This classic in film theory, presents a systematic study of the techniques of the film medium and of their potential uses for creating formal structures in individual films such as Dovzhenko's Earth, Antonioni's La Notte, Bresson's Au Hasard Balthazar, Renoir's Nana, and Godard's Pierrot le Fou.
Originally published in 1981.
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Published in association with the Art Institute of Chicago
Hardcover: Not for sale in the Commonwealth (except Canada)
Paperback: Not for sale in the Commonwealth (except Canada)