標(biāo)題: Titlebook: Discovering Short Films; The History and Styl Cynthia Felando Book 2015 Palgrave Macmillan, a division of Nature America Inc. 2015 Short fi [打印本頁] 作者: Pessimistic 時(shí)間: 2025-3-21 17:44
書目名稱Discovering Short Films影響因子(影響力)
書目名稱Discovering Short Films影響因子(影響力)學(xué)科排名
書目名稱Discovering Short Films網(wǎng)絡(luò)公開度
書目名稱Discovering Short Films網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Discovering Short Films被引頻次
書目名稱Discovering Short Films被引頻次學(xué)科排名
書目名稱Discovering Short Films年度引用
書目名稱Discovering Short Films年度引用學(xué)科排名
書目名稱Discovering Short Films讀者反饋
書目名稱Discovering Short Films讀者反饋學(xué)科排名
作者: 不朽中國 時(shí)間: 2025-3-21 22:46
Shorts and Film History: The Rise, Fall, and Rise of the Short Film,liest years of the developing studio system, the short was displaced by the feature and has remained a marginal player ever since. The shifts in the live-action fiction short’s fortunes, in particular, are compelling and enable a fuller understanding of American film history during the studio and po作者: 無聊點(diǎn)好 時(shí)間: 2025-3-22 02:15
Short Film Specificity: Narrative Compression, Unity, Character, and Endings, his capacity as reviewer of the French Festival of Short Films at Tours, and in his typically acerbic and cheeky way, Godard both dismissed the short film and then recuperated it. He first insisted that critics were “wrong to believe in some special function of the short film” and, speaking for his作者: 天氣 時(shí)間: 2025-3-22 07:57
Storytelling and Style: The Classical Short,lassical narrative mode has enabled the systematic study of feature-length films. It also has served as a useful point of comparison for films that do not fit the classical mode, such as the live-action fiction short. Briefly, the classical Hollywood film narrative turns on a causal chain motivated 作者: 搖擺 時(shí)間: 2025-3-22 12:43 作者: 稱贊 時(shí)間: 2025-3-22 14:22 作者: 稱贊 時(shí)間: 2025-3-22 18:09
Short Film Specificity: Narrative Compression, Unity, Character, and Endings,His reasoning seems to have been that the short film’s brevity prevents it from dealing “in depth” with a subject because, in comparison to the feature-length film, “a short film does not have the time to ..” In other words, he seemed to consider the form’s chief limitation to be its inability to pr作者: 裝入膠囊 時(shí)間: 2025-3-22 21:29 作者: 能量守恒 時(shí)間: 2025-3-23 04:46 作者: FEAT 時(shí)間: 2025-3-23 06:03 作者: nugatory 時(shí)間: 2025-3-23 13:28 作者: mechanism 時(shí)間: 2025-3-23 17:44 作者: Brain-Imaging 時(shí)間: 2025-3-23 19:33
Motive und Ziele von Branchen und Firmenhapter aims to demonstrate, shorts were the advance guard in the revolution. Following a brief consideration of a noteworthy precursor to the modern art short from 1933, . (Vigo), the discussion will include attention to several landmark titles from the 1950s and thereafter, which help to illustrate作者: Anticlimax 時(shí)間: 2025-3-24 02:15 作者: 正式通知 時(shí)間: 2025-3-24 02:44 作者: WITH 時(shí)間: 2025-3-24 10:34 作者: 華而不實(shí) 時(shí)間: 2025-3-24 14:27 作者: RAGE 時(shí)間: 2025-3-24 18:33
Book 2015As film history‘s oldest and one of today‘s most prominent forms, the live-action short film has both historical and contemporary significance. Felando discusses the historical significance of the short film, identifies the fiction short‘s conventions, and offers two general research categories: the classical short and the art short.作者: FEAS 時(shí)間: 2025-3-24 22:58 作者: 開始發(fā)作 時(shí)間: 2025-3-25 02:07
Palgrave Macmillan, a division of Nature America Inc. 2015作者: Overdose 時(shí)間: 2025-3-25 06:06
Das Strategieteam und seine Rollen,ng opposite sides of a city street. The two seem destined for a happily ever after ending, at least until the unexpected occurs and the distracted young man steps into the path of a car. Then, in a sequence worthy of a high-budget action feature, he is struck and slams into the car’s windshield as h作者: ventilate 時(shí)間: 2025-3-25 11:21 作者: Osteoarthritis 時(shí)間: 2025-3-25 13:53
https://doi.org/10.1007/978-3-642-60140-8 his capacity as reviewer of the French Festival of Short Films at Tours, and in his typically acerbic and cheeky way, Godard both dismissed the short film and then recuperated it. He first insisted that critics were “wrong to believe in some special function of the short film” and, speaking for his作者: Cupidity 時(shí)間: 2025-3-25 18:49
https://doi.org/10.1007/978-3-642-60140-8lassical narrative mode has enabled the systematic study of feature-length films. It also has served as a useful point of comparison for films that do not fit the classical mode, such as the live-action fiction short. Briefly, the classical Hollywood film narrative turns on a causal chain motivated 作者: spinal-stenosis 時(shí)間: 2025-3-25 21:48
Motive und Ziele von Branchen und Firmenr range of storytelling and aesthetic strategies than the classical short and, arguably, the feature-length art film. The focus in this chapter is upon the short film’s conspicuous divergence during the 1950s from the more conventional plot-driven narratives, studio-bound settings, and conservative 作者: 反省 時(shí)間: 2025-3-26 01:11 作者: FILLY 時(shí)間: 2025-3-26 07:24
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