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Minimal Film is a book on film narrated through the visual magic of graphic design or a graphic design book told through the evocative magic of cinema. The goal of Minimal Film lies in representing the emotion of cinema through extreme synthesis and simplicity of forms. Plus there's colour, which makes each illustration visually stunning and effective. For example: a white circle resting on a blue field is enough to portray the ball Wilson from Cast Away , while two white triangles perfectly perpendicular to a red field suffice to evoke Dracula . From Game of Thrones to Breaking Bad , even TV series, which have been elected to "prime-time" for Hollywood productions, are visually represented in the book. Shortology is a direct language that can narrate anything through pictograms. This has allowed the author to see cinema from a different perspective, reinterpreting and reviewing it up to isolating its very essence. Exactly like the philosophy of Shortology, this publication is based on this notion: eliminating the superfluous and focusing on the essential. A book on emotions, on unforgettable traces cinema has left on our imagination as spectators and lovers of the seventh art.
Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.
Plateau's problem is a scientific trend in modern mathematics that unites several different problems connected with the study of minimal surfaces. In its simplest version, Plateau's problem is concerned with finding a surface of least area that spans a given fixed one-dimensional contour in three-dimensional space--perhaps the best-known example of such surfaces is provided by soap films. From the mathematical point of view, such films are described as solutions of a second-order partial differential equation, so their behavior is quite complicated and has still not been thoroughly studied. Soap films, or, more generally, interfaces between physical media in equilibrium, arise in many applied problems in chemistry, physics, and also in nature. In applications, one finds not only two-dimensional but also multidimensional minimal surfaces that span fixed closed ``contours'' in some multidimensional Riemannian space. An exact mathematical statement of the problem of finding a surface of least area or volume requires the formulation of definitions of such fundamental concepts as a surface, its boundary, minimality of a surface, and so on. It turns out that there are several natural definitions of these concepts, which permit the study of minimal surfaces by different, and complementary, methods. In the framework of this comparatively small book it would be almost impossible to cover all aspects of the modern problem of Plateau, to which a vast literature has been devoted. However, this book makes a unique contribution to this literature, for the authors' guiding principle was to present the material with a maximum of clarity and a minimum of formalization. Chapter 1 contains historical background on Plateau's problem, referring to the period preceding the 1930s, and a description of its connections with the natural sciences. This part is intended for a very wide circle of readers and is accessible, for example, to first-year graduate students. The next part of the book, comprising Chapters 2-5, gives a fairly complete survey of various modern trends in Plateau's problem. This section is accessible to second- and third-year students specializing in physics and mathematics. The remaining chapters present a detailed exposition of one of these trends (the homotopic version of Plateau's problem in terms of stratified multivarifolds) and the Plateau problem in homogeneous symplectic spaces. This last part is intended for specialists interested in the modern theory of minimal surfaces and can be used for special courses; a command of the concepts of functional analysis is assumed.
Documentary film can encompass anything from Robert Flaherty's pioneering ethnography Nanook of the North to Michael Moore's anti-Iraq War polemic Fahrenheit 9/11, from Dziga Vertov's artful Soviet propaganda piece Man with a Movie Camera to Luc Jacquet's heart-tugging wildlife epic March of the Penguins. In this concise, crisply written guide, Patricia Aufderheide takes readers along the diverse paths of documentary history and charts the lively, often fierce debates among filmmakers and scholars about the best ways to represent reality and to tell the truths worth telling. Beginning with an overview of the central issues of documentary filmmaking--its definitions and purposes, its forms and founders--Aufderheide focuses on several of its key subgenres, including public affairs films, government propaganda (particularly the works produced during World War II), historical documentaries, and nature films. Her thematic approach allows readers to enter the subject matter through the kinds of films that first attracted them to documentaries, and it permits her to make connections between eras, as well as revealing the ongoing nature of documentary's core controversies involving objectivity, advocacy, and bias. Interwoven throughout are discussions of the ethical and practical considerations that arise with every aspect of documentary production. A particularly useful feature of the book is an appended list of "100 great documentaries" that anyone with a serious interest in the genre should see. Drawing on the author's four decades of experience as a film scholar and critic, this book is the perfect introduction not just for teachers and students but also for all thoughtful filmgoers and for those who aspire to make documentaries themselves. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.
In his first fully illustrated work, David Thomson breaks new ground by focusing in on a series of moments—which his readers will also experience in beautifully reproduced imagery—from seventy-two films across a 100-year-plus span. An indispensable counterpart to both his classic Biographical Dictionary of Film (called “a miracle” by Sight and Sound) and his lauded recent history, The Big Screen (“a pungently written, brilliant book” according to David Denby), Moments takes readers on an unprecedented visual tour, where the specifics of the imagery the reader is seeing are inextricably tied to the text. Thomson's moments range from a set of Eadweard Muybridge's pioneering photographs to sequences in films from the classic—Citizen Kane, Sunset Boulevard, The Red Shoes—to the unexpected—The Piano Teacher, Burn After Reading. The excitement of Moments dynamic visuals will be matched only by the discussion it incites in film circles, as readers revisit their own list of memorable moments and then re-experience the films—both those included on Thomson's list and from their own life—as never before. Moments That Made the Movies will undoubtedly reaffirm Thomson's place as—according to John Banville—“the greatest living writer on the movies.”
Through films that alternate between containment, order, and symmetry on the one hand, and obsession, explosiveness, and a lack of control on the other, Chantal Akerman has gained a reputation as one of the most significant filmmakers working today. Her 1975 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is widely regarded as the most important feminist film of that decade. In Nothing Happens, Ivone Margulies presents the first comprehensive study of this influential avant-garde Belgian filmmaker. Margulies grounds her critical analysis in detailed discussions of Akerman's work--from Saute ma ville, a 13-minute black-and-white film made in 1968, through Jeanne Dielman and Je tu il elle to the present. Focusing on the real-time representation of a woman's everyday experience in Jeanne Dielman, Margulies brings the history of social and progressive realism and the filmmaker's work into perspective. Pursuing two different but related lines of inquiry, she investigates an interest in the everyday that stretches from postwar neorealist cinema to the feminist rewriting of women's history in the seventies. She then shows how Akerman's "corporeal cinema" is informed by both American experiments with performance and duration and the layerings present in works by European modernists Bresson, Rohmer, and Dreyer. This analysis revises the tired opposition between realism and modernism in the cinema, defines Akerman's minimal-hyperrealist aesthetics in contrast to Godard's anti-illusionism, and reveals the inadequacies of popular characterizations of Akerman's films as either simply modernist or feminist. An essential book for students of Chantal Akerman's work, Nothing Happens will also interest international film critics and scholars, filmmakers, art historians, and all readers concerned with feminist film theory.
This collection covers a range of topics in 20th century cinema, from the Auteur Theory to the commercial cinema from Orson Welles to Kenneth Anger.
This clear, well illustrated text takes the reader through the basics of film analysis, drawing on a wide range of film for discussion. Questions of genre and the contexts and meanings of film are considered.
VOLUME 2: "Movies and Methods," Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity--from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. -- Publisher description.
This book contains recent results from a group focusing on minimal surfaces in the Moscow State University seminar on modern geometrical methods, headed by A. V. Bolsinov, A. T. Fomenko, and V. V. Trofimov. The papers collected here fall into three areas: one-dimensional minimal graphs on Riemannian surfaces and the Steiner problem, two-dimensional minimal surfaces and surfaces of constant mean curvature in three-dimensional Euclidean space, and multidimensional globally minimal and harmonic surfaces in Riemannian manifolds. The volume opens with an exposition of several important problems in the modern theory of minimal surfaces that will be of interest to newcomers to the field. Prepared with attention to clarity and accessibility, these papers will appeal to mathematicians, physicists, and other researchers interested in the application of geometrical methods to specific problems.