Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
V. F. Perkins on Movies
Victor Perkins (1936-2016) was a foundational figure for the study of film both as a writer and as an educationalist and teacher who played a key role in establishing film within British higher education. Best known for his 1972 book Film as Film, Perkins has a worldwide reputation within film studies that has been enhanced in recent years by the interest among emerging scholars in the practices of detailed film criticism. His extensive writing in journals and edited collections, spanning sixty years, is less well known, despite its importance and quality, partly because much of it was published in small magazines with limited distribution. V. F. Perkins on Movies: Collected Shorter Film Cri...
Film As Film
Here at last is an introduction to film theory and its history without the jargon. Noted film scholar V. F. Perkins presents criteria for expanding our understanding and enjoyment of movies. He employs common sense words like balance, coherence, significance, and satisfaction to develop his insightful support of the subtle approach and of the unobtrusive director. Readers will learn why a scene from the humbler movie Carmen Jones is a deeper realization of filmmaking than the bravura lion sequence in the classic Battleship Potemkin. Along the way Perkins invites readers to re-experience with clarity, directness, and simplicity other famous scenes by directors like Hitchcock, Eisenstein, and ...
V. F. Perkins on Movies
Perkins on Movies gives unimpeded access to one of the most distinctive and distinguished of critical voices and will be widely welcomed by academics, students of film, and informed film enthusiasts.
V. F. Perkins on Movies
The collected shorter film criticism of one of the most brilliant English-language film critics.
La Regle du jeu
Renoir's famous and controversial comedy of manners has a troubled history. Victor Perkins presents here a sensitive socio-historical study of Renoir's revised edition of the film, released 20 years after its premiere; shaped by the profundity and originality of its form.
The Magnificent Ambersons
V.F. Perkins explores Orson Welles' genius in directing actors, his intricate weaving of his own narration in and around the drama, and his unsurpassed use of the long take to capture the fines nuance of expression and unspoken feeling. For Perkins The Magnificent Ambersons 'has as many marvellous shots, scenes, ideas, performances as most film-makers could hope to achieve in an entire career'. Second only to Citizen Kane in work, this film can never be seen as he intended it, after being heavily cut by RKO studio. However, it remains a remarkable picture of dynastic ruin and social change.
Film As Film
Here at last is an introduction to film theory and its history without the jargon. Noted film scholar V.F. Perkins presents criteria for expanding our understanding and enjoyment of movies. He employs common sense words like balance, coherence, significance, and satisfaction to develop his insightful support of the subtle approach and of the unobtrusive director.
Style and Meaning
With a common focus on the decisions made by filmmakers, the essays in this collection explore different aspects of the relationship between textual detail and broader conceptual frameworks. These texts reflect not only those areas of film history which have traditionally been explored through mise-en-scène criticism, but also areas such as the avant-garde and television drama which have not tended to receive such detailed investigation. In these ways, the book conducts a series of dialogues with issues in film study which are specifically provoked by close analysis.
Breaking the Fourth Wall
An examination of the role of direct address within fiction cinema, focusing on its role in avant-garde or experimental cinema, and popular genre traditions.
Anna and the French Kiss
Anna had everything figured out – she was about to start senior year with her best friend, she had a great weekend job and her huge work crush looked as if it might finally be going somewhere... Until her dad decides to send her 4383 miles away to Paris. On her own. But despite not speaking a word of French, Anna finds herself making new friends, including Étienne St. Clair, the smart, beautiful boy from the floor above. But he's taken – and Anna might be too. Will a year of romantic near-misses end with the French kiss she's been waiting for?
