ZEITSCHRIFTENARTIKEL
Wenn die Worte fallen würden ...
Überlegungen zur Schrift im Film
Zeitschrift für Medien- und Kulturforschung, Bd. 4 (2013), Iss. 1: S. 11–27
4 Citations (CrossRef)
Zusätzliche Informationen
Bibliografische Daten
Chion, Michel
Cited By
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Paul Natorp
Bibliographie
2010
https://doi.org/10.3917/vrin.dufou.2010.01.0241 [Citations: 0] -
La critique de la psychologie de Natorp dans la Ve Recherche logique de Husserl
Seron, Denis
Philosophiques, Bd. 36 (2010), Heft 2 S.533
https://doi.org/10.7202/039484ar [Citations: 3] -
LA LIMITE SANS LIMITES QUELQUES RREMARQUES SUE LE PRINCIPE PHENOMENOLOGIQUE DE LA GEGEBENHEIT A L’EPREUVE DU NEOKANTISME
Mariani, Emanuele
Phainomenon, Bd. 34 (2022), Heft 1 S.37
https://doi.org/10.2478/phainomenon-2022-0010 [Citations: 0] -
Théorie de la connaissance du point de vue phénoménologique
Bibliographie
Seron, Denis
2006
https://doi.org/10.4000/books.pulg.5156 [Citations: 0]
Abstract
Writing is not only present in film through objects that belong to the diegesis (e.g. letters, neon signs, newspapers). In opening and closing credits as well as in intertitles, writing claims its own space – especially in silent movies, but also in the era of talkies. From there, it sometimes penetrates into the physical space of the film; at times the space of the opening credits appears as 〉real〈 space. Especially interesting are those cases in which letters and words seem to be themselves subjected to the laws of physical space, motion and gravity. This leads to interferences and paradoxes between two incompatible logics.
Inhaltsverzeichnis
| Section Title | Page | Action | Price |
|---|---|---|---|
| AUFSÄTZE | 1 | ||
| Wenn die Worte fallen würden … Überlegungen zur Schrift im Film | Michel Chion | 1 |
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