Description
Book SynopsisOffers a critical history of key debates about visual style in British film journals in the postwar period
Trade Review‘Gibbs undertakes an ambitious, large-scale project of critical historiography that, despite its scope, nevertheless manifests a quality of attention to the fi ne grain of concrete detail befitting its primary subject: the best achievements of interpretive or expressive mise-en-scène criticism … Gibbs’s book is one of major scope and historical ambition, covering half a century, the origins of and obstacles to the gradual invention of a critical practice, and key developments in an emerging academic discipline. Yet at every point, the book’s insights achieve precision and nuance through the deft way Gibbs builds this history almost entirely by sustained, meticulous analysis of primary sources, in which the critical developments outlined above took shape. His work here thus needs to be recognized as an extraordinary feat of scholarship.’
Elliott Logan, Projections Volume 11, Issue 1
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Table of ContentsIntroduction
1. Sequence
2. Transfusion and transformation: Sight and Sound in the 1950s
3. ‘Pistols for three, coffee for one’: the battle of form and content, circa 1960
4. Movie: aims and contexts
5. Movie: approaches and analysis
6. Melodrama and mise-en-scène
7. Postscript: Bordwell’s interventions
Conclusion
Bibliography
Index|Introduction
1. Sequence
2. Transfusion and transformation: sight and sound in the 1950s ‘Pistols for three, coffee for one’: the battle of form and content, circa 1960
3. Movie: aims and contexts
4. Movie: approaches and analysis
5. Melodrama and mise-en-scène
6. Postscript: Bordwell’s interventions
Conclusion
Bibliography
Index
