02126cam a2200409 i 450000100090000000300080000900500170001700600190003400700030005300800410005601000170009702000300011402000270014404000280017104100080019904200080020705000240021508200150023910000290025424500920028326400580037530000280043333600260046133700280048733800270051550400670054250502110060952006300082065000330145065000370148365000330152065000490155365000220160265000290162465000310165370000320168420767314BJBSDDR20230411090807.0a|||||r|||| 00| 0 ta181204s2019 mnu b s001 0 eng  a 2018046160 a9780816641338 (softcover) a0816641331 (softcover) aDLCbengcDLCerdadDLC aeng apcc14aPN 1995bP438e 201900a791.4301/51 aPerez, Gilberto, d1943-14aThe eloquent screen :ba rhetoric of film /cGilberto Perez ; foreword by James Harvey. 1aMinneapolis :bUniversity of Minnesota Press,c[2019] axxi, 405 pages ;c23 cm atextbtxt2rdacontent aunmediatedbn2rdamedia avolumebnc2rdacarrier aIncludes bibliographical references (pages 355-379) and index. aPublisher's note -- Foreword / James Harvey -- On Gil Perez / Diane Stevenson -- Preface -- Introduction: John Ford's rhetoric -- Cinematic tropes -- Melodrama and film technique -- Coda: Of identification. aCinema is commonly hailed as "the universal language," but how does it communicate so effortlessly across cultural and linguistic borders? Drawing on a lifetime's worth of viewing an reviewing, influential critic Gilberto Perez invokes a dizzying array of masters past and present including Chaplin, Ford, Kiarostami, Eisenstein, Malick, Mizoguchi, Haneke, Hitchcock, and Godard--to explore the transaction between filmmaker and audience. The Eloquent Screen shows how cinema, as the consummate contemporary art form, establishes a thoroughly modern rhetoric in which different points of view are brought into clear focus. -- 0aMotion picturesxPhilosophy. 0aSubjectivity in motion pictures. 0aMetaphor in motion pictures. 0aMotion picture playsxHistory and criticism. 4aCinexFilosofía 4aSubjetividad en el cine  4aCinexHistoria y crítica1 aHarvey, James eprologuista