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061001s1985 |||a |||||||||| ||eng|d |
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|d 147710
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|a 0415018773
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|a 9780415018777
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|a HR-ZaFF komL3926
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|a HR-ZaFF
|b hrv
|c HR-ZaFF
|e ppiak
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| 080 |
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|a 791.43.01
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| 100 |
1 |
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|a Bordwell, David
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| 245 |
1 |
0 |
|a Narration in the fiction film /
|c David Bordwell.
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| 260 |
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|a London :
|b Routledge,
|c cop.1985.
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| 300 |
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|a 370 str. :
|b ilustr. ;
|c 24 cm
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| 504 |
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|a Str. 359-361: Bibligrafija
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| 504 |
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|a Kazalo
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| 505 |
8 |
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|a PART ONE: Some theories of narration
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| 505 |
8 |
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|a 1. Mimetic theories of narration
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| 505 |
8 |
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|a Perspective as narration
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| 505 |
8 |
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|a Perspective and point of view in literature
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| 505 |
8 |
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|a The invisible observer
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| 505 |
8 |
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|a Eisenstein. Narration as scenography
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| 505 |
8 |
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|a 2. Diegetic theories of narration
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| 505 |
8 |
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|a Film narration as metalanguage
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| 505 |
8 |
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|a Film narration as enunciation
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| 505 |
8 |
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|a PART TWO: Narration and film form
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| 505 |
8 |
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|a 3. The viewer's activity
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| 505 |
8 |
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|a A sketch for a psychology of filmic perception and cognition
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| 505 |
8 |
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|a Narrative comprehension
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| 505 |
8 |
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|a Believing and seeing
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| 505 |
8 |
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|a 4. Principles of narration
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| 505 |
8 |
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|a Fabula, syuzhet, and style
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| 505 |
8 |
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|a Tactics od syuzhet construction
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| 505 |
8 |
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|a Knowledge, self-consciousness, and communicativeness
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| 505 |
8 |
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|a Narrator, author
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| 505 |
8 |
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|a 5. Sin, murder, and narration
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| 505 |
8 |
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|a The detective film
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| 505 |
8 |
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|a The melodrama
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| 505 |
8 |
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|a 6. Narration and time
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| 505 |
8 |
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|a Features of temporal construction
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| 505 |
8 |
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|a Temporal stratagems and spoils
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| 505 |
8 |
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|a 7. Narration and space
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| 505 |
8 |
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|a Construction space
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| 505 |
8 |
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|a Perspective and the spectator
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| 505 |
8 |
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|a Ideal positionality: shot/reverse shot
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| 505 |
8 |
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|a Cues, features, and functions
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| 505 |
8 |
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|a Space in "The Confrontation"
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| 505 |
8 |
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|a PART THREE: Historical modes of narration
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| 505 |
8 |
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|a 8. Modes and norms
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| 505 |
8 |
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|a 9. Classical narration: The Hollywood example
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| 505 |
8 |
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|a Canonic narration
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| 505 |
8 |
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|a Classical style
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| 505 |
8 |
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|a The classical spectator
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| 505 |
8 |
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|a Seven films, eight segments
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| 505 |
8 |
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|a 10. Art-cinemy narration
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| 505 |
8 |
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|a Objectivity, subjectivity, authority
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| 505 |
8 |
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|a The game of form
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| 505 |
8 |
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|a The art cinema history
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| 505 |
8 |
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|a 11. Historical-materialist narration: The Soviet example
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| 505 |
8 |
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|a Narration as rhetoric
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| 505 |
8 |
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|a Predictable fabula, unpredictable narration
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| 505 |
8 |
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|a "The New Babylon"
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| 505 |
8 |
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|a Toward an interrogative cinema
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| 505 |
8 |
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|a 12. Parametric narration
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| 505 |
8 |
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|a A new role of style
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| 505 |
8 |
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|a Shapes and strategies
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| 505 |
8 |
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|a The parameters of "pickpocket"
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| 505 |
8 |
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|a The problem of Modernism
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| 505 |
8 |
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|a 13. Godard and narration
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| 505 |
8 |
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|a Schemata in conflict
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| 505 |
8 |
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|a Spatializing narration
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| 505 |
8 |
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|a Narrator and palimpsest
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| 505 |
8 |
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|a 1968 and after
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| 653 |
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|a film
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| 653 |
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|a teorija filma
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| 653 |
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|a pripovijedanje
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| 942 |
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|b LIB
|c KNJ
|d KOM | 791.43 | BOR | N
|h EC16
|i BOR N
|6 EC16_BOR_N
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| 991 |
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|a kom99/62
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| 992 |
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|a KK
|b ŽV
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