92 results on '"Aitken, Ian"'
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2. ‘Introduction: Photography’ and ‘Basic Concepts’, from Theory of Film (Kracauer 1960)
3. ‘Photography’ (Kracauer 1927)
4. The Specificity of the Aesthetic (Lukács 1963)
5. Introduction to Kracauer: Abstraction, Redemption and Modernity1
6. ‘On the Phenomenology of the Creative Process’ (Lukács 1914)
7. Cinematic Realism
8. Cinematic Realism
9. Bergson, the Image and Time
10. Representation, Perception and Cinematic Realism
11. ‘Thoughts towards an Aesthetic of the Cinema’ (Lukács 1913)
12. Husserl, Epochē and Lebenswelt
13. Introduction to Lukács: Essence, Phenomena and Temporality
14. The Documentary Film Movement
15. European Film Theory and Cinema
16. From the historical cinema of democratic humanism to the film Novelle
17. La Bête humaine, the evolution of French cinematic realism and naturalism 1902–38, and the influence of the nineteenth-century tradition
18. Transcendental illusion and the scope for realism
19. Introduction
20. Acknowledgements
21. Contents
22. Index
23. ‘The adequate presentation of the complete human personality’, Lukács and the nineteenth-century realist tradition
24. Bibliography
25. ‘And what about the spiritual life itself ?’, distraction, transcendence and redemption: the intuitionist realist tradition in the work of John Grierson, André Bazin and Siegfried Kracauer
26. From the ‘true style’ to the ‘art-form of the bourgeoisie’
27. Conclusions
28. Front matter
29. Dedication
30. Authoritarianism, the struggle for current affairs public service broadcasting and Radio Television Hong Kong
31. The People’s Action Party Government of Singapore and Berita Singapura
32. Introduction
33. Introduction
34. 1. The People’s Action Party Government of Singapore and Berita Singapura
35. Introduction
36. The ‘Naturalist’ Treatment of Film in The Specificity of the Aesthetic (Georg Lukács, 1963) and One Day in the Life of Ivan Denisovich (Alexander Solzhenitsyn, 1962; Caspar Wrede, 1970)
37. Introduction
38. Chapter 9 The ‘Naturalist’ Treatment of Film in The Specificity of the Aesthetic (Georg Lukács, 1963) and One Day in the Life of Ivan Denisovich (Alexander Solzhenitsyn, 1962; Caspar Wrede, 1970)
39. Berita Singapura (1963–9) and Hong Kong Today (1967–73)
40. The Rise of Television, Persistence of Authoritarianism, and Decline of the Official Film in Singapore, Malaya/Malaysia and Hong Kong, 1955–75
41. The Use of the Official Film in Malaya/Malaysia, Singapore and Hong Kong, 1957–1973, and the Role of the United Kingdom Information Services, British Information Services, British Council and Hong Kong Government Information Services (with Ka Yee Teresa Ho)
42. Delusions of Regional Superintendence at the End of Empire and the Case of the Singapore Regional Information Office, 1947–61
43. Diverging Jurisdictions: The Influence of ‘Griersonian’ and ‘Civil Service’ Traditions of Official Film-making on the Malayan Film Unit (1946–57) and Hong Kong Film Unit (1959–73)
44. The British Official Film in South-East Asia
45. The Forms of the British Official/Sponsored Documentary Film
46. The Documentary Film in Hong Kong
47. Hong Kong Documentary Film
48. The Griersonian Influence and Its Challenges: Malaya, Singapore, Hong Kong (1939–73)
49. Film and Reform
50. John Grierson and the Documentary Film Movement
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