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- Landscape gives meaning to cinematic events and positions narratives within a particular scale and historical context. Where place and landscape ground action and the construction of meaning, space provides the stage for the story to unfold.
www.academia.edu/824667/On_Landscape_in_Narrative_Cinema
Feb 17, 2020 · The performance and enactive aspects of film tours revealed multiple assemblings of knowing and doing film‐landscape, reproducing a film experience and creating relations between film and landscape.
- Erena Le Heron
- 2020
May 25, 2006 · Landscape is everywhere in film, but it has been largely overlooked in theory and criticism. This volume of new work will address fundamental questions: What kind of landscape is cinematic landscape? How is cinematic landscape different from landscape painting?
- Martin Lefebvre
- 2007
Feb 1, 2022 · This essay explores the aesthetic and material force of landscape in cinema, an entity that has long been considered an index of localized climates. I adopt a transmedial and triangulated approach to cinematic landscape as filmed image, as circulating imaginary, and as the physical ground of film production. I argue...
Jan 1, 2007 · This work presents a theoretical and analytical approach to the relationship between cinema and geographic space. First, special cinematographic qualities are differentiated from those of other...
The landscapes in Studio Ghibli anime are visually analyzed through the lens of human-nature relationship by classifying them into various parameters of place, space, character and metaphor to understand the environmental ethos they portray.
four approaches to looking at landscape in film are proposed: landscape as subject ( the documentary tradition), landscape as setting (the stage set), landscape as character ( the land- scape as member of the cast and analyzed as such), and landscape as symbol.
In his introduction to the edited collection Landscape and Film, Martin Lefebvre develops a number of ideas about the relationship between cinema and landscape. He points out that ‘every unit of meaning in a film–whether an action, a view of an object, etc.–implies a setting (or settings)’. 57 Therefore, implicit in any film is the ...
