The dark shadows and offscreen space that force us to imagine violence we cannot see. The real slaughter of animals spliced with the fictional killing of men. The missing countershot from the murder victim's point of view. Such images, or absent...
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Universitätsbibliothek der Eberhard Karls Universität
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The dark shadows and offscreen space that force us to imagine violence we cannot see. The real slaughter of animals spliced with the fictional killing of men. The missing countershot from the murder victim's point of view. Such images, or absent images, Karla Oeler contends, distill how the murder scene challenges and changes film. Reexamining works by such filmmakers as Renoir, Hitchcock, Kubrick, Jarmusch, and Eisenstein, Oeler traces the murder scene's intricate connections to the great breakthroughs in the theory and practice of montage and the formulation of the rules and syntax of Hollyw pt. 1. Murder and montage -- Framing for murder : cut-ins and close-ups -- Acting in silents : murder, montage, and the film actor -- Murder outside the poetics of montage : André Bazin and Jean Renoir -- pt. 2. Murder and genre -- Individual and series -- Stylization and mimesis -- Conclusion : Hitchcock's aerial views.
Includes bibliographical references and index. - Description based on print version record
Description based on print version record
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002
Verlag:
University of Chicago Press, Chicago [u.a.]
;
EBSCO Industries, Inc., Birmingham, AL, USA
The dark shadows and offscreen space that force us to imagine violence we cannot see. The real slaughter of animals spliced with the fictional killing of men. The missing countershot from the murder victim's point of view. Such images, or absent...
mehr
The dark shadows and offscreen space that force us to imagine violence we cannot see. The real slaughter of animals spliced with the fictional killing of men. The missing countershot from the murder victim's point of view. Such images, or absent images, Karla Oeler contends, distill how the murder scene challenges and changes film. Reexamining works by such filmmakers as Renoir, Hitchcock, Kubrick, Jarmusch, and Eisenstein, Oeler traces the murder scene's intricate connections to the great breakthroughs in the theory and practice of montage and the formulation of the rules and syntax of Hollyw.