The Aesthetics and Psychology of the Cinema

Overview

"... a fresh, compelling, essential work of film theory. Recommended for all libraries." —Choice

"[Jean Mitry] is the Aristotle of film." —R.D. MacCann

"This text marks a watershed in film theory. Mitry sums up the first fifty years of theoretical writings on the cinema..." —Richard Abel

"The rediscovery of Mitry could change the parameters of film teaching, breaking down the boundaries between the real and the formal, forcing us to see how they are inexorably fused together." —Leo Charney

"Christian Metz wrote that with this work, ‘an entire era ...

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Overview

"... a fresh, compelling, essential work of film theory. Recommended for all libraries." —Choice

"[Jean Mitry] is the Aristotle of film." —R.D. MacCann

"This text marks a watershed in film theory. Mitry sums up the first fifty years of theoretical writings on the cinema..." —Richard Abel

"The rediscovery of Mitry could change the parameters of film teaching, breaking down the boundaries between the real and the formal, forcing us to see how they are inexorably fused together." —Leo Charney

"Christian Metz wrote that with this work, ‘an entire era of film literature ends.’ Perhaps because it was so imposing, people like Metz turned in different directions—semiotics, structuralism, Marxism, psychoanalysis, and so on." —Charles Maland

The Aesthetics and Psychology of the Cinema supplies the missing link between the classical film theorists like Balacz and Munsterberg and the film semioticians like Metz. Mitry is the apotheosis and grand summation of the psychological and formalist views of film.

Indiana University Press

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Product Details

Table of Contents

Foreword to the English Translation
Editor's Introduction
Introduction 1
I Preliminaries
Cinema and Creation 4
Cinema and Language 13
Word and Image 19
II The Film Image
The Image Itself 29
Structures of the Image 59
III Rhythm and Montage
The Beginnings of Montage 89
Cinematic Rhythm 104
The Psychology of Montage 150
IV Rhythm and Moving Shots
The Liberated Camera and Depth-of-Field 168
Speech and Sound 230
V Time and Space of the Drama
In Search of a Dramatic Structure 276
Content and Form 336
Notes 381
Index 389
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