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Books on the topic 'Film aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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1

Aesthetics and film. London: Continuum, 2008.

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2

J, Aumont, ed. Aesthetics of film. Austin: University of Texas Press, 1992.

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3

Wiegand, Daniel. Aesthetics of Early Sound Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463727372.

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This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films’ fundamentally experimental and inventive character. By considering films and production contexts often neglected in film studies, it strives to counter the still dominant view of the transitional period as a time of yet-to-be-perfected forerunners of ‘classical’ sound film. Instead, authors highlight the sense of ‘fruitful uncertainty’ in this period of media change and transformation. Subjects covered include visual and auditory style; the uses of speech, music, and noises; aesthetic conceptions in sound film theory; and intermedial aesthetics. The volume’s scope is decidedly international, covering production and reception contexts in the Soviet Union, Japan, the USA, Germany, France, Italy, the UK, and Switzerland.

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4

Mick, Hurbis-Cherrier, ed. Directing: Film techniques and aesthetics. 5th ed. Waltham, Mass: Focal Press, 2013.

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5

Rabiger, Michael. Directing: Film techniques and aesthetics. 4th ed. Boston: Elsevier, 2008.

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6

Rabiger, Michael. Directing: Film techniques and aesthetics. 2nd ed. Boston: Focal Press, 1997.

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7

Rabiger, Michael. Directing: Film techniques and aesthetics. Boston: Focal Press, 1989.

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8

Directing: Film techniques and aesthetics. 3rd ed. Amsterdam: Focal Press, 2003.

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9

editor, Pauleit Winfried, ed. Childhood, Cinema and Film Aesthetics. Berlin: Bertz + Fischer, 2018.

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10

Irving, Massey, and Morrison James, eds. On film theory: Indeterminacy in film. Buffalo, NY: I. Massey, 1987.

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11

The ways of film studies: Film theory & the interpretation of films. Delhi: Ajanta Publications, 1992.

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12

Film, form, and phantasy: Adrian Stokes and film aesthetics. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.

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13

O'Pray, Michael. Film, form, and phantasy: Adrian Stokes and film aesthetics. Basingstoke: Palgrave Macmillan, 2004.

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14

Film, Bild, Wirklichkeit: Reflexion von Film - Reflexion im Film. Köln: Herbert von Halem Verlag, 2016.

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15

Stam, Robert, Richard Porton, and Leo Goldsmith. Keywords in Subversive Film/Media Aesthetics. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118340660.

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16

Film kao vremenski oblik: Predavanja iz estetike filma. Sarajevo: Armis Print, 2007.

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17

Film come esperienza. Roma: Bulzoni, 1986.

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18

Jarvie, I. C. Philosophy of the film: Epistemology, ontology, aesthetics. New York: Routledge & Kegan Paul, 1987.

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19

Holocaust film: The political aesthetics of ideology. Newcastle, UK: Cambridge Scholars Publishing, 2007.

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20

Wissensraum Film. Wiesbaden: Reichert Verlag, 2014.

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21

Sharma, Aparna Katara. Documentary films in India: Critical aesthetics at work. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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22

Stam, Robert. Keywords in subversive film-media aesthethics. Chichester, West Sussex: Malden, MA, 2015.

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23

Opera, ideology, and film. New York: St. Martin's Press, 1987.

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24

Donnelly, Kevin J. Extending Film Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.020.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film remains at the apex of audiovisual culture, providing inspiration and aspiration for other media. Film music and other sounds from the soundtrack have extended film aesthetics beyond the bounds of film into other media and culture. Sound design now can use musical software to enhance sound effects in films and music composers to incorporate sound effect recordings. Soundtrack elements now appear to have an “aesthetic” character. Technology has engendered a spatial sonic arena wherein sonic elements have mixed into a sensual and psychological field. Modern film soundtracks often evince a conceptual or aesthetic unity strikingly similar to musical unity, evident in disc releases unconnected to the cinema. In films sounds on their own work in a different way, implying visuals that we then expect to see or imagine. That soundimpliesvisuals is crucial also to extended soundtracks outside film.

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25

Aesthetics and Film Continuum Aesthetics. Continuum, 2008.

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26

Gao, Jing. Film Semiotics and Film Aesthetics: ???????????? LONGMAN PRESS LTD, 2022.

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27

Petric, Vlada. The Aesthetics of Film. Cambridge University Press, 2004.

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28

Petric, Vlada. The Aesthetics of Film. Cambridge University Press, 2004.

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29

Bustamante, Angela. Film Gastronomy Plus Drones: Film Aesthetics Source Book. Kendall Hunt Publishing Company, 2021.

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30

Bashara, Dan. Cartoon Vision: UPA Animation and Postwar Aesthetics. University of California Press, 2019.

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31

Bashara, Dan. Cartoon Vision: UPA Animation and Postwar Aesthetics. University of California Press, 2019.

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32

Bashara, Daniel. Cartoon Vision: UPA Animation and Postwar Aesthetics. University of California Press, 2019.

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33

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2013.

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34

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2020.

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35

Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2020.

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36

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2020.

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37

Directing: Film Techniques and Aesthetics. 4th ed. Focal Press, 2007.

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38

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2013.

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39

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2020.

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40

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2020.

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41

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2013.

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42

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2020.

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43

Rabiger, Michael. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2013.

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44

Rabiger, Michael, and Mick Hurbis-Cherrier. Directing: Film Techniques and Aesthetics. Taylor & Francis Group, 2013.

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45

Jutz, Gabriele. Audiovisual Aesthetics in Contemporary Experimental Film. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.10.

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This chapter maps the territory of the contemporary audiovisual cinematic avant-garde, which arose at the very moment of celluloid’s passage from mass use to obsolescence. It presents films that bear witness to the avant-garde’s ongoing interest in the formal organization of sound/image relationships. If one of the main concerns of sound in conventional film is to “naturalize” the image, experimental film is interested instead in ananti-naturalistic use of sound. Films without sound or even without images (which still can be called “films”), the use of audiovisual polysemy, asynchronous, or even synchronous sound, as well as the visualization of code-based music, are all means of revealing the constructed nature of the cinesonic event. The chapter examines the realm of the sound of technology itself, pointing out the creative potential ofoptically synthesized soundsas well aslive generated sounds and images, which attest to the agility of current projection performances.

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46

Klevan, Andrew. Aesthetic Evaluation and Film. Manchester University Press, 2015.

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47

Aesthetic evaluation and film. Manchester University Press, 2018.

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48

Klevan, Andrew. Aesthetic Evaluation and Film. Manchester University Press, 2018.

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49

Klevan, Andrew. Aesthetic Evaluation and Film. Manchester University Press, 2018.

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50

O'Pray, M. Film, Form and Phantasy: Adrian Stokes and Film Aesthetics. Palgrave Macmillan, 2004.

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