Alfred Guzzetti

Datos Biográficos

ID3864508
NOMBREAlfred Guzzetti
NOMBRESAlfred
APELLIDOGuzzetti
FIRMAGUZZETTI A
VERIFICADONo
TOTAL DE OBRAS6
TOTAL DE CITAS4
TOTAL COMO AUTOR6
TOTAL COMO EDITOR0
PRIMER AÑO DE PUBLICACIÓN1972
AÑO MÁS RECIENTE DE PUBLICACIÓN2008
ÍNDICE H1

  • A Few Things for Themselves

    Alfred GuzzettiARTICLENew Literary History2008

    What characteristics inform the camera's view of things? Is a photograph or a film image capable of offering a view of an object simply for itself, regarded for itself, or must that view at its origin bring along a baggage of signification, metaphoric or otherwise? Can this question be disentangled from the way that the author of the image is to one degree or another inscribed in it, irresistibly leading the viewer back to the spatial realities t…

  • Notes on Representation and the Nonfiction Film

    Alfred GuzzettiARTICLENew Literary History1996Citada por: 1

    New Literary History - Volume 27, Number 2, Spring 1996

  • The Imaginary Signifier

    Philip Rosen, Christian Metz et al.ARTICLESubStance1983

  • The Fiction Film and Its Spectator

    Christian Metz, Alfred GuzzettiARTICLENew Literary History1976Citada por: 3

    Christian Metz, Alfred Guzzetti, The Fiction Film and Its Spectator: A Metapsychological Study, New Literary History, Vol. 8, No. 1, Readers and Spectators: Some Views and Reviews (Autumn, 1976), pp. 75-105

  • Narrative and the Film Image

    Alfred GuzzettiARTICLENew Literary History1975

    (I) the verisimilitude of the space, within which the position of the character is always determined, even when a close-up eliminates the decor; (2) [the fact that] the intention and effects of the decoupage are exclusively dramatic or psychological. In other words, played in a theater and seen from a seat in the orchestra, the scene would have exactly the same meaning, the event would continue to exist objectively. The changes in the camera's po…

  • The Role of Theory in Films and Novels

    Alfred GuzzettiARTICLENew Literary History1972

    T HINKING about film requires a theory which first defines the nature of the film image and the principles which underlie valid associations of images with each other and with sound. Though a corresponding requirement-that of a theory of prose narrative-may exist in the case of the novel, there it seems less pressing. Written narrative takes its form from language, which theory can describe but not create or alter. The composition, criticism, and…