標(biāo)題: Titlebook: Cinematic Histospheres; On the Theory and Pr Rasmus Greiner Book‘‘‘‘‘‘‘‘ 2021 The Editor(s) (if applicable) and The Author(s) 2021 Histosph [打印本頁(yè)] 作者: 中間時(shí)期 時(shí)間: 2025-3-21 19:10
書(shū)目名稱Cinematic Histospheres影響因子(影響力)
作者: jet-lag 時(shí)間: 2025-3-21 21:36
https://doi.org/10.1007/978-3-662-04911-2 of the cinematically constructed past via physical-sensory stimuli. Against the general assumption that the constitutive feature of historical films is that they represent history, it is instead their audiovisual . and . of a historical world, which enables an immediate . of history.作者: ASSAY 時(shí)間: 2025-3-22 04:23
https://doi.org/10.1007/3-540-34829-8 examines the aesthetics and function of film sound, understood as an equally important expressive dimension of histospheres. The two aspects are brought together in the third section: The fusion of sound and vision makes the historical film not just a model of a historical world, but a form of perception in its own right.作者: Compatriot 時(shí)間: 2025-3-22 04:45
https://doi.org/10.1007/3-540-34829-8rally arranged historical world. Building on this, the third section proposes that, for historical films, the film theory concept of mise-en-scène should be supplemented by a concept of .: the imaginative referentialization of the historical worlds constructed by a film.作者: Vital-Signs 時(shí)間: 2025-3-22 11:46 作者: 聰明 時(shí)間: 2025-3-22 14:21 作者: 聰明 時(shí)間: 2025-3-22 20:52 作者: 殺蟲(chóng)劑 時(shí)間: 2025-3-23 01:10 作者: Confound 時(shí)間: 2025-3-23 02:52
Audiovisual History, examines the aesthetics and function of film sound, understood as an equally important expressive dimension of histospheres. The two aspects are brought together in the third section: The fusion of sound and vision makes the historical film not just a model of a historical world, but a form of perception in its own right.作者: Epidural-Space 時(shí)間: 2025-3-23 06:48
Modeling and Perceiving,rally arranged historical world. Building on this, the third section proposes that, for historical films, the film theory concept of mise-en-scène should be supplemented by a concept of .: the imaginative referentialization of the historical worlds constructed by a film.作者: GNAW 時(shí)間: 2025-3-23 11:18 作者: laxative 時(shí)間: 2025-3-23 14:53
Book‘‘‘‘‘‘‘‘ 2021 cinematically modelled, physically experienceable historical world. His analysis of practices of modelling and perceiving, immersion and empathy, experience and remembering, appropriation and refiguration, combine approaches from film studies, such as Vivian Sobchack’s phenomenology of film experie作者: Palpate 時(shí)間: 2025-3-23 18:31 作者: 精美食品 時(shí)間: 2025-3-23 22:53 作者: thyroid-hormone 時(shí)間: 2025-3-24 03:50
https://doi.org/10.1007/3-540-34829-8s on . with the characters who inhabit a film’s historical world. In combination with film experience as a mode of ., this inner perspective provokes interpretations and evaluations that we can extend to the filmic depiction’s historical references.作者: 誹謗 時(shí)間: 2025-3-24 07:51 作者: EXTOL 時(shí)間: 2025-3-24 12:52 作者: dictator 時(shí)間: 2025-3-24 15:30
Fiction Film and History,m defined by its referential relation to historical events, individuals, and lifeworlds. The third section argues that this is less a matter of incontrovertible factual accuracy than of generating a ..作者: 原告 時(shí)間: 2025-3-24 21:51 作者: nascent 時(shí)間: 2025-3-25 02:57 作者: Digest 時(shí)間: 2025-3-25 05:58 作者: justify 時(shí)間: 2025-3-25 09:44
Refiguring Historical Consciousness,ted in the audiovisual design of a historical film prompt spontaneous or “unbidden” memories that come to us contingently and are essentially receptive. The mise-en-histoire’s referentialization, by contrast, is a productive act of remembering.作者: Vldl379 時(shí)間: 2025-3-25 12:28 作者: 對(duì)待 時(shí)間: 2025-3-25 16:31 作者: inculpate 時(shí)間: 2025-3-25 21:52 作者: 發(fā)現(xiàn) 時(shí)間: 2025-3-26 00:37
Film/History/Experience,ological theories underpinning the notion of . and applies them to the historical film. Focusing on concepts of embodied film perception, it discusses the spectator’s impression of making direct contact with a film’s historical world. This imaginary contact with history bears similarities to Frank R作者: 狂亂 時(shí)間: 2025-3-26 06:26
Modeling and Perceiving,s, and thereby enable historical experiences. The first section will therefore examine the theoretical concept of figuration and the special relation between . and .. The second section analyzes the strategies used by historical films to create filmic spaces and model an internally consistent, tempo作者: 導(dǎo)師 時(shí)間: 2025-3-26 09:45
Immersion and Empathy, influence our conceptions and interpretations of history. In this context, the first section examines the role of aesthetically modeled atmospheres and the moods they evoke. The second section builds on this examination by considering filmic space. . and spatial figurations of movement bring us phy作者: ESO 時(shí)間: 2025-3-26 14:55 作者: LAIR 時(shí)間: 2025-3-26 18:49
Appropriation and Configuration,way of thinking into our .. Building on theories of the phenomenological relationship between the spectator’s body and the world, the first section develops a model of . of history, which it connects to constructivist and cognitive approaches. The second section raises the specific experience of his作者: PAGAN 時(shí)間: 2025-3-26 23:52
Refiguring Historical Consciousness,that appropriation of histospheres in spectators’ reception has a refigurative effect on our historical consciousness. On this view, the historical experiences generated by films augment the conceptions of history we have acquired from written accounts and sources with a physical-sensory dimension. 作者: 無(wú)法解釋 時(shí)間: 2025-3-27 02:00
https://doi.org/10.1007/978-3-662-04911-2” denotes here not just (popular conceptions of) history, but also a particular . dimension. In the phenomenological space between audiovisual figurations and historical experience, a histosphere functions—in the manner of histology—as an innervated tissue that relays the potential semiotic meanings作者: 使閉塞 時(shí)間: 2025-3-27 07:19
https://doi.org/10.1007/3-540-34829-8ceptual core of the historical film. The first section makes reference to a classic . according to which a film’s production of meaning is determined by its specific arrangement of signs. It draws parallels to debates within historical studies that have enabled a reassessment of fiction film as a hi作者: adhesive 時(shí)間: 2025-3-27 11:01
https://doi.org/10.1007/3-540-34829-8section surveys the relatively new field of .. It argues that a histosphere creates not just disparate images but a visual sphere in which history is brought to life. Research into audio history is an even newer and less developed field. The second section therefore sketches the outlines of an . and作者: Obstreperous 時(shí)間: 2025-3-27 15:25 作者: 承認(rèn) 時(shí)間: 2025-3-27 18:56 作者: arboretum 時(shí)間: 2025-3-27 23:59
https://doi.org/10.1007/3-540-34829-8 influence our conceptions and interpretations of history. In this context, the first section examines the role of aesthetically modeled atmospheres and the moods they evoke. The second section builds on this examination by considering filmic space. . and spatial figurations of movement bring us phy作者: Jubilation 時(shí)間: 2025-3-28 05:10
https://doi.org/10.1007/3-540-34829-8 explores the complex interrelationship between film, body, and memory. It argues that . make it possible to experience a film’s historical world as a physical reality, and add a bodily experiential dimension to the mise-en-histoire. Building on these considerations, the second section combines them作者: cardiac-arrest 時(shí)間: 2025-3-28 09:56 作者: 玩笑 時(shí)間: 2025-3-28 14:21 作者: 辮子帶來(lái)幫助 時(shí)間: 2025-3-28 15:09
Rasmus GreinerDevelops a theory of histospheres.Proposes the first detailed and consistent theory that defines historical film as a living genre practice based on its specific aesthetics and phenomenology.Connects 作者: 甜瓜 時(shí)間: 2025-3-28 20:59 作者: LIMIT 時(shí)間: 2025-3-28 23:07
https://doi.org/10.1007/978-3-030-70590-9Histosphere; Historical Film; Phenomenology of Film; Historical Experience; Audiovisual; Historical World作者: Hemiplegia 時(shí)間: 2025-3-29 06:54
