Innovators : filmmakers / David W. Galenson.

Galenson, David W.
Bib ID
vtls001053084
出版項
Cambridge, Mass. : National Bureau of Economic Research, c2010.
稽核項
39 p. : ill. ; 22 cm.
電子版
預約人數:0
全部評等: 0
條碼 館藏地 索書號 冊次 複本 電子資源 館藏狀態  
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總館1樓罕用
HB 1.N37 n.15930
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$a "April 2010"
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$a Includes bibliographical references (p. 31-39).
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$a John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity.
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$a Motion pictures $x Production and direction $x Philosophy.
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$a Working paper series (National Bureau of Economic Research) ; $v no. 15930.
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叢書名
NBER working paper series ; no. 15930
Working paper series (National Bureau of Economic Research) ; no. 15930.
NBER working paper series ; no. 15930
標題
摘要
John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity.
附註
"April 2010"
Includes bibliographical references (p. 31-39).
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