Book "Film Aesthetics and Psychology"

"Film Aesthetics and Psychology" book

Author: (France) Jean Mitry (Mitry, J.)

< p>Publisher: Jiangsu Literature and Art Publishing House

Subtitle: Classic Image Series

Translator: Cui Junyan

Publishing Year: 2012-9

< p> Number of pages: 481

Pricing: 72.00 yuan

Binding: paperback

ISBN: 9787539944661

Content introduction

One of the most important works in the history of film theory. It not only has an encyclopedic vision, but also brings together discussions from the classic film theory period into a general outline. The author Jean Mitri is a French film theorist, film historian, film educator, professor at the French Film Academy, experimental film director, and founder of the French Film Archive. The translator Cui Junyan is an authoritative scholar of domestic film theory, a visiting scholar at the University of Paris, a senior visiting scholar at Harvard University, and a former secretary of the Secretariat of the Chinese Film Association and the chief editor of the China Film Publishing House.

About the author

Jean Mitry (Mitry, J. 1907-1988), French film theorist: his two-volume "Film Aesthetics and Psychology" is One of the most important academic works in the history of film theory, earning him the honorific title "Hegel of Cinema"; film historian: he completed the seven-volume "History of Cinema"; film educator: he has served as director of French cinema since 1944 Professor of the college, established the earliest doctorate in film at the University of Montreal; experimental film director: shot many experimental films about visual rhythm; one of the founders of the French Film Archive; poet.

Contents

Dedicated to my wife Jeanine.

Jean Mitry’s Film Aesthetics and Psychology Table of Contents

I Got to Know Jean Mitry Chinese Translator’s Foreword 1

Fine Reduced Editor's Foreword 15

Author's Introduction 19

Chapter 1 Introduction

Section 1 Film and Creation 23

1. Who Be the author of a film?23

2. Production routines 25

3. American production routines 27

4. Artists and craftsmen 28

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5. The author of the film 30

6. The author and the work 33

Section 2 Film and Language 33

1. Film and language 34

2. Some Explanations 36

3. Film and Literary Expression 38

Section 3 Vocabulary and Image 41

1 , Thinking and language 41

2. Vocabulary and concepts 42

3. Two languages ??43

4. Word representation 45

Chapter 2 Video Image

Section 1 The Image Itself 53

1. General Image 53

2. Mental Image 58

3. Image as symbol 64

IV. Film image and vocabulary expression form 78

Section 2 Image structure 90

1. Lens and angle 90

2. Scenery frame and its defining elements 105

3. Participation and identification 115

Chapter 3 Rhythm and Montage

Section 1 Montage Preliminary 125

1. Origin and Discovery 125

2. Griffith and Soviet Schools 133

3. Consequences of the Kuleshov Effect 139

Section 2 Film Rhythm 141

1. Overview of Rhythm 141

2. Avant-garde and Pure Film 149

3. Rhythm and montage 161

4. Montage form and theory 169

5. The psychology of montage 196

Chapter 4 Rhythm and moving camera

< p> Section 1 Free camera and depth of field 216

1. Non-montage principle and overall reality 216

2. Moving camera 234

3. The Psychology of Moving Lens 238

4. Depth of Field 243

5. Wide Screen 253

6. Confusion and Alienation 255

7. Subjective camera 261

8. Semi-subjective image 270

9. Oblique image 277

10. Color in movies 282

Section 2 Discourse and Sound 289

1. The role and significance of dialogue 289

2. The role of music 310

3. Audiovisual structure 318

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4. Conclusion on Rhythm 338

Chapter 5 Time and Space of Plot

Section 1 Exploring the Art of Drama 345

1 , From stage drama to visual expression 345

2. Drama and film 390

3. Literature and film 402

Section 2 Content and form 416

1. The importance and value of the subject matter 416

2. The art of film drama 431

3. Realism and reality 449

4. Video structure and film semiotics 453

5. Film logic 464

Bibliography 471;