ZEITSCHRIFTENARTIKEL
»Verklärte Nacht«: der Himmel, der Schatten und der Film
Zeitschrift für Medien- und Kulturforschung, Bd. 1 (2010), Iss. 1: S. 11–31
2 Citations (CrossRef)
Zusätzliche Informationen
Bibliografische Daten
Aumont, Jacques
Cited By
-
The Existential Husserl
Existential Choice: Husserl Meets Heller
Staiti, Andrea
2022
https://doi.org/10.1007/978-3-031-05095-4_15 [Citations: 0] -
Phenomenology and Perspectives on the Heart
Personal Love: Feeling from the Depths
Heinämaa, Sara
2022
https://doi.org/10.1007/978-3-030-91928-3_9 [Citations: 1]
Abstract
The cinema is, as a photographic medium, an art form of light. But the mastery of lightning and the 'dark' side of his rhizomatic, interactive net have led very early to the configuration of shade and shadow and refer, ergo, to something which is perpetually related to all forms of figurative art. To film, 'night' means, however, something different, as it brings the configuration of the skies in a state of darkness with it. This is in disagreement with his usual depiction. It entails embarking on a singular figurative project, which approximates a contradiction in itself. This project demonstrates the autonomy of the configuration process precisely through this contradiction.
Inhaltsverzeichnis
| Section Title | Page | Action | Price |
|---|---|---|---|
| AUFSÄTZE | 11 | ||
| »Verklärte Nacht«: der Himmel, der Schatten und der Film | Jacques Aumont | 11 |
Powered by CloudPublish