The Amazing, Performing Film: Some Propositions

Yayın Aralığı: Yılda 2 Sayı
Başlangıç: 2016
Yayıncı: Serdar Öztürk

Film performance, as I am defining it here, does not appear to have the right characteristics to fit any of these proposed alternatives to the mainstream norm. Rather, it very quickly and easily sinks in with the bad status quo; there seems nowhere else to put it.

Anahtar Kelimeler:

film performance, Theory, performing film, propositions

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Stephen Heath, Questions of Cinema (London: Macmillan, 1981), p. 115
David Bordwell, Janet Staiger & Kristin Thompson, The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (Columbia University Press, 1985), pp. 372-373.
Dana B. Polan, “Formalism and its Discontents”, Jump Cut, no. 26 (December 1981), pp. 63-66. Reprinted online at [http://www.ejumpcut.org/archive/onlinessays/JC26folder/DistantObserver.html]. Accessed 31 December 2016.
Andrew Britton, Britton on Film: The Complete Film Criticism of Andrew Britton (Detroit: Wayne State University Press, 2009), p. 237.
Steve Neale, “Hollywood Corner: Raiders of the Lost Ark”, Framework, no. 19 (1982), p. 37.
Robin Wood, American Nightmare, p. 25.
Tony Williams, “Assault on Precinct 13: The Mechanics of Repression”, in Robin Wood & Richard Lippe (eds), American Nightmare – Essays on the Horror Film (Toronto: Festival of Festivals, 1979), p. 67.
Tony Williams, “Close Encounters of the Authoritarian Kind”, Wide Angle, Vol. 5 No. 4 (1983), pp. 22-29.
Raymond Durgnat, “Towards Practical Criticism”, AFI Education Newsletter, Vol. 4 No. 4 (March-April 1981), p. 10.
Philip Brophy, “Read My Lips: Notes on the Writing and Speaking of Film Dialogue”, Continuum, Vol. 5 No. 2 (1992), pp. 246-266.
. See Charles F. Reagan & David Stewart (eds), The Philosophy of Paul Ricoeur: An Anthology of His Work (Toronto: Beacon, 1978), pp. 213-219.