"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with ...
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"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.
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Add this copy of Breaking the Glass Armor: Neoformalist Film Analysis to cart. $18.00, good condition, Sold by Second Story Books rated 4.0 out of 5 stars, ships from Rockville, MD, UNITED STATES, published 1988 by Princeton University Press.
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Book. Octavo, xii, 362 pages. In Very Good condition. Dark violet spine with white lettering. Covers have mild shelving wear, mild warping along rear cover head corner, adhesive staining on rear cover, and mild wear along edges. Textblock has mild age toning along edges and mild wear along edges.43 pages of photos after page 362. Shelved ND-A. 1380704. FP New Rockville Stock.
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Fine. Trade paperback (US). Glued binding. 376 p. Contains: Illustrations, black & white. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Add this copy of Breaking the Glass Armor: Neoformalist Film Analysis to cart. $48.69, new condition, Sold by GreatBookPrices rated 4.0 out of 5 stars, ships from Columbia, MD, UNITED STATES, published 1988 by Princeton University Press.
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New. Trade paperback (US). Glued binding. 376 p. Contains: Illustrations, black & white. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Add this copy of Breaking the Glass Armor to cart. $48.70, new condition, Sold by Paperbackshop rated 4.0 out of 5 stars, ships from Bensenville, IL, UNITED STATES, published 1992 by Princeton University Press.
