By Ian Aitken
European movie conception and Cinema explores the key movie theories and activities inside of eu cinema because the early 1900s. An unique and significantly astute learn, it considers movie thought in the context of the highbrow weather of the final centuries. Ian Aitkin focuses really at the significant traditions that dominate ecu movie conception and cinema: the "intuitionist modernist and realist" culture and the "post-Saussurian" culture. the 1st originates in a philosophical lineage that encompasses German idealist philosophy, romanticism, phenomenology, and the Frankfurt tuition. Early intuitionist modernist movie tradition and later theories and practices of cinematic realism are proven to join one non-stop culture. The post-Saussurian culture comprises semiotics, structuralism, and post-structuralism.
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Extra info for European Film Theory and Cinema: A Critical Introduction
81. 31. , p. 21. 32. Husserl’s conception of the Lebenswelt will be considered in greater detail in Chapter 7. 33. , p. 4. 34. , p. 21. 35. , p. 10. 36. , p. 17. 37. , p. 55. 38. Hauser, Arnold, The Social History of Art: Three: Rococo, Classicism and Romanticism (London: Routledge and Kegan Paul, 1973), p. 94. 39. Hobsbawm, Eric, The Age of Revolution (London: Cardinal, 1962), p. 296. 40. Buck-Morss, Susan, The Origin of Negative Dialectics (London: The Harvester Press, 1977), p. 17. 41. ), The Cinema’s Third Machine: Writing on Film in Germany 1907–1933 (London and Lincoln, NB: University of Nebraska Press, 1993), p.
Eisenstein had studied mechanical engineering at the Petrograd Institute of Engineering before he became involved in first theatre and then the cinema, and he derived his initial conception of montage from this background, as well as from the constructivist emphasis on mechanistic assemblage. In Film Form, for example, he reveals the influence of both engineering and constructivism on him when he describes montage as a word ‘borrowed from industry, a word denoting the assembly of machinery, pipes, machine tools.
15, no. 2, p. 86. 21. , p. 87. 22. , p. 31. 23. , p. 5. 24. , p. 91. 25. , p. 87. 26. , p. 7. 27. Propp, Vladimir, Morphology of the Folk Tale (Austin, TX and London: University of Texas Press, 1968). , An Introduction to the Russian Folk Tale (New York and London: M. E. Sharpe, 1999), pp. 12–13. 28. Propp’s Morphology of the Folk Tale will be considered in greater depth in Chapter 5. 29. Vertov, Dziga, ‘Kino-Eye: The Embattled Documentarists’, in Schnitzer, Luda, Schnitzer Jean and Martin, Marcel (eds), Cinema In Revolution (London: Secker and Warburg, 1973), p.