Master space : film images of Capra, Lubitsch, Sternberg, and Wyler
著者
書誌事項
Master space : film images of Capra, Lubitsch, Sternberg, and Wyler
(Contributions to the study of popular culture, no. 31)
Greenwood Press, 1992
- : alk. paper
大学図書館所蔵 全11件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
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注記
Includes bibliographical references (p. [161]-165) and index
内容説明・目次
内容説明
This is a unique study of the use of cinematic space by four important directors in American cinema from the 1930s to the 1960s: Frank Capra, Ernst Lubitsch, Josef von Sternberg, and William Wyler. Barbara Bowman examines each of their distinctive styles and diverse backgrounds and shows how these unique visual styles complement each other--representing the best in classic American cinema, from Ninotchka and Shanghai Express to Best Years of Our Lives to It's a Wonderful Life.
These great directors viewed space not as simple emptiness, nor as something to be manipulated pragmatically, but as a frame or palette in which to work. Their arrangements of cinematic space become not just visually recurrent techniques, but aesthetic touchstones that alert spectators to the narrative shape of the film and invite the spectator to have a more self-conscious relation to the film. Bowman explains how Capra's challenge was to take what is spatially familiar, like James Stewart's or Gary Cooper's neighborhood or small town, and defamiliarize it enough so that we see it for the first time. Lubitsch's creation of film space relies on the indirection so apparent in his scripts by Samuel Raphaelson; he depends on what the spectator cannot yet see or only anticipates, relying upon our imaginations, especially our potential lasciviousness. Sternberg's veiled shots of Marlene Dietrich and others convey a very basic skepticism about human capacity for both sight and insight, and Wyler emotionalizes his films's space by having characters like Bette Davis confront each other in triangular groups or by double framing his figures with architectural second frames. Each director approached film space with his own singular style, but all four techniques shared a common purpose to explain characters or to teach the spectator to see more intensely.
目次
Introduction: Space in Classic American Film Film Space as Implied by Narrative: Capra's Protagonists Learning to Look Inward Capra's Film Images: Ritualizing Habitual Space and Framing Acute Space Lubitsch's Film Space: Implying Space to Stimulate the Imagination Sternberg's Film Space: Obscuring Space to Stimulate Curiosity Wyler's Film Space: Arranging Confrontation to Intensify Understanding Conclusion: Habitual and Acute Film Space Appendix: Career Survey of Capra, Lubitsch, Sternberg, and Wyler by Steven P. Hill Bibliography Index
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