Explains L. Kuleshov's body-oriented theory of acting. Describes how actors begin their Kuleshov training with short etudes that are confined to a linear matrix. Proposes that these etudes help ...students understand how their bodies fit into a planimetric composition, to remain in control of their bodies when confronted with complex floor patterns, and to become comfortable with juxtaposing text against movement. (PM)
"In a genre that knows many failed attempts, horror fiction may have no greater success story than that of Dracula. Since it was first published in 1897, the book has never been out of print. Very ...few stories of any genre can make such a claim and among the annals of gothic horror this record is truly remarkable. Even for a successful horror story the usual pattern is a brief flurry of interest followed by obscurity...Set against this pattern, the success of Dracula is unexpected and baffling...How may we account for the fact that the name Dracula is known the world over as a synonym for evil?" (Literature/Film Quarterly) This examination of Bram Stoker's novel Dracula and F.W. Murnau's silent film Nosferatu compares and contrasts their storylines, characters and psychological impact. Nosferatu as instrumental in the survival and continuing popularity of the Dracula story is assessed.
The notes we have published here were not specifically written for publication: they are part of an exchange of opinions between the Hungarian philosopher and his student István Mészáros, who is ...compiling a volume on aesthetic issues of the film. These notes are of particular interest because, for the first time here, Lukács intervenes directly into the field of cinema studies. We believe that the notable importance of this intervention should not escape the attention of readers in general, and critics in particular, because of the authority which Lukács has within the field of contemporary culture, and because the issues
Dvadeseto stoljeće, u skladu s velikim kulturnim i socijalnim promjenama, svjedoči širenju novih oblika predstava, namijenjenih bijegu i zabavi, novih glazbenih oblika. Mijenja se, modificira čak i ...likovna umjetnost. U odnosu na širenje masovnih medija, multipliciraju se mjesta i prigode glazbene potrošnje te glazbenici preuzimaju nove kompetencije, a sve u ime kulture. No, ako kultura pretpostavlja informaciju i sredstva javnog priopćavanja, znači da je informacija, u odnosu prema društvenom čovjeku, uvjet opstanka. Stoga je borba za opstanak, u doba masovnih medija, borba za medije mase. U tom je smislu dovoljno pratiti odnos između GLAZBE I FILMA koji postoji s obzirom na povijesni razvoj: od zvuka nijemoga filma do glazbe zvučnoga filma. Može se, ipak, reći da su odnosi između glazbe i filma, možda zbog same prirode njihovoga izražavanja, izričito progresivne i ritmičke, uvijek bili vrlo bliski. Glazbeni motiv, sa svim svojim mogućim nijansama, može izraziti događaje, osjećaje i unutarnje misli; tišine popraćene glazbom otkrivaju raspoloženja lika puno dublje nego sat dijaloga ili sat bez glasa. Nasuprot tome, slike filma uzrokuju osjećaje koji se mogu u potpunosti izraziti samo kroz glazbu koja ponekad postaje sastavnim dijelom radnje filma. Izlaganje završavam jednim svojim hommageom nedavno preminulom Kenu Russellu, jednom od najoriginalnijih režisera, najfinijem 'maestru' u umijeću skandaliziranja tupoglavih, onom koji je doveo klasičnu glazbu do potpuno nove i šire publike: velikom ikonoklastu sposobnom preobraziti mramorna poprsja u meso i krv.
Haiku does not seem to have influenced Beckett directly. He was most likely familiar, however, with some elements of haiku through his reading of Rudolf Arnheim and Sergei Eisenstein, two film ...theorists who borrowed elements of haiku to form their artistic vision. Beckett's famous aesthetic, "wholeness-in-fragmentariness" (Kalb, 106), for example, echoes Eisenstein's artistic principles in filming, which were inspired by haiku and other Japanese art forms. The visual elements of haiku shown in Beckett's Film and television plays are influenced by Eisenstein's idea of 'montage' and Arnheim's psychological analysis of camera work.
This film appears here not so much for its own sake, since it is a terrible film, but rather to represent an entire genre of terrible films, the military vaudeville, which deserves to be included in ...this filmography because of its immense popularity during the 1930s. It had flourished in the theater since the 1880s, and many comic authors and actor-singers had specialized in the stereotypical roles and situations that these films offered. The essential setting is a military barracks, and the focus is always on the common soldiers—larrikins who are disrespectful of authority, jocular, lubricious, ribald, sloppily dressed,
