소장자료
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| 001 | 0100790664▲ | ||
| 003 | OCoLC▲ | ||
| 005 | 20240117105905▲ | ||
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| 020 | ▼a9780691225524▼qelectronic book▲ | ||
| 020 | ▼a0691225524▼qelectronic book▲ | ||
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| 035 | ▼a2932524▼b(N$T)▲ | ||
| 035 | ▼a(OCoLC)1302166754▼z(OCoLC)1293258564▼z(OCoLC)1294142516▲ | ||
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| 049 | ▼aMAIN▲ | ||
| 050 | 4 | ▼aTR893.8▼b.C64 2022▲ | |
| 082 | 0 | 4 | ▼a777.89437▼223▲ |
| 082 | 0 | 4 | ▼a777.6▲ |
| 100 | 1 | ▼aCohen, Margaret,▼d1958-▼eauthor.▼4aut▼4http://id.loc.gov/vocabulary/relators/aut▲ | |
| 245 | 1 | 4 | ▼aThe underwater eye▼h[electronic resource] :▼bhow the movie camera opened the depths and unleashed new realms of fantasy /▼cMargaret Cohen.▲ |
| 260 | ▼aPrinceton, New Jersey :▼bPrinceton University Press,▼c[2022]▲ | ||
| 300 | ▼a1 online resource (xviii, 303 pages, 16 pages of plates) :▼billustrations (some color)▲ | ||
| 336 | ▼atext▼btxt▼2rdacontent▲ | ||
| 337 | ▼acomputer▼bc▼2rdamedia▲ | ||
| 338 | ▼aonline resource▼bcr▼2rdacarrier▲ | ||
| 347 | ▼atext file▼bPDF▼2rda▲ | ||
| 500 | ▼a28 color plates (following page 124) + 112 b/w illustrations.▲ | ||
| 504 | ▼aIncludes bibliographical references and index.▲ | ||
| 505 | 0 | 0 | ▼tFrontmatter --▼tContents --▼tList of Illustrations --▼tNote on Timestamps --▼tAcknowledgments --▼tIntroduction --▼t1 Vision Immersed, 1840-1953 --▼t2 The Wet Camera, 1951-1961 --▼t3 Liquid Fantasies, 1963-2004 --▼tEpilogue: On the Underwater Film Sets of Documentary: Fact and Fiction in Blue Planet II --▼tNotes --▼tWorks Cited --▼tIndex --▼tA note on the type▲ |
| 520 | ▼a"A rich history of underwater filmmaking and how it has profoundly influenced the aesthetics of movies and public perception of the oceansIn The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expanding the scope of popular imagination. Innovating on the most challenging film set on earth, filmmakers have tapped the emotional power of the underwater environment to forge new visions of horror, tragedy, adventure, beauty, and surrealism, entertaining the public and shaping its perception of ocean reality.Examining works by filmmakers ranging from J. E. Williamson, inventor of the first undersea film technology in 1914, to Wes Anderson, who filmed the underwater scenes of his 2004 The Life Aquatic with Steve Zissou entirely in a pool, The Underwater Eye traces how the radically alien qualities of underwater optics have shaped liquid fantasies for more than a century. Richly illustrated, the book explores documentaries by Jacques Cousteau, Louis Malle, and Hans Hass, art films by Man Ray and Jean Vigo, and popular movies and television shows such as 20,000 Leagues Under the Sea, Creature from the Black Lagoon, Sea Hunt, the Bond films, Jaws, The Abyss, and Titanic. In exploring the cultural impact of underwater filmmaking, the book also asks compelling questions about the role film plays in engaging the public with the remote ocean, a frontline of climate change."--Provided by publisher.▲ | ||
| 546 | ▼aIn English.▲ | ||
| 588 | ▼aDescription based on online resource; title from digital title page (viewed on July 31, 2023).▲ | ||
| 590 | ▼aWorldCat record variable field(s) change: 050, 082▲ | ||
| 650 | 0 | ▼aUnderwater cinematography.▲ | |
| 650 | 0 | ▼aMotion pictures▼xAesthetics.▲ | |
| 650 | 0 | ▼aMotion pictures▼xHistory.▲ | |
| 650 | 0 | ▼aWater in motion pictures.▲ | |
| 650 | 6 | ▼aCine�ma sous-marin.▲ | |
| 650 | 6 | ▼aCine�ma▼xEsthe�tique.▲ | |
| 650 | 6 | ▼aCine�ma▼xHistoire.▲ | |
| 650 | 6 | ▼aEau au cine�ma.▲ | |
| 650 | 7 | ▼aSOCIAL SCIENCE / Media Studies.▼2bisacsh▲ | |
| 650 | 7 | ▼aMotion pictures.▼2fast▼0(OCoLC)fst01027285▲ | |
| 650 | 7 | ▼aMotion pictures▼xAesthetics.▼2fast▼0(OCoLC)fst01027288▲ | |
| 650 | 7 | ▼aUnderwater cinematography.▼2fast▼0(OCoLC)fst01161081▲ | |
| 650 | 7 | ▼aWater in motion pictures.▼2fast▼0(OCoLC)fst01905107▲ | |
| 655 | 7 | ▼aHistory.▼2fast▼0(OCoLC)fst01411628▲ | |
| 776 | 0 | 8 | ▼iPrint version:▼aCohen, Margaret, 1958-▼tUnderwater eye.▼dPrinceton : Princeton University Press, c2022▼z9780691197975▲ |
| 856 | 4 | 0 | ▼uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2932524▲ |
The underwater eye[electronic resource] : how the movie camera opened the depths and unleashed new realms of fantasy
자료유형
국외eBook
서명/책임사항
The underwater eye [electronic resource] : how the movie camera opened the depths and unleashed new realms of fantasy / Margaret Cohen.
발행사항
Princeton, New Jersey : Princeton University Press , [2022]
형태사항
1 online resource (xviii, 303 pages, 16 pages of plates) : illustrations (some color)
일반주기
28 color plates (following page 124) + 112 b/w illustrations.
서지주기
Includes bibliographical references and index.
내용주기
Frontmatter -- Contents -- List of Illustrations -- Note on Timestamps -- Acknowledgments -- Introduction -- 1 Vision Immersed, 1840-1953 -- 2 The Wet Camera, 1951-1961 -- 3 Liquid Fantasies, 1963-2004 -- Epilogue: On the Underwater Film Sets of Documentary: Fact and Fiction in Blue Planet II -- Notes -- Works Cited -- Index -- A note on the type
요약주기
"A rich history of underwater filmmaking and how it has profoundly influenced the aesthetics of movies and public perception of the oceansIn The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expanding the scope of popular imagination. Innovating on the most challenging film set on earth, filmmakers have tapped the emotional power of the underwater environment to forge new visions of horror, tragedy, adventure, beauty, and surrealism, entertaining the public and shaping its perception of ocean reality.Examining works by filmmakers ranging from J. E. Williamson, inventor of the first undersea film technology in 1914, to Wes Anderson, who filmed the underwater scenes of his 2004 The Life Aquatic with Steve Zissou entirely in a pool, The Underwater Eye traces how the radically alien qualities of underwater optics have shaped liquid fantasies for more than a century. Richly illustrated, the book explores documentaries by Jacques Cousteau, Louis Malle, and Hans Hass, art films by Man Ray and Jean Vigo, and popular movies and television shows such as 20,000 Leagues Under the Sea, Creature from the Black Lagoon, Sea Hunt, the Bond films, Jaws, The Abyss, and Titanic. In exploring the cultural impact of underwater filmmaking, the book also asks compelling questions about the role film plays in engaging the public with the remote ocean, a frontline of climate change."--Provided by publisher.
언어주기
In English.
주제
Underwater cinematography.
Motion pictures, Aesthetics.
Motion pictures, History.
Water in motion pictures.
Cine�ma sous-marin.
Cine�ma, Esthe�tique.
Cine�ma, Histoire.
Eau au cine�ma.
SOCIAL SCIENCE / Media Studies.
Motion pictures.
Motion pictures, Aesthetics.
Underwater cinematography.
Water in motion pictures.
Motion pictures, Aesthetics.
Motion pictures, History.
Water in motion pictures.
Cine�ma sous-marin.
Cine�ma, Esthe�tique.
Cine�ma, Histoire.
Eau au cine�ma.
SOCIAL SCIENCE / Media Studies.
Motion pictures.
Motion pictures, Aesthetics.
Underwater cinematography.
Water in motion pictures.
기타형태저록
ISBN
9780691225524 0691225524
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