byggstenarna han anser vara mest väsentliga. Dessa är långa tagningar, en ickeberättande struktur och skildringar av realistiska,
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Kivimäki, Tomi. "Returbiljett till apornas planet : En studie om primär och sekundär adaption." Thesis, Örebro universitet, Akademin för humaniora, utbildning och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21084.

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The purpose of this essay is to study two film adaptations of the original Planet of the Apes novel and see what kind of relationship the two adaptations have with each other. The main question is if the secondary film adaptation is restricted by the primary and if the relationships between these two are as two separate adaptations or as a remake of an adaptation. What the results of the study show is that the secondary adaptation can not be seen as a remake even though it gets some of its inspiration from both the original story as well as the primary adaptation. The secondary adaptation is,
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Lundqvist, David. "Ett dolt narrativ : En kognitiv studie av Richard Linklaters film Waking Life (2001)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26938.

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Syftet med denna uppsats är att analysera filmen Waking Life (Richard Linklater, 2001) utifrån David Bordwells narratologiska perceptionsteorier för att tydliggöra filmens narrativa konstruktion på ett kognitivt plan. På senare år har det kommit allt fler filmer som utmanar åskådaren med ett experimentellt berättelseformat. Waking Life tillhör den gruppen men lämnar också extra rum för åskådarens egna tolkningar. Genom ett fokus på filmens protagonist och dennes öde så riktar uppsatsens näranalys in sig på filmens underliggande berättelse, som i filmen döljer sig och samtidigt blandas med film
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Nilsson, Maria. "Creating a Video Resumé - With the Aid of Theories of Self-representation and Narratology." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23863.

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Följande undersökning behandlar uppbyggnaden av en CV-film med utgångspunkt isociologen Erving Goffmans teori om identitet och självrepresentation samtfilmteoretikern David Bordwells teori om narratologi. Goffmans teori har använts föratt ta reda på vad som ska framställas i filmen medan Bordwells teori applicerats påfrågan om hur filmen ska framställas. Inom det teoretiska ramverket finns även StuartHalls teori om representation för att kunna belysa teorierna av Goffman och Bordwellutifrån ett gemensamt perspektiv. Fokusgruppmetoden har använts för att kvalitativtsamla information om vad en C
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Toresson, Fredrik. "Tidig Ozu / Sen Ozu : En jämförande stilanalys av A Story of Floating Weeds och Floating Weeds." Thesis, Stockholm University, Department of Cinema Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-912.

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<p>Syftet med denna uppsats är att jämföra ett av Ozus tidigare verk stumfilmen A STORY OF FLOATING WEEDS (1934) med ett senare, färg- och ljudfilmen FLOATING WEEDS (1959). Hur skiljer sig dessa åt stilistiskt, vad förenar dem, vad följer t ex av närvaron av färg och ljud i den senare och avsaknaden av desamma i den tidigare filmen.</p><p>Analysen utgår från ett neoformalistiskt perspektiv och i en teoretisk genomgång redogörs för denna inriktnings begreppsapparat. Centrala begrepp häri är t ex främmandegörning, d v s av-naturaliseringen av den vardagliga perceptionen, stil, definierat som inn
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Linnell, Greg S. "Prospects for a Historical Poetics of Cinema: David Bordwell, Kristin Thompson, and Neoformalism." Thesis, 1993. http://hdl.handle.net/10756/290830.

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Norford, Daniel. "System and spectrality investigating David Bordwell's manuals(s) of classical narrative cinema /." 2010. http://digital.library.okstate.edu/etd/Norford_okstate_0664M_10816.pdf.

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Books on the topic "Bordwell, David"

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Meyer, Corinna. Der Prozess des Filmverstehens: Ein Vergleich der Theorien von David Bordwell und Peter Wuss. Coppi-Verlag, 1996.

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Smith, Jeff. The Sound of Intensified Continuity. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.035.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines the role of the soundtrack in the “intensified continuity” style of contemporary Hollywood cinema. Drawing on David Bordwell’s work, it argues that contemporary sound design contributes much to the style’s “impact aesthetic.” Since 1970 soundtracks have increasingly foregrounded six dimensions that function as an aural counterpart to the cinematographic and editing strategies highlighted by Bordwell. The chapter concludes with a comparat
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Keil, Charlie. Early American Cinema in Transition: Story, Style, and Filmmaking, 1907-1913 (Wisconsin Studies in Film, Kristin Thompson, Supervising Editor; David Bordwell and Vance Kepley, Jr., General Editors). University of Wisconsin Press, 2002.

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Early American Cinema in Transition: Story, Style, and Filmmaking, 1907-1913 (Wisconsin Studies in Film, Kristin Thompson, Supervising Editor; David Bordwell and Vance Kepley, Jr., General Editors). University of Wisconsin Press, 2002.

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Buhler, James. Neoformalism and Four Models of the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0005.

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Chapter 5 considers the topic of formal theories and models, starting with the movement of so-called neoformalism in film studies. It opens by examining Kristin Thompson’s manifesto for the analytical approach of neoformalism, David Bordwell’s use of an analogy to musicology to formulate a research program for film studies, and Noël Carroll’s account of how music serves to modify the narrative situation. The chapter then considers four models of how the music subsystem works in relation to the other subsystems of film: Kathryn Kalinak’s “working model” for film music; Nicholas Cook’s model of
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Book chapters on the topic "Bordwell, David"

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Bonnemann, Jens. "David Bordwell (*1947) und Kristin Thompson (*1950) – eine Frage des Stils." In Filmtheorie. J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04634-5_10.

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Calorio, Giacomo. "“What is contemporary Japanese Cinema?”. Questioning the answers, answering with questions." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-260-7.01.

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The English title of a recent book by renowned film scholar Yomota Inuhiko reads: “What is Japanese Cinema?”. In the preface to the English edition Yomota states that the direction we might take, should we try to provide an answer to the question, changes according to which word, “Japanese” or “Cinema” we choose to emphasize. When his survey reaches the recent past, the Japanese scholar describes the 2000s as “an era of chaos”. Starting from these questions and affirmations, and combining them with others made by scholars such as David Bordwell, Mitsuyo Wada-Marciano, Andrew Dorman and Mori Naoyuki, the following article attempts to explore a more specific doubt: “What is contemporary Japanese cinema”? In so doing, however, other questions arise, as we need to define when contemporaneity starts and what makes it different both from previous eras, and from the contemporaneity of other national cinemas. The further we probe, the more complex our definition becomes.
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Frierson, Michael. "David Bordwell, the Narrative Functions of Continuity Editing and Intensified Continuity." In Film and Video Editing Theory. Routledge, 2018. http://dx.doi.org/10.4324/9781315475011-4.

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Rushton, Richard. "Angelopoulos and the Time-image." In The Cinema of Theo Angelopoulos. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697953.003.0015.

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This chapter examines the transition between the ‘politics’ of Theo Angelopoulos' early films and the ‘humanism’ of his later work. Commentators such as David Bordwell and Fredric Jameson have accounted for this change of direction in Angelopoulos' films. Bordwell, for example, notes the shift from a first political phase to one that is more inspired by an existential humanism. Angelopoulos himself declares that after Marxism and Brechtian methods had had their day, he turned to something grounded in humanism and existentialism. The chapter considers Gilles Deleuze's concept of the ‘time-image’ and how it provides a means of distinguishing between two aesthetic modalities by way of their articulations of the past, of time and of memory. It argues that the key distinction is between what Deleuze calls a ‘recollection-image’, and that which he terms ‘pure recollection’. While Angelopoulos' early films are constructed by way of recollection-images, his later films offer pure recollection.
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Sinnerbrink, Robert. "Angelopoulos’ Gaze: Modernism, History, Cinematic Ethics." In The Cinema of Theo Angelopoulos. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697953.003.0005.

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This chapter examines how, in Ulysses' Gaze, Theo Angelopoulos strives to combine history, myth, and politics in ways that constitute a cinema of historical experience, collective memory, and ethics. Angelopoulos' films have been praised for their historical ambition, political themes and explorations of memory, as well as for their commitment to cinematic modernism. For some critics, like David Bordwell, Angelopoulos is a late modernist auteur whose ‘anachronistic’ cinematic style bears the hallmarks of 1960s and 1970s ‘political modernism’. For others, like Fredric Jameson, Angelopoulos' work is best understood as hybrid or transitional. The chapter considers how Angelopoulos' aesthetic style expresses historical experience and cultural memory and argues that Angelopoulos' methods as a filmmaker are paradigmatically modernist.
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"1. Up Close and Impersonal: Hal Hartley and the Persistence of Tradition David Bordwell." In The Cinema of Hal Hartley. Columbia University Press, 2016. http://dx.doi.org/10.7312/rybi17616-004.

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Miller, Giulia. "Narrative Structure." In Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.003.0003.

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This chapter is concerned with the narrative structure of Ari Folman's Waltz with Bashir. It reflects on the differences between Waltz with Bashir's story and plot, as defined by David Bordwell and Kristin Thompson in their seminal text Film Art: An Introduction and looks at how information is revealed to the audience. It also looks at the ten animated interview scenes ordered around in Waltz with Bashir, which allegedly took place in 2006 and are carried out as part of an investigation to help the film's narrator-protagonist to overcome his amnesia about his role during the First Lebanon War. The chapter analyzes Waltz with Bashir's final scene that uses live news footage of the Sabra and Shatila camps and appears to mark the moment when the protagonist is hit by the full emotional force of his memories. It talks about the juxtaposition of live footage with total recall that suggests that Waltz with Bashir moves from unreliable or 'false' memory to 'real' truth.
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Miller, Henry K. "The Documentary Version of Film History." In The Major Realist Film Theorists. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402217.003.0011.

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The overwhelmingly negative response of members of the British documentary film movement (the ‘documentarists’), Grierson very much included, to Cavalcanti’s compilation film Film and Reality (1942) has been taken as a crystallization of a split between ‘aesthetic’ and ‘purposive’ drives within the documentary film movement. Without rejecting this broad characterization, this chapter treats the version of film history advanced by Cavalcanti’s film as largely consonant with that which Grierson and others around him had promoted in the late 1930s, about the time Film and Reality was conceived and commissioned. Both Cavalcanti and Grierson saw in the studio story-film the betrayal of film’s ‘natural destiny of discovering mankind’ (Grierson); both agreed on the realist canon of (principally) Flaherty, the city symphonists, and the Soviets; and both put the documentary movement at the pinnacle of the medium’s progress in the 1930s. Cavalcanti differed from Grierson’s trajectory by introducing Jean Renoir at the climax of his film, but their disagreement over this particular issue was to a large degree a matter of institutional politics and positioning, rather than of theoretical substance. After exploring these issues, the chapter then proceeds to relate the ‘documentarist conception of film history’, which was influential at the time, to others then in circulation, such as what David Bordwell has described as the ‘Basic Story’ account. The chapter concludes by relating the documentarist model of film history to that elaborated later by Andre Bazin.
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"The End(s) of Vococentrism." In Voicing the Cinema, edited by James Buhler. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0016.

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This chapter examines the concept of vococentrism proposed by Michel Chion and developed at length by David Neumeyer. The first part looks at the system of vococentrism as it was codified in the early 1930s to replace the original rule of mimetic synchronization, with its emphasis on the act of recording. Vococentrism was by contrast focused on placing the voice in a narrative representation. Vococentrism essentially reconciled the soundtrack to the continuity system, transformed music into its customary role of underscore, and ensured that the soundtrack served as the voice of narrative. The second part examines vococentrism in the age of intensified continuity, David Bordwell’s term for the stylistic system that has dominated filmmaking since the 1980s. The author concludes that whereas intensified continuity has given greater emphasis to the face in the visual field, it has displaced the voice from its central position on the soundtrack. Intensified continuity has ushered in the end of vococentrism, which in a sense recognizes how marks of identity and subjectivity in contemporary cinema have given way to figures of gesture and affect.
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Morrison, Benedict. "Introduction." In Complicating Articulation in Art Cinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894069.003.0001.

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This introduction explores—and questions—how art cinema’s enigmatic characterization and unconventional forms have often been interpreted as a series of puzzles to which criticism can provide the answers. Since David Bordwell’s seminal 1979 essay, one of the core approaches to explaining and resolving art cinema’s challenges has been through the logic that complex character explains complex form. This logic has resulted in reductive critical statements that have dismissed the intricate achievements of untidy form, sweeping them aside with the statement that disturbed form is simply the articulation of disturbed character. This introductory chapter argues that art cinema is eccentric, and that character-centric criticism overlooks the aesthetic and political challenges of complicatedly articulated form. The introduction interrogates the critic’s theological role in resolving art cinema’s fascinating complexities and offers a new ethics of criticism which acknowledges more fully the discrete achievements of characterization and form.
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