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Transcendental Style in Film : Ozu, Bresson and Dreyer by Paul Schrader (1988, Trade Paperback)

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Transcendental Style In Film by Paul Schrader Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less

About this product

Product Identifiers

PublisherHachette Books

ISBN-100306803356

ISBN-139780306803352

eBay Product ID (ePID)111362

Product Key Features

Book TitleTranscendental Style in Film : Ozu, Bresson and Dreyer

Number of Pages194 Pages

LanguageEnglish

Publication Year1988

TopicFilm / General, Individual Director (See Also Biography & Autobiography / Entertainment & Performing Arts)

FeaturesReprint

IllustratorYes

GenrePerforming Arts

AuthorPaul Schrader

FormatTrade Paperback

Dimensions

Item Height0.2 in

Item Weight10.6 Oz

Item Length9 in

Item Width6 in

Additional Product Features

Intended AudienceTrade

LCCN88-015974

Dewey Edition19

Dewey Decimal791.43/01

Edition DescriptionReprint

SynopsisThe acclaimed director of Mishima, American Gigolo, Hard Core, Blue Collar, Cat People also the screenwriter for Taxi Driver, Paul Schrader here analyzes the film style of three great directors--Yasaji, The acclaimed director of Mishima, American Gigolo, Hard Core, Blue Collar, Cat People also the screenwriter for Taxi Driver , Paul Schrader here analyzes the film style of three great directors--Yasajiro Ozu, Robert Bresson, Carl Dreyer--and posits a common dramatic language by these artists from divergent cultures. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This important book is an original contribution to film analysis and akey work by one of our most searching directors and writers., The acclaimed director of Mishima, American Gigolo, Hard Core, Blue Collar, Cat People also the screenwriter for Taxi Driver , Paul Schrader here analyzes the film style of three great directors--Yasajiro Ozu, Robert Bresson, Carl Dreyer--and posits a common dramatic language by these artists from divergent cultures. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This important book is an original contribution to film analysis and a key work by one of our most searching directors and writers.

LC Classification NumberPN1995.S417 1988