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Film Narratology
In Film Narratology, Peter W.J. Verstraten makes film narratives his primary focus, while noting the unexplored and essentially different narrative effects that film can produce with mise-en-scène, cinematography, and editing.
Humour and Irony in Dutch Post-war Fiction Film
This study examines a range of Dutch post-war fiction films and also works as an implicit overview on the basis of types of humour, like low-class comedy, neurotic romances; deliberate camp, homosocial jokes, cosmic irony, grotesque satire. This title was made Open Access by libraries from around the world through Knowledge Unlatched.
On the Special Needs of Blind and Low Vision Seniors
Main headings: I. Basic positions. - II. Epidemiology and medical-ophthalmological research. - III. Psychosocial issues and daily living skills in different settings: empirical and conceptual contributions. - IV. Intervention and rehabilitation: empirical and conceptual contributions. - V. Educational issues: programs, media, self-help and new technologies. - VI. Learning from each other in an international perspective. - VII. Look into the future.
Dutch Post-War Fiction Film Through a Lens of Psychoanalysis
I started examining Dutch fiction features for the simple reason that these films are 'orphans' in an academic context. Dutch cinema is unchartered territory at the curricula in Dutch universities. Hopefully, this study - in tandem with the previous one on humour and irony - will trigger other scholars to explore the terrain of Dutch (fiction) cinema in the near future. In addition to that, it would be great if a study like mine could offer some support to initiatives such as the occasional screenings and programs in EYE Amsterdam dedicated to Dutch cinema (Pim de la Parra, Frans Weisz, George Sluizer, restored prints of Wim Verstappen, to mention some of these initiatives). Moreover, I have...
Authorship and Aesthetics in the Cinematography of Gregg Toland
In this three-part book-length study of the work of Gregg Toland, Philip Cowan explores approaches to co-authorship in collaborative filmmaking to propose new ways of identifying, attributing, and evaluating the creative work of cinematographers. In the first part of the study, Cowan challenges the dominant, director-centered auteur approach to film studies, critiquing the historical development of authorship theory and providing a contemporary analysis of the cinematographer’s authorial role in creating images that communicate meaning through content and construction. By synthesizing and updating the work of previous film theorists to define the complexities of composition, movement, and lighting in the second part of the study, Cowan develops a new, comprehensive taxonomy of functional and aesthetic elements of the moving image. Finally, by using the co-author approach and the analytical tools developed in part two of the book, Cowan provides an in-depth re-examination of Toland’s work, highlighting the historical neglect of the cinematographer’s artistic contribution to filmmaking and developing a fresh approach to the analysis of contemporary cinematography in film.
Narratology in the Age of Cross-Disciplinary Narrative Research
Narrative Research, once the domain of structuralist literary theory, has over the last 15 years developed into an international and interdisciplinary field. It is now commonly agreed that storytelling functions as a fundamental cognitive tool for sense-making and meaning production, and that human beings structure and communicate lived experience through oral, written and visual stories. Entitled Narratology in the Age of Cross-Disciplinary Narrative Research, this volume collects fifteen essays which look at narrative and narrativity from various perspectives, including literary studies and hermeneutics, cognitive theory and creativity research, metaphor studies, film theory and intermedia...
The Motion Aftereffect
Motion perception lies at the heart of the scientific study of vision. The motion aftereffect (MAE) is the appearance of directional movement in a stationary object or scene after the viewer has been exposed to viusal motion in the opposite direction. For example, after one has looked at a waterfall for a period of time, the scene beside the waterfall may appear to move upward when one's gaze is transfered to it. Although the phenomenon seems simple, research has revealed copmlexities in the underlying mechanisms, and offered general lessons about how the brain processes visual information. In the 1990s alone, more than 200 papers have been published on MAE, largely inspired by improved techniques for examining brain electrophysiology and by emerging new theories of motion perception.
Critical Approaches to the Films of Robert Rodriguez
Frederick Aldama's The Cinema of Robert Rodriguez (2014) was the first full-scale study of one of the most prolific and significant Latino directors making films today. In this companion volume, Aldama enlists a corps of experts to analyze a majority of Rodriguez's feature films, from his first break-out success El Mariachi in 1992 to Machete in 2010. The essays explore the formal and thematic features present in his films from the perspectives of industry (context, convention, and distribution), the film blueprint (auditory and visual ingredients), and consumption (ideal and real audiences). The authors illuminate the manifold ways in which Rodriguez's films operate internally (plot, charac...
