| dc.contributor.author | Quigley, Paula | |
| dc.contributor.editor | Jean Dunne & Paula Quigley | en |
| dc.date.accessioned | 2024-08-20T16:08:59Z | |
| dc.date.available | 2024-08-20T16:08:59Z | |
| dc.date.issued | 2004 | |
| dc.date.submitted | 2004 | en |
| dc.identifier.citation | Quigley, Paula, Eisenstein, Montage and 'filmic writing', In Jean Dunne & Paula Quigley (Eds.) The Montage Principle: Eisenstein in New Critical and Cultural Contexts, Amsterdam, Brill, 2004, 153 - 170 | en |
| dc.identifier.issn | 90-420-0898-9 | |
| dc.identifier.other | Y | |
| dc.description.abstract | This essay considers the ways in which Eisenstein’s interest in the ideogram as a
model for film language was reconsidered and reconfigured in the work of the French
film theorist Marie-Claire Ropars-Wuilleumier in the 1980s. It argues that in this
process, Eisenstein’s emphasis on the emotional and visceral impact of the film image
was lost in favour of the textual emphasis characteristic of film theory at this time. | en |
| dc.format.extent | 153 | en |
| dc.format.extent | 170 | en |
| dc.language.iso | en | en |
| dc.publisher | Brill | en |
| dc.rights | Y | en |
| dc.title | Eisenstein, Montage and 'filmic writing' | en |
| dc.title.alternative | The Montage Principle: Eisenstein in New Critical and Cultural Contexts | en |
| dc.type | Book Chapter | en |
| dc.type.supercollection | scholarly_publications | en |
| dc.type.supercollection | refereed_publications | en |
| dc.identifier.peoplefinderurl | http://people.tcd.ie/pquigley | |
| dc.identifier.rssinternalid | 61485 | |
| dc.identifier.doi | https://doi.org/10.1163/9789004334472_008 | |
| dc.rights.ecaccessrights | openAccess | |
| dc.identifier.orcid_id | 0000-0003-2912-2485 | |
| dc.identifier.uri | https://hdl.handle.net/2262/109083 | |
