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oapen-20.500.12657-323752022-04-26T11:19:11Z Farocki/Godard. Film as Theory Pantenburg, Volker essay film harun farocki film theory jean-luc godard Photography bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFA Film theory & criticism There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create "film as theory." 2016-12-31 23:55:55 2019-12-10 14:46:32 2020-04-01T14:07:39Z 2020-04-01T14:07:39Z 2015 book 611670 OCN: 916529296 9789089648914 http://library.oapen.org/handle/20.500.12657/32375 eng Film Culture in Transition application/pdf n/a 611670.pdf Amsterdam University Press 10.5117/9789089648914 10.5117/9789089648914 dd3d1a33-0ac2-4cfe-a101-355ae1bd857a 9789089648914 292 open access
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There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create "film as theory."
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