標(biāo)題: Titlebook: Creativity And Constraint In The British Film Industry; Duncan J. Petrie Book 1991 Palgrave Macmillan, a division of Macmillan Publishers [打印本頁] 作者: architect 時間: 2025-3-21 19:51
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作者: 放逐 時間: 2025-3-21 23:06
Creativity and Cinema,terms of a conscious communication; a statement directly attributable to the film-maker concerned. The general thrust in film studies has been to move away from the notion of the film-maker as an author standing behind the film, and towards the idea of cinema as a process of spectating in which the 作者: 大酒杯 時間: 2025-3-22 01:22
The Question of Cinema Technology,ust consider those elements which set its parameters, which effectively constitute the ‘space’ within which it occurs. There are two major examples of a tangible material resource necessary for film-making: finance and technology. Films cost money, often quite substantial amounts of money to develop作者: Restenosis 時間: 2025-3-22 07:20
The Financing and Production of British Films: Historical Background,s currently active in British cinema, one overriding fact must not be overlooked. The financial structure of British filmmaking is inherently unstable and the amount of production finance made available to film-makers in this country in any one year is pitifully meagre given the popularity of film a作者: curettage 時間: 2025-3-22 09:02 作者: JOG 時間: 2025-3-22 15:38
The Film-Making Process: Sales, Distribution and Marketing,to certain ‘facts of life’ which are primarily economic in nature. First of all, film production is an extremely expensive process: the average cost of a typical ‘low-budget’ British independent feature with domestic locations, no international stars or expensive post-production techniques, films li作者: JOG 時間: 2025-3-22 17:59
Genre, Aesthetics and Criticism,tural factors which are less tangible than issues of finance and technology but are just as significant nonetheless. The aesthetic domain embraces those resources constituted by the techniques of cinema — modes of narration, ., montage and so on — which any film-maker can draw upon in the course of 作者: 延期 時間: 2025-3-22 21:38
Creative Collaboration and the Production Process,interpersonal relationships within the process of film-making itself. As I indicated in Chapter 1, Coates asserts the existence of a necessary conflict between a film director’s individuality on one hand and ‘opposing material’, including key collaborators, on the other.. Film-makers require this co作者: 車床 時間: 2025-3-23 03:02 作者: Neonatal 時間: 2025-3-23 08:24
Creativity And Constraint In The British Film Industry作者: 召集 時間: 2025-3-23 10:02
Creativity And Constraint In The British Film Industry978-1-349-21473-0作者: Bridle 時間: 2025-3-23 14:54 作者: ethnology 時間: 2025-3-23 19:37 作者: 報復(fù) 時間: 2025-3-23 22:37
British Feature Film Production,; who are not under contract to a major studio. This effectively extends the description ‘independent’ to cover practically all indigenous film-making in this country. As one film journalist recently commented: ‘The only independence British film-makers have regularly enjoyed is independence of a re作者: Aerate 時間: 2025-3-24 04:07
The Film-Making Process: Sales, Distribution and Marketing,than philanthropic. In order for a film to break even, let alone make a profit, in what is a highly competitive and volatile marketplace, it must be sold, distributed and marketed in a vigorous fashion, making full use of the most effective and up-to-date techniques. Considering that a feature must 作者: 謙卑 時間: 2025-3-24 06:52 作者: Hypomania 時間: 2025-3-24 10:46 作者: 絆住 時間: 2025-3-24 17:47
S. K?tterust consider those elements which set its parameters, which effectively constitute the ‘space’ within which it occurs. There are two major examples of a tangible material resource necessary for film-making: finance and technology. Films cost money, often quite substantial amounts of money to develop作者: 使成波狀 時間: 2025-3-24 22:43 作者: neologism 時間: 2025-3-25 02:41
U. Schmidt,D. Brendemühl,N. Schenk most difficult stage of the entire process. This seems to hold true regardless of topic, scale or size of budget. If film-making can be seen as a process structured by constraints, then top of the list of constraints must be finance, or more precisely the lack of it. It is interesting here to consi作者: 獨輪車 時間: 2025-3-25 06:37 作者: 發(fā)現(xiàn) 時間: 2025-3-25 10:20 作者: 財政 時間: 2025-3-25 12:43
Wirkungen und Wirksamkeit von Nootropikainterpersonal relationships within the process of film-making itself. As I indicated in Chapter 1, Coates asserts the existence of a necessary conflict between a film director’s individuality on one hand and ‘opposing material’, including key collaborators, on the other.. Film-makers require this co作者: 厭食癥 時間: 2025-3-25 19:47
U. Schmidt,D. Brendemühl,N. Schenkhat Williams’s conception of creativity, with its stress on communication, description and interpretation, constituted a more appropriate model, with regard to current British film-making than Adorno’s Modernist perspective, with its emphasis on confrontation, disruption and dissonance. Communicatio作者: 大雨 時間: 2025-3-25 20:28
Overview: 978-1-349-21473-0作者: Madrigal 時間: 2025-3-26 01:26
https://doi.org/10.1007/978-1-349-21473-0constraint; creativity; film; industry作者: Oversee 時間: 2025-3-26 06:51 作者: ENACT 時間: 2025-3-26 12:25
http://image.papertrans.cn/c/image/239556.jpg作者: amenity 時間: 2025-3-26 15:11 作者: modifier 時間: 2025-3-26 16:49
A. Engferfilm-maker becomes merely one element. The original conception of conscious creativity has been gradually shed along the way — firstly in terms of a shift towards the notion of authorship as an unconscious structure, and subsequently, of a general valorisation of the spectator at the expense of the film-maker/author.作者: mitral-valve 時間: 2025-3-26 21:57 作者: LINES 時間: 2025-3-27 01:53 作者: 舞蹈編排 時間: 2025-3-27 07:28 作者: hypotension 時間: 2025-3-27 10:10
Introduction,n which the concept ‘creativity’ has been used in film theory and criticism. Taken together, these separate but related discourses will form the theoretical basis for the substantive work in this study.作者: 緩和 時間: 2025-3-27 14:36
Genre, Aesthetics and Criticism,heir audience. These resources are related to technological resources such as cameras, lenses, film stock, lighting, editing and dubbing facilities. Consequently, the individual film-maker is afforded a wide range of aesthetic and technical possibilities from which to draw upon.作者: 敲竹杠 時間: 2025-3-27 20:15
Creativity and Cinema,film-maker becomes merely one element. The original conception of conscious creativity has been gradually shed along the way — firstly in terms of a shift towards the notion of authorship as an unconscious structure, and subsequently, of a general valorisation of the spectator at the expense of the film-maker/author.作者: Peak-Bone-Mass 時間: 2025-3-28 01:14 作者: BET 時間: 2025-3-28 02:31 作者: 沉默 時間: 2025-3-28 07:01 作者: Factorable 時間: 2025-3-28 14:10 作者: insolence 時間: 2025-3-28 17:19 作者: colloquial 時間: 2025-3-28 21:35 作者: 強有力 時間: 2025-3-28 23:35
e at a higher risk of encountering adverse reactions, which often show atypical clinical features. We can therefore speak of "geriatric iatrogenic disorders" and point out that some of these side effects are determined by a complex pathogenesis due to the particular pathophysiological condition in the elderly978-1-4612-9721-5978-1-4613-2791-2作者: 東西 時間: 2025-3-29 06:15 作者: seruting 時間: 2025-3-29 08:11
Julian Eibeludes supplementary material: This book informs environmental planning professionals, students and those interested in oceans and coasts from an environmental perspective about what is needed for planning and management of these unique environments. It is comprised of twelve chapters organized in thr作者: COMMA 時間: 2025-3-29 14:28
