Describing cinema / Timothy Corrigan.

Includes bibliographical references.

Dis-chord : Meet me in St. Louis (Vincente Minnelli, 1944) -- The pedestrian : The bicycle thieves (Vittorio De Sica, 1948) -- Vacancy : Throne of blood (Akira Kurosawa, 1957) -- Ghosting : Pyassa (Guru Dutt, 1957) -- Exposures : Contempt (Jean-Luc Godard, 1963) -- Immobility : The conformist (1970) -- Red : Don't look now (Nicolas Roeg, 1973) -- Folds : The marriage of Maria Braun (R.W. Fassbinder,1978) -- Discretion : Sunless (Chris Marker, 1983) -- Emplacements : Do the right thing (Spike Lee, 1989) -- Noise : The piano (Jane Campion, 1993) -- Interiors : A taste of cherry (Abbas Kiarostami, 1997) -- Correspondence : Central Station (Walter Salles, 1998) -- Anticipation : In the mood for love (Wong Kar-wai, 2000) -- Gaming : The Bourne ultimatum (Paul Greengrass, 2007) -- The tactile : Adam (Maryam Touzani, 2019).

"Describing Cinema is part theory, part rhetoric, and part pedagogy. It examines and demonstrates acts of describing scenes, shots, and sequences in films, as probably the most common and the most underestimated way viewers respond to movies. Practiced energetically and carefully, descriptions become exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. My motto might be an inversion of one character's tongue-in-cheek remark in Jean-Luc Godard's First Name, Carmen (played by Godard himself), "badly seen, badly said," rephrased for this project as "badly said, badly seen." Here, that phrase becomes an indication how acts of describing films or parts of films can measure and instantiate complex ways of seeing that are partly about accuracy but also about the mobility of understanding and interpretation. At its best, describing films never simply denotes actions, images, sounds, or styles but rather produces the orchestration of one or more of those dimensions as an often creative and intersubjective movement between images, viewers, and a rhetorical language. Here, especially, writing about film becomes thinking about film. Part I provides a theoretical basis for this argument. Part II features sixteen short essays from landmarks of post-war cinema that demonstrate the energy and movement of precise descriptions"-- Provided by publisher.