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Titlebook: Discovering Short Films; The History and Styl Cynthia Felando Book 2015 Palgrave Macmillan, a division of Nature America Inc. 2015 Short fi

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发表于 2025-3-21 17:44:57 | 显示全部楼层 |阅读模式
书目名称Discovering Short Films
副标题The History and Styl
编辑Cynthia Felando
视频video
图书封面Titlebook: Discovering Short Films; The History and Styl Cynthia Felando Book 2015 Palgrave Macmillan, a division of Nature America Inc. 2015 Short fi
描述As film history‘s oldest and one of today‘s most prominent forms, the live-action short film has both historical and contemporary significance. Felando discusses the historical significance of the short film, identifies the fiction short‘s conventions, and offers two general research categories: the classical short and the art short.
出版日期Book 2015
关键词Short films; live-action fiction shorts; short film history; short film criticism; short film analysis; a
版次1
doihttps://doi.org/10.1057/9781137484369
isbn_ebook978-1-137-48436-9
copyrightPalgrave Macmillan, a division of Nature America Inc. 2015
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发表于 2025-3-21 22:46:06 | 显示全部楼层
Shorts and Film History: The Rise, Fall, and Rise of the Short Film,liest years of the developing studio system, the short was displaced by the feature and has remained a marginal player ever since. The shifts in the live-action fiction short’s fortunes, in particular, are compelling and enable a fuller understanding of American film history during the studio and po
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Short Film Specificity: Narrative Compression, Unity, Character, and Endings, his capacity as reviewer of the French Festival of Short Films at Tours, and in his typically acerbic and cheeky way, Godard both dismissed the short film and then recuperated it. He first insisted that critics were “wrong to believe in some special function of the short film” and, speaking for his
发表于 2025-3-22 07:57:58 | 显示全部楼层
Storytelling and Style: The Classical Short,lassical narrative mode has enabled the systematic study of feature-length films. It also has served as a useful point of comparison for films that do not fit the classical mode, such as the live-action fiction short. Briefly, the classical Hollywood film narrative turns on a causal chain motivated
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Short Film Specificity: Narrative Compression, Unity, Character, and Endings,His reasoning seems to have been that the short film’s brevity prevents it from dealing “in depth” with a subject because, in comparison to the feature-length film, “a short film does not have the time to ..” In other words, he seemed to consider the form’s chief limitation to be its inability to pr
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