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000340891 001__ 340891
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000340891 008__ 081222s2009\\\\enka\\\\\b\\\\001\0\eng\\
000340891 020__ $$a9781906660123 (pbk.)
000340891 020__ $$a1906660123 (pbk.)
000340891 020__ $$a9781906660130
000340891 020__ $$a1906660131
000340891 035__ $$a(OCoLC)ocn286521454
000340891 035__ $$a340891
000340891 040__ $$aUKM$$cUKM$$dBTCTA$$dYDXCP$$dC#P$$dNLGGC$$dSINLB$$dYBM$$dHEBIS
000340891 049__ $$aISEA
000340891 050_4 $$aPN1993.5.A1$$bR37 2009
000340891 08204 $$a791.43$$222
000340891 1001_ $$aRascaroli, Laura.
000340891 24514 $$aThe personal camera :$$bsubjective cinema and the essay film /$$cLaura Rascaroli.
000340891 260__ $$aLondon ;$$aNew York :$$bWallflower Press,$$c2009.
000340891 300__ $$aviii, 226 p. :$$bill. ;$$c24 cm.
000340891 504__ $$aIncludes bibliographical references and index.
000340891 5050_ $$a1: The essay film -- The essay film: problems, definitions, textual commitments -- The metacritical voice(over) of the essay film: Harun Farocki, found footage and the essayist as spectator -- The musealisation of experience: Chris Marker's digital subject between archive, museum and database -- Performance and negotiation: Jean-Luc Godard plays Jean-Luc Godard -- 2: Personal cinema -- First-person filmmaking: history, theory, practices -- The diary film: Aleksandr Sokurov's Spiritual voices and the feeling of time -- The notebook film: Pier Paolo Pasolini and the film that cannot be made -- The self-portrait film: Michelangelo's last gaze.
000340891 650_0 $$aMotion pictures$$xHistory.
000340891 650_0 $$aFirst person narrative.
000340891 85200 $$bgen$$hPN1993.5.A1$$iR37$$i2009
000340891 909CO $$ooai:library.usi.edu:340891$$pGLOBAL_SET
000340891 980__ $$aBIB
000340891 980__ $$aBOOK