tailieunhanh - The Tutor-Code of Classical Cinema

Like the majority of the works addressing this topic, Le cinema saturé first appears arbitrarily composed of autonomous case studies. Bonfand claims for that his inductive method: each study comes from an ‘intuition induced from the still and moving images, and never from copying a conceptual position on these images’ (9). Indeed, his essay is far from being a history or even a genealogy of painting in cinema. Rather, it follows the moving path of the ‘sublation’ (Bonfand uses the German term Aufhebung) of painting by cinema. Considering the dual connotation of the Hegelian concept (both ‘to keep’. | Uh I V E R s I T Y OF CALIFORNIA p R Ẹ ỉ s f t ụ ÍI . A L Í ụ u ụ I i í-1 N 4 The Tutor-Code of Classical Cinema Author s Daniel Dayan Source Film Quarterly Vol. 28 No. 1 Autumn 1974 pp. 22-31 Published by University of California Press Stable URL http stable 1211439 Accessed 16 06 2010 18 00 Your use of the JSTOR archive indicates your acceptance of JSTOR s Terms and Conditions of Use available at http page info about policies . JSTOR s Terms and Conditions of Use provides in part that unless you have obtained prior permission you may not download an entire issue of a journal or multiple copies of articles and you may use content in the JSTOR archive only for your personal non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http action showPublisher publisherCode ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars researchers and students discover use and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR please contact support@. http University of California Press is collaborating with JSTOR to digitize preserve and extend access to Film Quarterly. 22 THE TUTOR-CODE OFCLASSICALCINEMA elusions about statistical style analysis can be arrived at. However the results so far are based on more objective facts than have ever been used in the field of style comment before. The methods used can obviously be applied also to sections of a film when one is considering the interactions between and relations of form and content. And they can decide questions of attribution such as who really directed The Mortal .

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