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Disc 1 offers 25 short 'tutorials,' helping students see what the text describes. Disc 2 includes an anthology of 12 short films, from 5 to 30 minutes in length. Together, the DVDs offer nearly five hours of pedagogically useful moving-image content.
Building on students' enthusiasm for movies, this text is more successful than any other at motivating students to understand and analyze film. In the new Sixth Edition, author Dave Monahan has thoroughly revised the book for clarity and currency, while adding new interactive learning tools to support student learning. -- From product description.
Building on students' enthusiasm for movies, this text is more successful than any other at motivating students to understand and analyze film. In the new Sixth Edition, author Dave Monahan has thoroughly revised the book for clarity and currency, while adding new interactive learning tools to support student learning. The best book and media package for introductory film just got better.
Publisher Description
Anker examines 19 popular films, showing how they convey a range of striking perspectives on the human encounter with God. Organized by genre, these selected films present different, surprising ways in which God shows up amid the messy circumstances of life.
"An exciting, entertaining exploration of films. . . . [Braudy] attempts to understand rather than promulgate rules and categories, and somehow to keep the criteria of enjoyment in some meaningful connection with the criteria of judgment."—Robert Kirsch, Los Angeles Times
The human face was said to be rediscovered with the advent of motion pictures, in which it is often viewed as expressive locus, as figure, and even as essence of the cinema. But how has the modern, technological, mass-circulating art revealed the face in ways that are also distinct from any other medium? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration--these are among the cultural precedents informing our experience in the movie theatre. Yet the moving image also offers radical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's enigmatic Au hasard Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity are among the key works explored in this book. In different ways these intense encounters manifest a desire for transparency and plenitude, but--especially in post-classical cinema--they also betray a profound ambiguity that haunts the human countenance as it wavers between image and language, between what we see and what we know. The spectacular impact of the cinematic face is uncannily bound up with an opacity, a reticence. But is it not for this very reason that, like faces in the world, it still enthralls us?
Building on studentsÕ enthusiasm for screened entertainment, Looking at Movies is more successful than any other text at motivating students to understand and analyze what they see onscreen. The Seventh Edition features new and refreshed video, assessment, and interactive media, making the bookÕs pathbreaking media program more assignable and gradable than ever before. Looking at Movies gives instructors all they need to inspire students to graduate from passive watching to active looking.