Post-war cinema and modernity

a film reader

Author: John Orr,Olga Taxidou

Publisher: N.A

ISBN: N.A

Category: Performing Arts

Page: 445

View: 9349

This Reader explores the relationship between film and modernity in the second half of the twentieth century.
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Cinema and Modernity

Author: Murray Pomerance

Publisher: Rutgers University Press

ISBN: 9780813538167

Category: Performing Arts

Page: 373

View: 6765

Brings together several essays by seventeen scholars to explore the complexity of the essential connection between film and modernity. This volume shows us the significant ways that film has both grown in the context of the modern world and played a central role in reflecting and shaping our interactions with it.
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Logic of Sentiment

The Postwar Japanese Cinema and Questions of Modernity

Author: Mitsuhiro Yoshimoto

Publisher: N.A

ISBN: N.A

Category: Motion pictures

Page: 442

View: 1101

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Post-War Modernist Cinema and Philosophy

Confronting Negativity and Time

Author: H. Ford

Publisher: Springer

ISBN: 1137283521

Category: Performing Arts

Page: 284

View: 7321

A unique study of four major post-war European films by four key 'auteurs', which argues that these films exemplify film modernism at the peak of its philosophical reflection and aesthetic experimentation.
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Schooling in Modernity

The Politics of Sponsored Films in Postwar Italy

Author: Paola Bonifazio

Publisher: University of Toronto Press

ISBN: 1442615982

Category: History

Page: 305

View: 4693

Paola Bonifazio investigates the ways in which films sponsored by Italian and American government agencies promoted a particular vision of modernization and industry and functioned as tools to govern the Italian people.
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The Demons of Modernity

Ingmar Bergman and European Cinema

Author: John Orr†

Publisher: Berghahn Books

ISBN: 0857459791

Category: Performing Arts

Page: 140

View: 1250

Ingmar Bergman's films had a very broad and rich relationship with the rest of European cinema, contrary to the myth that Bergman was a peripheral figure, culturally and aesthetically isolated from the rest of Europe. This book contends that he should be put at the very center of European film history by chronologically comparing Bergman's relationship to key European directors such as Carl Theodor Dreyer, Jean-Luc Godard, Michelangelo Antonioni, and Andrei Tarkovsky, and also looks at Bergman's critical relationship to key movements in film history such as the French New Wave. In so doing, it demonstrates how Ingmar Bergman's films illustrate the demonic struggle in modernity between faith and secularity through "his intense preoccupation with the malaise of intimacy."
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Cinema, Memory, Modernity

The Representation of Memory from the Art Film to Transnational Cinema

Author: Russell J.A. Kilbourn

Publisher: Routledge

ISBN: 1134550154

Category: Performing Arts

Page: 276

View: 3812

Since its inception, cinema has evolved into not merely a ‘reflection’ but an indispensable index of human experience – especially our experience of time’s passage, of the present moment, and, most importantly perhaps, of the past, in both collective and individual terms. In this volume, Kilbourn provides a comparative theorization of the representation of memory in both mainstream Hollywood and international art cinema within an increasingly transnational context of production and reception. Focusing on European, North and South American, and Asian films, Kilbourn reads cinema as providing the viewer with not only the content and form of memory, but also with its own directions for use: the required codes and conventions for understanding and implementing this crucial prosthetic technology — an art of memory for the twentieth-century and beyond.
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Screening Modernism

European Art Cinema, 1950-1980

Author: András Bálint Kovács

Publisher: University of Chicago Press

ISBN: 0226451631

Category: Art

Page: 427

View: 6185

Casting fresh light on the renowned productions of auteurs like Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, Screening Modernism is the first comprehensive study of European art cinema’s postwar heyday. Spanning from the 1950s to the 1970s, András Bálint Kovács’s encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art. Illustrating how the concepts of modernism and the avant-garde variously manifest themselves in film, Kovács begins by tracing the emergence of art cinema as a historical category. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema. Exploring not only modernism’s origins but also its stylistic, thematic, and cultural avatars, Screening Modernism ultimately lays out creative new ways to think about the historical periods that comprise this golden age of film.
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The Poetics of Iranian Cinema

Aesthetics, Modernity and Film After the Revolution

Author: Khatereh Sheibani

Publisher: I.B.Tauris

ISBN: 0857720449

Category: Literary Criticism

Page: 240

View: 8484

In the wake of the Islamic Revolution, Iran experienced not only profound political and social changes, but also underwent a dramatic shift in its cultural and literary discourse. In The Poetics of Iranian Cinema, Khatereh Sheibani argues that Persian poetry, fiction, painting and other art forms all were influenced by the upheavals of the 1970s and 80s, but that this remarkable cultural revolution is best evidenced in Iranian films. In fact, she holds that film ultimately replaced poetry as the dominant form of cultural expression in Iran, and that post-revolutionary poetics evolved from a literary and written-based poetry into a visually-oriented form of moving images. She thus presents a comparative analysis of post-revolutionary Iranian cinema as an offshoot of Iranian modernity, and explains its connections with the themes present in traditional Persian poetry and conventional visual arts. _x000D_ _x000D_ Despite the initial clerical denunciations of cinema after the Revolution, by the late 1980s and in the aftermath of the Iran-Iraq war, Iranian cinema had regained its position as a form of cultural expression. Many new wave directors, like Darush Mehrjui and Abbas Kiarostami, began to become more active, and drew on the formal and thematic elements within Persian literature and conventions of performing arts to create an Iranian art cinema. Sheibani therefore examines the pre-revolutionary film industry - such as Iranian new wave and filmfarsi movies - its styles and themes, and its relation to the emerging cinema after 1978. _x000D_ _x000D_ By employing a close examination of Kiarostami’s body of work - films such as ‘Where is the Friend’s House?’, ‘Through the Olive Trees’ or ‘Ten’ - as well as the films of Bahram Bayzai - such as ‘The Crow’ or ‘Travellers’ - Sheibani reveals a close resemblance to the classical poetic sub-genre of the ghazal in both formal structure and context. Relating Hafiz’s lyrical poetry to a particular kind poetic cinema known as cinema-ye taghazzuli (or lyrical cinema), Sheibani offers a valuable and very original contribution to the scholarly literature on Iranian cinema, politics and culture._x000D_
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Gender Meets Genre in Postwar Cinemas

Author: Christine Gledhill

Publisher: University of Illinois Press

ISBN: 0252093666

Category: Performing Arts

Page: 288

View: 2706

This remarkable collection uses genre as a fresh way to analyze the issues of gender representation in film theory, film production, spectatorship, and the contexts of reception. With a uniquely global perspective, these essays examine the intersection of gender and genre in not only Hollywood films but also in independent, European, Indian, and Hong Kong cinemas. Working in the area of postcolonial cinema, contributors raise issues dealing with indigenous and global cinemas and argue that contemporary genres have shifted considerably as both notions of gender and forms of genre have changed. The volume addresses topics such as the history of feminist approaches to the study of genre in film, issues of female agency in postmodernity, changes taking place in supposedly male-dominated genres, concepts of genre and its use of gender in global cinema, and the relationship between gender and sexuality in film. Contributors are Ira Bhaskar, Steven Cohan, Luke Collins, Pam Cook, Lucy Fischer, Jane Gaines, Christine Gledhill, Derek Kane-Meddock, E. Ann Kaplan, Samiha Matin, Katie Model, E. Deidre Pribram, Vicente Rodriguez Ortega, Adam Segal, Chris Straayer, Yvonne Tasker, Deborah Thomas, and Xiangyang Chen.
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Crisis of Gender and the Nation in Korean Literature and Cinema

Modernity Arrives Again

Author: Kelly Y. Jeong

Publisher: Lexington Books

ISBN: 073912451X

Category: Literary Criticism

Page: 125

View: 3841

This book is about the changing constructs of modernity, masculinity, and gender relations and discourses in Korean literature and cinema during the crucial decades of the colonial and postcolonial era, from the 1920s to the 1960s, which have an enduring and wide-ranging impact on Korea's cultural experiences of the past century.
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Deleuze & Fascism

Security: War: Aesthetics

Author: Brad Evans,Julian Reid

Publisher: Routledge

ISBN: 1136680233

Category: Political Science

Page: 216

View: 1047

This edited volume deploys Deleuzian thinking to re-theorize fascism as a mutable problem in changing orders of power relations dependent on hitherto misunderstood social and political conditions of formation. The book provides a theoretically distinct approach to the problem of fascism and its relations with liberalism and modernity in both historical and contemporary contexts. It serves as a seminal intervention into the debate over the causes and consequences of contemporary wars and global political conflicts as well as functioning as an accessible guide to the theoretical utilities of Deleuzian thought for International Relations (IR) in a manner that is very much lacking in current debates about IR. Covering a wide array of topics, this volume will provide a set of original contributions focussed in particular upon the contemporary nature of war; the increased priorities afforded to the security imperative; the changing designs of bio-political regimes, fascist aesthetics; nihilistic tendencies and the modernist logic of finitude; the politics of suicide; the specific desires upon which fascism draws and, of course, the recurring pursuit of power. An important contribution to the field, this work will be of great interest to students and scholars of international relations, fascism and international relations theory.
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Film Noir and the Spaces of Modernity

Author: Edward Dimendberg

Publisher: Harvard University Press

ISBN: 9780674013469

Category: Performing Arts

Page: 327

View: 874

Exploring classic examples of film noir such as 'The Asphalt Jungle', 'Double Indemnity' and 'Kiss Me Deadly', alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper and Siegfried Kracauer.
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Italian Locations

Reinhabiting the Past in Postwar Cinema

Author: Noa Steimatsky

Publisher: U of Minnesota Press

ISBN: 081665087X

Category: Performing Arts

Page: 246

View: 3856

Fascism and the Second World War left Italy indelibly changed, and cinema was arguably the art that most rigorously confronted the devastated nation. In this examination of four Italian filmmakers, Noa Steimatsky brilliantly maps their forceful negotiation of Italy’s identity and posits that the cinematic forms they employ constitute an imaginary reinhabiting of Italy-one that is inextricably linked with the political, physical, and symbolic predicament of reconstruction. A dynamic intersection of pictorial and photographic, architectural and literary discourses inform Steimatsky’s revisionist interrogation of exemplary works from the 1940s to the mid–1960s. From the earliest documentary work of Michelangelo Antonioni on the River Po to Pier Paolo Pasolini’s re-siting of the Gospel in the arid, peripheral landscape of the Italian south, and from Roberto Rossellini’s tracing of a neorealist project in ruinous Berlin to Luchino Visconti’s wrought grandeur visited upon a humble Sicilian fishing village, Italian Locations probes the historical experience of displacement, anachronism, and a thoroughly contemporary anxiety in the cinematic arena. For Steimatsky, Antonioni’s modernist achievement, informed by his native landscape, Rossellini’s neorealist image of Italy as a nation of ruins, Visconti’s reaching back to the nineteenth century and even more archaic pasts, and Pasolini’s ambivalence about modernity-all partake in a search for a politically and culturally redeemed Italy. Noa Steimatsky is associate professor of the history of art and film studies at Yale University.
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Post-War Italian Cinema

American Intervention, Vatican Interests

Author: Daniela Treveri Gennari

Publisher: Routledge

ISBN: 1135894973

Category: History

Page: 218

View: 835

This book focuses on the involvement of the United States and the Vatican in the Italian film industry between 1945 and 1960.€Gennari analyzes the€tensions between economic (film industry), political (government) and ideological pressures.
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Chinese National Cinema

Author: Yingjin Zhang

Publisher: Psychology Press

ISBN: 9780415172899

Category: Performing Arts

Page: 328

View: 6751

This introduction to Chinese national cinema covers three 'Chinas': mainland China, Hong Kong and Taiwan. Historical and comparative perspectives bring out the parallel developments in these three Chinas, while critical analysis explores thematic and stylistic changes over time. As well as exploring artistic achievements and ideological debates, Yingjin Zhang examines how - despite the pressures placed on the industry from state control and rigid censorship - Chinese national cinema remains incapable of projecting a single unified picture, but rather portrays many different Chinas.
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Cold War Film Genres

Author: Homer B. Pettey

Publisher: Traditions in American Cinema

ISBN: 9781474412940

Category: History

Page: 256

View: 2589

A hands-on approach to historical linguistics working through 101 problems in five different categories
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Situating the Feminist Gaze and Spectatorship in Postwar Cinema

Author: Marcelline Block

Publisher: Cambridge Scholars Publishing

ISBN: 1443804398

Category: Performing Arts

Page: 410

View: 1654

Marcelline Block’s Situating the Feminist Gaze and Spectatorship in Postwar Cinema breaks new ground in exploring feminist film theory. It is a wide-ranging collection (re)visiting important theoretical questions as well as offering close analyses of films produced in the United States, France, England, Belgium, and Russia. This anthology investigates exciting areas of research for critical inquiry into film and gender studies as well as feminist, queer, and postfeminist theories, and treats film texts from Marguerite Duras to 21st century horror films; from Agnès Varda’s 2007 installation at the Panthéon to the post-Soviet Russian filmmakers Aleksei Balabanov and Valerii Todorovskii; from Quentin Tarantino’s Death Proof to Sofia Coppola’s postfeminist trilogy; from Chantal Akerman’s “transhistorical, transgressive and transgendered gaze” to the “quantum gaze” in Steven Spielberg’s Jurassic Park; from Hitchcock’s “good-looking blondes” to the career-woman-in-peril thriller, among others. According to the semiotician Marshall Blonsky of the New School University in New York, “given the breadth of the editor’s choices, this volume makes a splendid contribution to feminist and cinematic fields, as well as cultural and media studies, postmodernism, and postfeminism. It lends readers ‘new eyes’ to view canonical and other film texts.” David Sterritt, chairman of the National Society of Film Critics, states that this anthology “should be required reading for students and scholars, among other readers interested in the interaction of cinema with contemporary culture.” Situating the Feminist Gaze and Spectatorship is prefaced by Jean-Michel Rabaté’s brilliant essay, “Mulvey was the First…”
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Photography, Early Cinema and Colonial Modernity

Frank Hurley's Synchronized Lecture Entertainments

Author: Robert Dixon

Publisher: Anthem Press

ISBN: 0857287958

Category: Biography & Autobiography

Page: 256

View: 3702

‘Photography, Early Cinema and Colonial Modernity’ is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker. The focus of this volume surrounds the media events that encompassed these various creations – what Hurley called his ‘synchronized lecture entertainments’. These media events were at once national and international; they involved Hurley in an entire culture industry that was constantly in movement along global lines of travel and communication. This raises complex questions both about the authorship of Hurley’s photographic and filmic texts – which were often produced and presented by other people – and about their ontology, as they were often in a state of reassemblage in response to changing market opportunities. This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life enjoyed by Hurley’s creations amidst the complicated topography of the early twentieth century’s rapidly internationalizing mass-media landscape. As a way to conceive of that space, and of the social life of the people and things within it, this study uses the concept of ‘colonial modernity’.
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