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Gilberto Perez The Material Ghost (Paperback) (UK IMPORT)
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Specificaties
- Objectstaat
- Book Title
- The Material Ghost
- Title
- The Material Ghost
- Subtitle
- Films and Their Medium
- ISBN-10
- 0801865239
- EAN
- 9780801865237
- ISBN
- 9780801865237
- Genre
- Films & TV
- Release Date
- 02/20/2001
- Release Year
- 2001
- Country/Region of Manufacture
- US
- Publication Name
- Material Ghost : Films and Their Medium
- Item Length
- 8.9in
- Publisher
- Johns Hopkins University Press
- Publication Year
- 2000
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 1.2in
- Features
- Reprint
- Item Width
- 6in
- Item Weight
- 26.3 Oz
- Number of Pages
- 480 Pages
Over dit product
Product Information
Selected by Choice Magazine as an Outstanding Academic Title In a recent international survey conducted by the online film journal Screening the Past , which invited film critics and scholars around the world to nominate the most important contributions to the field in the past decade, The Material Ghost tied for first place with Jean-Luc Godard's Histoire(s) du Cinéma . Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form.
Product Identifiers
Publisher
Johns Hopkins University Press
ISBN-10
0801865239
ISBN-13
9780801865237
eBay Product ID (ePID)
1718793
Product Key Features
Publication Name
Material Ghost : Films and Their Medium
Format
Trade Paperback
Language
English
Features
Reprint
Publication Year
2000
Type
Textbook
Number of Pages
480 Pages
Dimensions
Item Length
8.9in
Item Height
1.2in
Item Width
6in
Item Weight
26.3 Oz
Additional Product Features
Lc Classification Number
Pn1995.P397 2000
Grade from
College Graduate Student
Edition Description
Reprint
Reviews
Flaherty's Nanook of the North , Antonioni's Eclipse , Ford's My Darling Clementine , Godard's Breathless . Perez's frame-by-frame analysis of them is always lucid and invigorating, reminding us why these films were considered classics from the first. Even better, Perez takes up lesser known films and filmmakers... The eclectic mixture of films is one the book's strengths, allowing Perez to write on a breadth of topics... Despite holding films to a high standard, Perez never comes off as a film snob; his readings remain rooted in a genuine and communicable love for the cinema., Perez's book may strike some readers as anachronistic because it is about nothing but the author's love of movies, its pleasure lying in the sheer intensity of his intelligence. In so far as this wonderfully flexible and expansive thinker has a thesis, it's that the illusionist medium of cinema is endlessly poised between reality and abstraction... Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic André Bazin., "Flaherty's Nanook of the North, Antonioni's Eclipse, Ford's My Darling Clementine, Godard's Breathless. Perez's frame-by-frame analysis of them is always lucid and invigorating, reminding us why these films were considered classics from the first. Even better, Perez takes up lesser known films and filmmakers... The eclectic mixture of films is one the book's strengths, allowing Perez to write on a breadth of topics... Despite holding films to a high standard, Perez never comes off as a film snob; his readings remain rooted in a genuine and communicable love for the cinema."--Jonathan Vogels, The Republic of Letters, The section on [Iranian director Abbas] Kiarostami in Perez's new book, The Material Ghost , is the best comment I've seen on the subject., Gilberto Perez's book, The Material Ghost: Films and their Medium (*****) ranks with the finest cinematic writing anywhere., Few books of film criticism in the past twenty-five years have been so enjoyable or instructive... [Perez] has excellent things to say about authorship, about documentaries, about popular genres, about cinematic point of view and narrative technique, about actors, and above all about camera style... He never condescends to his audience or sacrifices his intellectual clarity, and most importantly he makes us want to look once more at the remarkable pictures he discusses. The virtues of his writing are quite rare., "The chapters on Keaton and Renoir are stunning, full of perceptive remarks; the chapter on Godard is a persuasive rehabilitation; none of the chapters is without memorable insights."--Michael Wood, London Review of Books, "Dazzling... The sheer intelligence at work in these lucid pages is exhilarating." -- Alfred Guzzetti, Boston Book Review, Perez's book may strike some readers as anachronistic because it is about nothing but the author's love of movies, its pleasure lying in the sheer intensity of his intelligence. In so far as this wonderfully flexible and expansive thinker has a thesis, it's that the illusionist medium of cinema is endlessly poised between reality and abstraction... Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic Andr Bazin., "In recent decades there has been no more cogent a rethinking of the physical and psychological experience of film as it evolved, both as a technology and as an art form. I want to read it again, soon." -- Nick James, Sight & Sound, The section on [Iranian director Abbas] Kiarostami in Perez's new book, The Material Ghost, is the best comment I've seen on the subject., "Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism that treats the complexities of film and the sensibilities of readers with equal understanding, consideration, and respect."--David Sterrit, Christian Science Monitor, It is as fine a book on film as I have ever encountered, a hypermarch of insight, precise and lovely writing, information, and clear thinking. Page after page elaborates arguments so acute and aptly formulated that I have no doubt I'll be exploiting them in the classroom and in writing for the rest of my career., Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism that treats the complexities of film and the sensibilities of readers with equal understanding, consideration, and respect., "Gilberto Perez's book, The Material Ghost: Films and their Medium (*****) ranks with the finest cinematic writing anywhere." -- Tony McKibben, The List (Glasgow and Edinburgh), "It is as fine a book on film as I have ever encountered, a hypermarché of insight, precise and lovely writing, information, and clear thinking. Page after page elaborates arguments so acute and aptly formulated that I have no doubt I'll be exploiting themin the classroom and in writing for the rest of my career."--Lesley Brill, Criticism43.1, "[Perez's] early and persistent love of film imbues The Material Ghost: Films and their Medium, which moves gracefully from the documentaries of Robert Flaherty to the revolutionary epics of Alexander Dovzhenko to the pastoralism of Jean Renoir."-- Chronicle of Higher Education, [Perez's] early and persistent love of film imbues The Material Ghost: Films and their Medium , which moves gracefully from the documentaries of Robert Flaherty to the revolutionary epics of Alexander Dovzhenko to the pastoralism of Jean Renoir., It is as fine a book on film as I have ever encountered, a hypermarché of insight, precise and lovely writing, information, and clear thinking. Page after page elaborates arguments so acute and aptly formulated that I have no doubt I'll be exploiting them in the classroom and in writing for the rest of my career., In recent decades there has been no more cogent a rethinking of the physical and psychological experience of film as it evolved, both as a technology and as an art form. I want to read it again, soon., Flaherty's Nanook of the North, Antonioni's Eclipse, Ford's My Darling Clementine, Godard's Breathless. Perez's frame-by-frame analysis of them is always lucid and invigorating, reminding us why these films were considered classics from the first. Even better, Perez takes up lesser known films and filmmakers... The eclectic mixture of films is one the book's strengths, allowing Perez to write on a breadth of topics... Despite holding films to a high standard, Perez never comes off as a film snob; his readings remain rooted in a genuine and communicable love for the cinema., "Perez's book may strike some readers as anachronistic because it is about nothing but the author's love of movies, its pleasure lying in the sheer intensity of his intelligence. In so far as this wonderfully flexible and expansive thinker has a thesis, it's that the illusionist medium of cinema is endlessly poised between reality and abstraction... Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic André Bazin."-- Sight and Sound, "The section on [Iranian director Abbas] Kiarostami in Perez's new book, The Material Ghost, is the best comment I've seen on the subject."--Stanley Kauffman, New Republic, The chapters on Keaton and Renoir are stunning, full of perceptive remarks; the chapter on Godard is a persuasive rehabilitation; none of the chapters is without memorable insights., ""The chapters on Keaton and Renoir are stunning, full of perceptive remarks; the chapter on Godard is a persuasive rehabilitation; none of the chapters is without memorable insights."", "Few books of film criticism in the past twenty-five years have been so enjoyable or instructive... [Perez] has excellent things to say about authorship, about documentaries, about popular genres, about cinematic point of view and narrative technique, about actors, and above all about camera style... He never condescends to his audience or sacrifices his intellectual clarity, and most importantly he makes us want to look once more at the remarkable pictures he discusses. The virtues of his writing are quite rare."--James Naremore, Cineaste
Table of Content
Contents: Introduction: Film and Physics Chapter 1: The Documentary Image Chapter 2: The Narrative Sequence Chapter 3: The Bewildered Equilibrist Chapter 4: The Deadly Space Between Chapter 5: The Meaning of Revolution Chapter 6: Landscape and Fiction Chapter 7: American Tragedy Chapter 8: History Lessons Chapter 9: The Signifiers of Tenderness Chapter 10: The Point of View of a Stranger
Copyright Date
1998
Target Audience
Scholarly & Professional
Topic
Film / General, Film / History & Criticism
Dewey Decimal
791.43/01/5
Dewey Edition
21
Illustrated
Yes
Genre
Performing Arts
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