Cinema of confinement

Since the birth of cinema, filmmakers have explored different ways of telling stories across multiple settings within the length of one film. From the early editing experiments of Edwin S. Porter and D. W. Griffith, to the current globe- trotting of James Bond and Marvel movies, shifts in location c...

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Autores:
Tipo de recurso:
Book
Fecha de publicación:
2019
Institución:
Universidad de Bogotá Jorge Tadeo Lozano
Repositorio:
Expeditio: repositorio UTadeo
Idioma:
eng
OAI Identifier:
oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/16073
Acceso en línea:
https://muse.jhu.edu/book/63483
http://hdl.handle.net/20.500.12010/16073
Palabra clave:
Cinema of confinement
Cine
Cine -- Historia
Cine - Producción y dirección
Rights
License
Abierto (Texto Completo)
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dc.title.spa.fl_str_mv Cinema of confinement
title Cinema of confinement
spellingShingle Cinema of confinement
Cinema of confinement
Cine
Cine -- Historia
Cine - Producción y dirección
title_short Cinema of confinement
title_full Cinema of confinement
title_fullStr Cinema of confinement
title_full_unstemmed Cinema of confinement
title_sort Cinema of confinement
dc.subject.spa.fl_str_mv Cinema of confinement
topic Cinema of confinement
Cine
Cine -- Historia
Cine - Producción y dirección
dc.subject.lemb.spa.fl_str_mv Cine
Cine -- Historia
Cine - Producción y dirección
description Since the birth of cinema, filmmakers have explored different ways of telling stories across multiple settings within the length of one film. From the early editing experiments of Edwin S. Porter and D. W. Griffith, to the current globe- trotting of James Bond and Marvel movies, shifts in location continue to fascinate filmmakers and audiences alike. Aesthetically, many of these movies articulate cinematic space as fluid and continuous, since the image is subordinated to the narrative even when the story changes locations. As such, the mode of production for the classic style of narration is to naturalize and integrate space by not drawing significant attention to the mechanisms that create the illusion of cinematic reality. This process is often referred to as the invisible style of narration, which involves composing and editing space that directs the viewer’s spectatorship towards the narrative and the actions of the characters. These films offer the spectator a cinema that displays the unlimited power of the camera, showing all perspectives of the events throughout a variety of settings.
publishDate 2019
dc.date.created.none.fl_str_mv 2019
dc.date.accessioned.none.fl_str_mv 2020-11-26T16:09:18Z
dc.date.available.none.fl_str_mv 2020-11-26T16:09:18Z
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format http://purl.org/coar/resource_type/c_2f33
dc.identifier.isbn.none.fl_str_mv 978-0-8101-3923-7
dc.identifier.other.none.fl_str_mv https://muse.jhu.edu/book/63483
dc.identifier.uri.none.fl_str_mv http://hdl.handle.net/20.500.12010/16073
identifier_str_mv 978-0-8101-3923-7
url https://muse.jhu.edu/book/63483
http://hdl.handle.net/20.500.12010/16073
dc.language.iso.spa.fl_str_mv eng
language eng
dc.rights.coar.fl_str_mv http://purl.org/coar/access_right/c_abf2
dc.rights.local.spa.fl_str_mv Abierto (Texto Completo)
dc.rights.creativecommons.none.fl_str_mv https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode
rights_invalid_str_mv Abierto (Texto Completo)
https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode
http://purl.org/coar/access_right/c_abf2
dc.format.extent.spa.fl_str_mv 185 páginas
dc.format.mimetype.spa.fl_str_mv application/pdf
dc.publisher.spa.fl_str_mv Northwestern University Press
institution Universidad de Bogotá Jorge Tadeo Lozano
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spelling 2020-11-26T16:09:18Z2020-11-26T16:09:18Z2019978-0-8101-3923-7https://muse.jhu.edu/book/63483http://hdl.handle.net/20.500.12010/16073Since the birth of cinema, filmmakers have explored different ways of telling stories across multiple settings within the length of one film. From the early editing experiments of Edwin S. Porter and D. W. Griffith, to the current globe- trotting of James Bond and Marvel movies, shifts in location continue to fascinate filmmakers and audiences alike. Aesthetically, many of these movies articulate cinematic space as fluid and continuous, since the image is subordinated to the narrative even when the story changes locations. As such, the mode of production for the classic style of narration is to naturalize and integrate space by not drawing significant attention to the mechanisms that create the illusion of cinematic reality. This process is often referred to as the invisible style of narration, which involves composing and editing space that directs the viewer’s spectatorship towards the narrative and the actions of the characters. These films offer the spectator a cinema that displays the unlimited power of the camera, showing all perspectives of the events throughout a variety of settings.185 páginasapplication/pdfengNorthwestern University PressCinema of confinementCineCine -- HistoriaCine - Producción y direcciónCinema of confinementAbierto (Texto Completo)https://creativecommons.org/licenses/by-nc-nd/4.0/legalcodehttp://purl.org/coar/access_right/c_abf2http://purl.org/coar/resource_type/c_2f33Connelly, Thomas J.ORIGINAL1005249.pdf1005249.pdfVer libroapplication/pdf10991863https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16073/1/1005249.pdfe272c62aae08c7ab621f6177236b59b5MD51open accessLICENSElicense.txtlicense.txttext/plain; charset=utf-82938https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16073/2/license.txtabceeb1c943c50d3343516f9dbfc110fMD52open accessTHUMBNAIL1005249.pdf.jpg1005249.pdf.jpgIM Thumbnailimage/jpeg18219https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16073/3/1005249.pdf.jpgc4074a896299bda61e019ff84856a71bMD53open access20.500.12010/16073oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/160732021-02-24 22:52:16.483open accessRepositorio Institucional - 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