Bücher von Robert Cardullo

Comprendre le cinéma classique : A Student Guide est un manuel d'analyse de films qui contient 15 essais sur 16 films historiquement significatifs et artistiquement supérieurs sortis entre 1922 et 1963. Rédigés à l'intention des étudiants des collèges et des universités (et éventuellement des lycéens avancés), ces essais couvrent certains des principaux films traités - et des principales questions soulevées - dans les cours de cinéma d'aujourd'hui et fournissent aux étudiants des modèles pratiques pour les aider à améliorer leurs propres compétences en matière d'écriture et d'analyse. Ce recueil de cas est géographiquement diversifié, avec 10 pays représentés : Allemagne, Russie, États-Unis, France, Italie, Suède, Japon, Inde, Danemark, Grande-Bretagne. De plus, les essais de Understanding Classic Cinema sont clairs et lisibles, c'est-à-dire sophistiqués et étoffés, sans pour autant être trop techniques ou jargonnants. Cela en fait des introductions parfaites à leurs films respectifs ainsi que des contributions importantes au domaine des études cinématographiques en général. En outre, l'appareil critique du livre comprend des crédits, des images et des bibliographies pour tous les films abordés, des filmographies pour tous les réalisateurs, un glossaire des termes cinématographiques et un guide d'analyse des films.

Compreender o Cinema Clássico: A Student Guide é um manual de análise cinematográfica que contém 15 ensaios sobre 16 filmes historicamente significativos e artisticamente superiores lançados entre 1922 e 1963. Escritos a pensar em estudantes universitários (e possivelmente também em estudantes avançados do ensino secundário), estes ensaios cobrem alguns dos filmes centrais tratados - e questões centrais levantadas - nos cursos de cinema actuais e fornecem aos estudantes modelos práticos para os ajudar a melhorar as suas próprias capacidades de escrita e análise. Este livro de casos é geograficamente diversificado, com 10 países representados: Alemanha, Rússia, Estados Unidos, França, Itália, Suécia, Japão, Índia, Dinamarca e Grã-Bretanha. Para além disso, os ensaios de Understanding Classic Cinema são claros e legíveis - ou seja, sofisticados e substanciais, mas não excessivamente técnicos ou carregados de jargão. Isto torna-os perfeitas introduções aos respectivos filmes, bem como importantes contributos para o campo dos estudos cinematográficos em geral. Além disso, o aparato crítico do livro inclui créditos, imagens e bibliografias para todos os filmes discutidos, filmografias para todos os realizadores, um glossário de termos cinematográficos, um guia para análise de filmes.

Comprender el cine clásico: Guía del estudiante es un libro de texto de análisis cinematográfico que contiene 15 ensayos sobre 16 películas históricamente significativas y artísticamente superiores estrenadas entre 1922 y 1963. Escritos pensando en estudiantes universitarios (y posiblemente también en estudiantes avanzados de bachillerato), estos ensayos abarcan algunas de las principales películas tratadas -y cuestiones centrales planteadas- en los cursos de cine actuales y proporcionan a los estudiantes modelos prácticos que les ayudarán a mejorar su propia redacción y capacidad de análisis. Este libro de casos es geográficamente diverso, con 10 países representados: Alemania, Rusia, Estados Unidos, Francia, Italia, Suecia, Japón, India, Dinamarca y Gran Bretaña. Además, los ensayos de Comprender el cine clásico son claros y amenos, es decir, sofisticados y con contenido, pero no excesivamente técnicos ni cargados de jerga. Esto los convierte en introducciones perfectas a sus respectivas películas, así como en importantes contribuciones al campo de los estudios cinematográficos en general. Además, el aparato crítico del libro incluye títulos de crédito, imágenes y bibliografías de todas las películas comentadas, filmografías de todos los directores, un glosario de términos cinematográficos y una guía de análisis fílmico.

Capire il cinema classico: A Student Guide è un testo di analisi cinematografica che contiene 15 saggi su 16 film storicamente significativi e artisticamente superiori usciti tra il 1922 e il 1963. Scritti per gli studenti universitari e di college (e possibilmente anche per gli studenti delle scuole superiori), questi saggi coprono alcuni dei film principali trattati - e le questioni centrali sollevate - nei corsi di cinema di oggi e forniscono agli studenti modelli pratici per aiutarli a migliorare le proprie capacità di scrittura e di analisi. Questo manuale è geograficamente vario, con 10 paesi rappresentati: Germania, Russia, Stati Uniti, Francia, Italia, Svezia, Giappone, India, Danimarca e Gran Bretagna. Inoltre, i saggi di Understanding Classic Cinema sono chiari e leggibili, cioè sofisticati e corposi, ma non eccessivamente tecnici o ricchi di gergo. Questo li rende perfette introduzioni ai rispettivi film e importanti contributi al campo degli studi cinematografici in generale. Inoltre, l'apparato critico del libro presenta crediti, immagini e bibliografie per tutti i film trattati, filmografie per tutti i registi, un glossario dei termini cinematografici, una guida all'analisi del film.

Das klassische Kino verstehen: A Student Guide ist ein Lehrbuch zur Filmanalyse, das 15 Aufsätze zu 16 historisch bedeutsamen und künstlerisch anspruchsvollen Filmen aus den Jahren 1922 bis 1963 enthält. Die Aufsätze sind für Studierende an Hochschulen und Universitäten (und möglicherweise auch für fortgeschrittene Schüler) geschrieben und behandeln einige der wichtigsten Filme und Fragen, die in heutigen Filmkursen behandelt werden, und bieten den Schülern praktische Modelle, die ihnen helfen, ihre eigenen Schreib- und Analysefähigkeiten zu verbessern. Dieses Fallbuch ist geografisch breit gefächert, da 10 Länder vertreten sind: Deutschland, Russland, die Vereinigten Staaten, Frankreich, Italien, Schweden, Japan, Indien, Dänemark und Großbritannien. Darüber hinaus sind die Aufsätze in Understanding Classic Cinema klar und gut lesbar, d. h. sie sind anspruchsvoll und gehaltvoll, aber nicht übermäßig technisch oder jargonlastig. Das macht sie zu perfekten Einführungen in die jeweiligen Filme und zu wichtigen Beiträgen für die Filmwissenschaft im Allgemeinen. Darüber hinaus enthält der kritische Apparat des Buches Abspann, Bilder und Bibliografien zu allen besprochenen Filmen, Filmografien zu allen Regisseuren, ein Glossar der Filmbegriffe und einen Leitfaden zur Filmanalyse.

"Undervalued Shaw: 'The Philandererer' e 'The Doctor's Dilemma'" è un'edizione critica di queste due opere teatrali meno conosciute di George Bernard Shaw. Il volume comprende il testo integrale di entrambi i drammi e un lungo saggio introduttivo a ciascuno di essi: "Altrimenti fidanzati, o sposati con il dramma": Shaw, Modern Womanhood, e 'The Philandererer'" e "The Doctored Dilemma: Shaw's Approach to Tragedy in 'The Doctor's Dilemma'". Ogni saggio discute a lungo la rispettiva opera teatrale nel suo contesto storico, teorico e culturale.

"Undervalued Shaw: 'The Philanderer' and 'The Doctor's Dilemma'" ist eine kritische Ausgabe dieser beiden weniger bekannten Stücke von George Bernard Shaw. Der Band enthält den vollständigen Text der beiden Dramen und einen langen einleitenden Essay zu jedem Stück: "Otherwise Engaged, or Married to the Drama: Shaw, Modern Womanhood, and 'The Philanderer'" und "The Doctored Dilemma: Shaw's Approach to Tragedy in 'The Doctor's Dilemma'". Jeder Aufsatz bespricht das jeweilige Stück ausführlich in seinem historischen, theoretischen und kulturellen Kontext.

"Shaw subvalorizado: 'The Philanderer' e 'The Doctor's Dilemma'" é uma edição crítica destas duas peças menos conhecidas de George Bernard Shaw. O volume inclui o texto completo de ambos os dramas e um longo ensaio introdutório a cada um deles: "Caso contrário Noivado, ou Casado com o Drama": Shaw, Modern Womanhood, e 'The Philanderer'" e "The Doctored Dilemma: Shaw's Approach to Tragedy in 'The Doctor's Dilemma'". Cada ensaio discute longamente a respectiva peça no seu contexto histórico, teórico, e cultural.

"Undervalued Shaw : 'The Philanderer' et 'The Doctor's Dilemma'" est une édition critique de ces deux pièces moins connues de George Bernard Shaw. Le volume comprend le texte intégral des deux pièces et un long essai d'introduction à chacune d'entre elles : "Autrement fiancé, ou marié au drame : Shaw, Modern Womanhood, and 'The Philanderer'" et "The Doctored Dilemma : Shaw's Approach to Tragedy in 'The Doctor's Dilemma'". Chaque essai discute longuement de la pièce respective dans son contexte historique, théorique et culturel.

"Niedoceniany Shaw: 'Filantrop' i 'Dylemat Doktora'" to krytyczna edycja tych dwóch mniej znanych sztuk George'a Bernarda Shawa. Tom zawiera pe¿ny tekst obu dramatów oraz d¿ugi esej wprowadzaj¿cy do kädego z nich: "Inaczej zaangäowany, albo ¿onaty z Dramatem": Shaw, Wspó¿czesna kobieco¿¿ oraz 'Filantrop' i 'Doktorski dylemat: podej¿cie Shawa do tragedii w 'Doktorskim dylemacie'". Kädy esej szczegó¿owo omawia poszczególne sztuki w ich kontek¿cie historycznym, teoretycznym i kulturowym.

"Ondergewaardeerde Shaw: 'The Philanderer' en 'The Doctor's Dilemma'" is een kritische uitgave van deze twee minder bekende toneelstukken van George Bernard Shaw. De bundel bevat de volledige tekst van beide drama's en een lang inleidend essay bij elk van beide: "Anders Verloofd, of Getrouwd met het Drama. Shaw, Modern Womanhood, en 'The Philanderer'' en 'The Doctored Dilemma: Shaw's Approach to Tragedy in 'The Doctor's Dilemma'." Elk essay bespreekt het respectievelijke stuk uitvoerig in zijn historische, theoretische en culturele context.

Understanding Classic Cinema: A Student Guide is a film analysis textbook that contains 15 essays on 16 historically significant, artistically superior films released between 1922 and 1963. Written with college and university students (and possibly also advanced high school students) in mind, these essays cover some of the central films treated¿and central issues raised¿in today¿s cinema courses and provide students with practical models to help them improve their own writing and analytical skills. This casebook is geographically diverse, with 10 countries represented: Germany, Russia, the United States, France, Italy, Sweden, Japan, India, Denmark, Great Britain. Moreover, the essays in Understanding Classic Cinema are clear and readable¿that is, sophisticated and meaty yet not overly technical or jargon-heavy. This makes them perfect introductions to their respective films as well as important contributions to the field of film studies in general. In addition, the book¿s critical apparatus features credits, images, and bibliographies for all films discussed, filmographies for all the directors, a glossary of film terms, a guide to film analysis.

Final Cut: The 21st-Century Film Criticism of Stanley Kauffmann is a collection of previously uncollected film criticism by the late Stanley Kauffmann (1916-2013). Kauffmann¿s creative life spanned seven decades: starting in 1958 and continuing until the end of his life, he was a film and theater critic for The New Republic, The New York Times, and Saturday Review, among other publications. Kauffmann was one of the most potent, influential critics included in the New York school of twentieth-century American criticism. In Final Cut, Kauffmann discusses films from such countries as France, England, Mexico, Israel, Sweden, Austria, Netherlands, Argentina, Finland, Norway, Italy, Iran, Japan, Belgium, South Korea, China, Lebanon, Russia, Ireland, India, Greece, Chile, Romania, Turkey, Hungary, and the United States. Among the films reviewed are Michael Haneke¿s White Ribbon; Steven Spielberg¿s War of the Worlds; the Dardenne brothers¿ Silence of Lorna; Ron Howard¿s Da Vinci Code; Woody Allen¿s Match Point; Barbet Schroeder¿s Our Lady of the Assassins; Nuri Bilge Ceylan¿s Once Upon a Time in Anatolia; and Zhang Yimoüs Riding Alone for Thousands of Miles.

André Bazin (1918-58) is credited with almost single-handedly establishing the study of film as an accepted intellectual pursuit, as well as with being the spiritual father of the French New Wave. In 1951 he co-founded and became editor-in-chief of Cahiers du cinéma, the single most influential critical periodical in the history of the cinema. Bazin can also be considered the principal instigator of the equally influential auteur theory: the idea that, since film is an art form, the director of a movie must be perceived as the chief creator of its unique cinematic style. Though he died tragically young, he left much material behind, all of which is now duly noted and annotated, for the first time, in this book¿s comprehensive bibliography of writings by Bazin and about Bazin, in all languages. Also featuring a contextual introduction to his life and work, Bazin on Film: An Annotated Bibliography represents a major contribution to the still growing discipline of cinema studies, as well as a testament to the continuing influence of one of the world¿s pre-eminent critical thinkers.

"Od naturalizmu do symbolizmu: Synge's 'Riders to the Sea' and 'The Intruder'" to krytyczne wydanie tych dwóch wänych sztuk. Ksi¿¿ka zawiera wprowadzenie do "Je¿d¿ców na morzu" i do dramaturgii Johna Millingtona Synge'a w ogóle; pe¿ny tekst "Je¿d¿ców na morzu", a nast¿pnie przypisy tekstowe do sztuki; bibliografi¿ krytyczn¿ dramaturgii Synge'a; wprowadzenie do "Intruza" i do dramaturgii Maurice'a Maeterlincka; bibliografi¿ dramaturgii Maeterlincka; oraz pe¿ny tekst "Intruza" w przek¿adzie angielskim. Podsumowuj¿c, niniejszy tom stanowi cenne wprowadzenie do tych dwóch sztuk - jednej irlandzkiej, drugiej belgijskiej - które stanowi¿ pomost pomi¿dzy naturalizmem a symbolizmem w ¿wiatowej dramaturgii.

"Du naturalisme au symbolisme : Synge's 'Riders to the Sea' and 'The Intruder'" est une édition critique de ces deux pièces importantes. Le livre comprend une introduction à "Riders to the Sea" et à l'¿uvre de John Millington Synge en général ; le texte intégral de "Riders to the Sea", suivi de notes textuelles sur la pièce ; une bibliographie critique de l'¿uvre de Synge ; une introduction à "The Intruder" et à l'¿uvre de Maurice Maeterlinck ; une bibliographie de l'¿uvre de Maeterlinck ; et le texte intégral de "The Intruder" en traduction anglaise. En somme, ce volume est une introduction précieuse à ces deux pièces - l'une irlandaise, l'autre belge - qui font le pont entre le naturalisme et le symbolisme dans la dramaturgie mondiale.

This book is a collection of interviews with, and essays about, not the four filmmakers who introduced the cinema of their respective countries to the West--Akira Kurosawa (Japan) and Satyajit Ray (India), in the 1950s; Abbas Kiarostami (Iran) and Zhang Yimou (China), in the 1980s--but those who followed in their wake. From among them, the editor has chosen 15 representative figures from Iran, China, Japan, Turkey, South Korea, Taiwan,Kurdistan, and Afghanistan: namely, Abbas Kiarostami, Jafar Panahi, Majid Majidi, Bahman Ghobadi, Siddiq Barmak, Samira and Makhmalbaf, Nuri Bilge Ceylan, Hong Sang-soo, Hirokazu Kore-eda, Jun Ichikawa, Kim Ki-duk, Chen Kaige, Zhang Yimou, and Tsai Ming-liang. As a whole, "Wind from the East: New World Cinema, Asian Style" documents an alternative to Western brands of cinema even as these ¿foreign¿ directors in some instances integrate Western forms, styles, and genres into their own native traditions. As such, these artists could be said to represent a global filmmaking perspective that now, more than ever, this world--and in particular the American nation--can use. "Wind from the East" concludes with a bibliography and individual filmographies.