<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="6.x">Drupal-Biblio</source-app><ref-type>6</ref-type><contributors></contributors><titles><title><style face="normal" font="default" size="100%">The movement-image [electronic resource].</style></title><short-title><style face="normal" font="default" size="100%">Gilles Deleuze ; translated by Hugh Tomlinson and Barbara Habberjam.</style></short-title></titles><dates><year><style  face="normal" font="default" size="100%">1986</style></year></dates><reprint-edition><style face="normal" font="default" size="100%">Minneapolis : University of Minnesota, c1986.</style></reprint-edition><pages><style face="normal" font="default" size="100%">xiii, 250 p. ; 23 cm.</style></pages><abstract><style face="normal" font="default" size="100%">Gilles Deleuze’s two-volume &lt;em&gt;Cinema 1: The Movement-Image&lt;/em&gt; and &lt;em&gt;&lt;a href=&quot;http://searchworks.stanford.edu/view/7769272&quot;&gt;Cinema 2: The Time-Image&lt;/a&gt;&lt;/em&gt; is as much a philosophical treatise on film as it is a contribution to film theory.  The two volumes split at 1945 with &lt;em&gt;Cinema 1&lt;/em&gt; focusing on films produced before the Second World War and &lt;em&gt;Cinema 2&lt;/em&gt; concentrating on films produced after WWII.  This first volume takes a look at the Soviet school of filmmaking, particularly the evolution of montage, as well as the films of Griffith, Welles, Dreyer, and others.  Deleuze’s language is at times opaque, but for the patient reader, rewards await.</style></abstract><call-num><style face="normal" font="default" size="100%">Available through ebrary.</style></call-num></record></records></xml>