http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
"This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki-to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create 'film as theory'"--Back cover.
""Cover""; ""Contents""; "" Preface to the English Edition""; "" Introduction""; ""Two Image Researchers""; ""1. Le film qui pense""; ""Image, Theory, Practice""; ""Film as a "Concrete Medium"""; ""Film Theories / Film as Theory""; ""Difference and Theory""; ""Montage and Cinematic Thinking""; ""2. The Camera as Brush-Film and Painting""; ""Narrating with Images: Breathless""; ""Exploding the Museum: Pierrot le fou""; ""Arranging Things: Still Life""; ""Processing Images: Passion""; ""3. Deviation as Norm-Notes on the Essay Film""; ""4. Cut-Interlude in the Editing Room""
""What an Editing Room is: Interface""""Montage, toujours: JLG/JLG""; ""5. Taking pictures-Photography and Film""; ""Displacing: The Carabineers""; ""Rendering: Before Your Eyes Vietnam""; ""Surveying: Images of the World and the Inscription of War""; ""6. Two or Three Ways of Speaking with the Hands""; ""Asking Oneself: La Chinoise / Vent d'est""; ""Offering Oneself: Nouvelle vague""; ""Expressing Oneself: Georg K. Glaser / The Expression of Hands""; "" Conclusion""; "" Bibliography""; "" Acknowledgments""; "" Illustration Credits""; "" Index of Film Titles""; "" Index of Names""
Schriften des Internationalen Kollegs für Kulturtechnikforschung und Medienphilosophie ; v. 25