MARC Record from marc_oapen

LEADER: 01962 am a22002653u 450
001 340125
005 20191210
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008 191210s|||| xx o 0 u und |
020 $a9789053569795
024 7 $a10.5117/9789053569795$2doi
041 0 $aund
042 $adc
072 7 $aPD$2bicssc
100 1 $aSimons, Jan$4aut
245 10 $aPlaying the Waves
260 $a$bAmsterdam University Press$c2007
300 $a256
520 $aDogma95 has been heralded as the European alternative to the Hollywood Blockbuster. For many critics and film lovers, Dogma95 and Von Trier's films have become synonymous with the notions usually associated with independent film making: low budgets and realism. Von Trier's approach to film making, however, takes cinema beyond the traditional confines of film aesthetics and radically transposes the practice of film making and film itself right into what has become the paramount genre of new media: games and gaming. Dogma 95, this book argues, is not an exceptional phase in Von Trier's carreer - as it was for his cofounders - but the most explicit formulation of Von Trier's cinematic games aesthetics, that has guided the conception and production of all of his films. The launching of Dogma95 and the infamous Dogma Manifesto was a game; Von Trier redefines the practice of film making as a rule bound activity, he brings forms and structures of games to bear on his films, and he draws some sobering lessons from economic and evolutionary game theory. Von Trier's films can be better understood from the perspective of games studies and game theory than from the point of view of traditional film theory and film aesthetics.
546 $aUndetermined.
650 7 $aScience: general issues$2bicssc
653 $awetenschap algemeen
653 $apopular science
856 40 $uhttp://www.oapen.org/download?type=document&docid=340125$zAccess full text online
856 40 $uAll rights reserved$zLicense