Mikhail Yampolsky
Biographic Data
| ID | 3766537 |
|---|---|
| NAME | Mikhail Yampolsky |
| GIVEN NAMES | Mikhail |
| FAMILY NAME | Yampolsky |
| SIGNATURE | YAMPOLSKY M |
| AFFILIATIONS | Moscow City University |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2013 |
| H-INDEX | 2 |
Точка – пафос – тотальность [Point – pathos – totality]
Point – pathos – totalityTwo situations are possible when two fragments are confronted in montage. First, we can have a continuity corresponding to some established narrative codes. For instance, a character crosses the right border of the frame and reappears from behind the left side of the next frame. Such a figure will be read as a representation of continuity, but shown not in its integrity. The gap in spatial continuity is compensated here b…
La ligne prend corps
La mescaline, de même que d'autres drogues, change la voie de la perception visuelle en déplaçant la « lecture » de la figure vers le fond et en rendant les graphes linéaires. Ces modifications bouleversent la construction de l'illusion de réalité. L'auteur étudie ces métamorphoses de la perception visuelle, stimulées par les modificateurs de conscience, telles qu'elles apparaissent dans quelques textes classiques du XIXème siècle : les histoires…
Mask Face and Machine Face
Lev Kuleshov' (1899-1970), a pioneer of Soviet cinema and film theory, wrote avidly about the training and functioning of the body of the model2 posing for the camera in great detail. Consistently taking as his starting point something of a cross between the methods of Delsarte and Dalcroze,3 Kuleshov developed his own conception about the behavior of the actor-that ideal, mechanized, exceptionally precise being (Yampolsky 1991). This human machi…
Voice Devoured
Antonin Artaud's article Les souffrances du 'dubbing' (The torments of dubbing) appears to have been written in 1933.1 Discovered soon after his death, it was published posthumously. At first glance, it appears to be a straightforward vindication of those French actors who sold their voices for pittances to American film companies engaged in dubbing their own productions for the foreign market. A closer look at the text will, however, reveal a co…
Reality at Second Hand
1991). Reality at Second Hand. Historical Journal of Film, Radio and Television: Vol. 11, No. 2, pp. 161-171
Reality at Second Hand
1991). Reality at Second Hand. Historical Journal of Film, Radio and Television: Vol. 11, No. 2, pp. 161-171
Voice Devoured
Antonin Artaud's article Les souffrances du 'dubbing' (The torments of dubbing) appears to have been written in 1933.1 Discovered soon after his death, it was published posthumously. At first glance, it appears to be a straightforward vindication of those French actors who sold their voices for pittances to American film companies engaged in dubbing their own productions for the foreign market. A closer look at the text will, however, reveal a co…
Reality at Second Hand
1991). Reality at Second Hand. Historical Journal of Film, Radio and Television: Vol. 11, No. 2, pp. 161-171
Voice Devoured
Antonin Artaud's article Les souffrances du 'dubbing' (The torments of dubbing) appears to have been written in 1933.1 Discovered soon after his death, it was published posthumously. At first glance, it appears to be a straightforward vindication of those French actors who sold their voices for pittances to American film companies engaged in dubbing their own productions for the foreign market. A closer look at the text will, however, reveal a co…
Mask Face and Machine Face
Lev Kuleshov' (1899-1970), a pioneer of Soviet cinema and film theory, wrote avidly about the training and functioning of the body of the model2 posing for the camera in great detail. Consistently taking as his starting point something of a cross between the methods of Delsarte and Dalcroze,3 Kuleshov developed his own conception about the behavior of the actor-that ideal, mechanized, exceptionally precise being (Yampolsky 1991). This human machi…
La ligne prend corps
La mescaline, de même que d'autres drogues, change la voie de la perception visuelle en déplaçant la « lecture » de la figure vers le fond et en rendant les graphes linéaires. Ces modifications bouleversent la construction de l'illusion de réalité. L'auteur étudie ces métamorphoses de la perception visuelle, stimulées par les modificateurs de conscience, telles qu'elles apparaissent dans quelques textes classiques du XIXème siècle : les histoires…
Точка – пафос – тотальность [Point – pathos – totality]
Point – pathos – totalityTwo situations are possible when two fragments are confronted in montage. First, we can have a continuity corresponding to some established narrative codes. For instance, a character crosses the right border of the frame and reappears from behind the left side of the next frame. Such a figure will be read as a representation of continuity, but shown not in its integrity. The gap in spatial continuity is compensated here b…
Art (5 works) · Aesthetics (4 works) · Cinema and Media Studies (3 works) · Computer Science (3 works) · Philosophy (3 works) · Philosophy (3 works) · Epistemology (2 works) · Italian Fascism and Post-war Society (2 works) · Mathematics (2 works) · Point (geometry (2 works)