Screening Modernism

European Art Cinema, 1950-1980

Author: András Bálint Kovács

Publisher: University of Chicago Press

ISBN: 0226451631

Category: Art

Page: 427

View: 4597

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.
Release

Screening Modernism

European Art Cinema, 1950-1980

Author: András Bálint Kovács

Publisher: University of Chicago Press

ISBN: 9780226451657

Category: Performing Arts

Page: 440

View: 4535

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.
Release

German Façade Design

Traditions of Screening from 1500 to Modernism

Author: Randall Ott

Publisher: Routledge

ISBN: 131712846X

Category: Architecture

Page: 416

View: 8852

German architecture prior to the modern period has received less systemic, analytical study than that of Italy, France, and Britain. Scholarly discussion of broad traditions or continuities within Germanic or Central European façade design is even sparser. Baroque era studies of the region mostly devote themselves to isolated architects, monuments, or movements. Modernism's advent decisively changed this: Germanic architecture enjoyed sudden ascendancy. Yet, even so, study specifically of that region's façades still lagged – nothing compares to the dozens of treatments of Le Corbusier's façade systems, for example, and how these juxtapose with French neoclassical or Italian Renaissance methods. Given the paucity of multi-period studies, one can be forgiven for believing Germany's effervescence of radical, modern works seems unprecedented. This book takes up these multiple quandaries. It identifies and documents a previously unrecognized compositional tradition - characterized here as the 'screen façade' – and posits it as a counter-narrative critiquing the essentialist, 'authentic' canon currently dominant in Western architectural history. By crossing evenly over the dividing line between the historical and modern periods, it offers valuable insights on indigenous roots underlying some aspects of Germany's invigorating early twentieth-century architectural developments. The book chronologically examines 400 years of closely related facades, concentrated in Germany but also found in Austria, the Czech Republic, German-speaking Switzerland, and nearby areas of Central Europe. While nearly 75 buildings are mentioned and illustrated, a dozen are given extensive analysis and the book focuses on the works of three architects – Schinkel, Behrens and Mies. Relationships between examples of these three architects' façades far transcend mere homage amongst masters. Glimmers of the system they eventually codify are apparent as early as at Heidelberg Castle in 1559 and Nürnberg's Rathaus in 1622. The book argues that in Germany, northern Gothic affinities for bisection, intense repetition and rote aggregation intersected with southern Classical affinities for symmetry, hierarchy and centrality, thereby spawning a unique hybrid product – the screen. Instead of graphic formality, this study is guided by on-site perceptions, propositional contrasts, means of approach, interpretive conflicts and emotion and it relates the design of these façades to concepts proposed by contemporary philosophers including Novalis, Hegel, Nietzsche, Freud, Adorno, and, most importantly, Gadamer on hermeneutics.
Release

Film and Literary Modernism

Author: Robert P. McParland

Publisher: Cambridge Scholars Publishing

ISBN: 144386644X

Category: Art

Page: 255

View: 5626

In Film and Literary Modernism, the connections between film, modernist literature, and the arts are explored by an international group of scholars. The impact of cinema upon our ways of seeing the world is highlighted in essays on city symphony films, avant-garde cinema, European filmmaking and key directors and personalities from Charlie Chaplin, Sergei Eisenstein and Alain Renais to Alfred Hitchcock and Mae West. Contributors investigate the impact of film upon T. S. Eliot, time and stream of consciousness in Virginia Woolf and Henri Bergson, the racial undercurrents in the film adaptations of Ernest Hemingway’s fiction, and examine the film writing of William Faulkner, James Agee, and Graham Greene. Robert McParland assembles an international group of researchers including independent film makers, critics and professors of film, creative writers, teachers of architecture and design, and young doctoral scholars, who offer a multi-faceted look at modernism and the art of the film.
Release

The Cinema of BŽla Tarr

The Circle Closes

Author: Andr‡s Kov‡cs

Publisher: Columbia University Press

ISBN: 0231165315

Category: Performing Arts

Page: 256

View: 7228

The Cinema of Béla Tarr is a critical analysis of the work of Hungary's most prominent and internationally best known film director, written by a scholar who has followed Bela Tarr's career through a close personal and professional relationship for more than twenty-five years. András Bálint Kovács traces the development of Tarr's themes, characters, and style, showing that almost all of his major stylistic and narrative innovations were already present in his early films and that through a conscious and meticulous recombination of and experimentation with these elements, Tarr arrived at his unique style. The significance of these films is that, beyond their aesthetic and historical value, they provide the most powerful vision of an entire region and its historical situation. Tarr's films express, in their universalistic language, the shared feelings of millions of Eastern Europeans.
Release

Between Film and Screen

Modernism's Photo Synthesis

Author: Garrett Stewart

Publisher: University of Chicago Press

ISBN: 9780226774114

Category: Literary Criticism

Page: 386

View: 3560

What is the mysterious region between photography and the phenomenon of narrative cinema, between the photogram - a single film frame - and the illusion of motion we recognise as movies?
Release

Modernism Today

Author: Sjef Houppermans,Pete Liebregts,Jan Baetens,Otto Boele

Publisher: Rodopi

ISBN: 9401209952

Category: History

Page: 283

View: 7342

This book manifests at least four recent shifts and tendencies within Modernist studies in general that point at the expansion of this increasingly interdisciplinary field. First, Modernist studies has seen a temporal expansion, to the extent that scholars in the field have come to turn to both the pre- and posterior history of Modernism. Second, the field has witnessed a spatial expansion, in that increasingly so researchers have also come to scrutinize the Modernisms of regions at the fringes of Europe, and beyond. Thirdly, a vertical expansion too has marked Modernist studies in recent decades, not only by further expanding the canon of women writers and exploring the continuum between high- and lowbrow, but also by looking at the artistic and mediatized hierarchies and cross-fertilizations operative in the period. A fourth conceptual expansion of the field shows that whereas concepts such as “middlebrow”, “arrière-garde”, and to some extent even “avant-garde”, were once exotic notions of at best marginal importance in European Modernist studies, they now form part and parcel of the field, complicating and expanding it conceptually.
Release

Theorizing Art Cinemas

Foreign, Cult, Avant-Garde, and Beyond

Author: David Andrews

Publisher: University of Texas Press

ISBN: 0292747764

Category: Performing Arts

Page: 309

View: 4882

The term “art cinema” has been applied to many cinematic projects, including the film d’art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies—an activity that has occurred across film history and across film subcultures—rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.
Release

Moving Color

Early Film, Mass Culture, Modernism

Author: Joshua Yumibe

Publisher: Rutgers University Press

ISBN: 0813552982

Category: Performing Arts

Page: 230

View: 5266

Color was used in film well before The Wizard of Oz. Thomas Edison, for example, projected two-colored films at his first public screening in New York City on April 23, 1896. These first colors of early cinema were not photographic; they were applied manually through a variety of laborious processes—most commonly by the hand-coloring and stenciling of prints frame by frame, and the tinting and toning of films in vats of chemical dyes. The results were remarkably beautiful. Moving Color is the first book-length study of the beginnings of color cinema. Looking backward, Joshua Yumibe traces the legacy of color history from the beginning of the nineteenth century to the cinema of the early twentieth century. Looking forward, he explores the implications of this genealogy on experimental and contemporary digital cinemas in which many colors have become, once again, vividly unhinged from photographic reality. Throughout this history, Moving Color revolves around questions pertaining to the sensuousness of color: how color moves us in the cinema—visually, emotionally, and physically.
Release

Secrecy and Sapphic Modernism

Writing Romans à Clef Between the Wars

Author: S. Nair

Publisher: Springer

ISBN: 0230356184

Category: Social Science

Page: 207

View: 7986

Novels by significant Modernist authors can be described as romans à clef , providing insight into restrictions governing the representation of female homosexuality in the early twentieth century. Nair argues that key novels of the period represented same-sex desire through the encryption of personal references directed towards coterie audiences.
Release

Samuel Beckett and Cinema

Author: Anthony Paraskeva

Publisher: Bloomsbury Publishing

ISBN: 1472533232

Category: Literary Criticism

Page: 224

View: 6039

In 1936, Samuel Beckett wrote a letter to the Soviet film director Sergei Eisenstein expressing a desire to work in the lost tradition of silent film. The production of Beckett's Film in 1964, on the cusp of his work as a director for stage and screen, coincides with a widespread revival of silent film in the period of cinema's modernist second wave. Drawing on recently published letters, archival material and production notebooks, Samuel Beckett and Cinema is the first book to examine comprehensively the full extent of Beckett's engagement with cinema and its influence on his work for stage and screen. The book situates Beckett within the context of first and second wave modernist filmmaking, including the work of figures such as Vertov, Keaton, Lang, Epstein, Flaherty, Dreyer, Godard, Bresson, Resnais, Duras, Rogosin and Hitchcock. By examining the parallels between Beckett's methods, as a writer-director, and particular techniques, such as the embodied presence of the camera, the use of asynchronous sound, and the cross-pollination of theatricality and cinema, as well as the connections between his collaborators and the nouvelle vague, the book reveals how Beckett's aesthetic is fundamentally altered by his work for the screen, and his formative encounters with modernist film culture.
Release

An Amorous History of the Silver Screen

Shanghai Cinema, 1896-1937

Author: Zhang Zhen

Publisher: University of Chicago Press

ISBN: 9780226982373

Category: History

Page: 488

View: 8377

Shanghai in the early twentieth century was alive with art and culture. With the proliferation of popular genres such as the martial arts film, the contest among various modernist filmmakers, and the advent of sound, Chinese cinema was transforming urban life. But with the Japanese invasion in 1937, all of this came to a screeching halt. Until recently, the political establishment has discouraged comprehensive studies of the cultural phenomenon of early Chinese film, and this momentous chapter in China's history has remained largely unexamined. The first sustained historical study of the emergence of cinema in China, An Amorous History of the Silver Screen is a fascinating narrative that illustrates the immense cultural significance of film and its power as a vehicle for social change. Named after a major feature film on the making of Chinese cinema, only part of which survives, An Amorous History of the Silver Screen reveals the intricacies of this cultural movement and explores its connections to other art forms such as photography, architecture, drama, and literature. In light of original archival research, Zhang Zhen examines previously unstudied films and expands the important discussion of how they modeled modern social structures and gender roles in early twentieth-century China. The first volume in the new and groundbreaking series Cinema and Modernity, An Amorous History of the Silver Screen is an innovative—and well illustrated—look at the cultural history of Chinese modernity through the lens of this seminal moment in Shanghai cinema.
Release

Post-War Modernist Cinema and Philosophy

Confronting Negativity and Time

Author: H. Ford

Publisher: Springer

ISBN: 1137283521

Category: Performing Arts

Page: 284

View: 4629

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.
Release

Film modernism

Author: Sam Rohdie

Publisher: Oxford University Press

ISBN: 1784996068

Category: Performing Arts

Page: N.A

View: 633

This book is at once a detailed study of a range of individual filmmakers and a study of the modernism in which they are situated. It consists of fifty categories arranged in alphabetical order, among which are allegory, bricolage, classicism, contradiction, desire, destructuring and writing. Each category, though autonomous, interacts, intersects and juxtaposes with the others, entering into a dialogue with them and in so doing creates connections, illuminations, associations and rhymes which may not have arisen in a more conventional framework. The author refers to particular films and directors that raise questions related to modernism, and, inevitably, thereby to classicism. Jean-Luc Godard's work is at the centre of the book, though it spreads out, evokes and echoes other filmmakers and their work, including the films of Michelangelo Antonioni, Bernardo Bertolucci, John Ford, Howard Hawks, Alfred Hitchcock, João César Monteiro, Pier Paolo Pasolini and Orson Welles. This innovative and eloquently written text book will be an essential resource for all film students.
Release

European Cinema

Face to Face with Hollywood

Author: Thomas Elsaesser

Publisher: Amsterdam University Press

ISBN: 9053565949

Category: Performing Arts

Page: 563

View: 6539

'European Cinema in Crisis' examines the conflicting terminologies that have dominated the discussion of the future of European film-making. It takes a fresh look at the ideological agendas, from 'avante-garde cinema' to the high/low culture debate and the fate of popular European cinema.
Release

Culture, Health, and Religion at the Millennium

Sweden Unparadised

Author: M. Demker,Y. Leffler,O. Sigurdson

Publisher: Springer

ISBN: 1137472235

Category: Social Science

Page: 200

View: 5885

The book presents interpretations of culture, health, politics, and religion in Sweden today, Sweden transforms from the well-functioning but existentially bland economic wonder to a more fragmented and gloomy society. Contributors include scholars from film studies, literary studies, political science, religious studies and theology
Release

Italian Post-Neorealist Cinema

Author: Luca Barattoni

Publisher: Edinburgh University Press

ISBN: 0748650938

Category: Performing Arts

Page: 288

View: 1245

This book brings to the surface the lines of experimentation and artistic renewal appearing after the exhaustion of Neorealism, mapping complex areas of interest such as the emergence of ethical concerns, the relationship between ideology and representati
Release

Eileen Gray and the Design of Sapphic Modernity

Staying In

Author: Jasmine Rault

Publisher: Routledge

ISBN: 1351568574

Category: Art

Page: 196

View: 7001

The first book-length feminist analysis of Eileen Gray's work, Eileen Gray and the Design of Sapphic Modernity: Staying In argues that Gray's unusual architecture and design - as well as its history of abuse and neglect - emerged from her involvement with cultures of sapphic modernism. Bringing together a range of theoretical and historical sources, from architecture and design, communication and media, to gender and sexuality studies, Jasmine Rault shows that Gray shared with many of her female contemporaries a commitment to designing spaces for sexually dissident modernity. This volume examines Gray's early lacquer work and Romaine Brooks' earliest nude paintings; Gray's first built house, E.1027, in relation to Radclyffe Hall and her novel The Well of Loneliness; and Gray's private house, Tempe ?nbsp; Pailla, with Djuna Barnes' Nightwood. While both female sexual dissidence and modernist architecture were reduced to rigid identities through mass media, women such as Gray, Brooks, Hall and Barnes resisted the clarity of such identities with opaque, non-communicative aesthetics. Rault demonstrates that by defying the modern imperative to publicity, clarity and identity, Gray helped design a sapphic modernity that cultivated the dynamism of uncertain bodies and unfixed pleasures, which depended on staying in rather than coming out.
Release

Marxism and Film Activism

Screening Alternative Worlds

Author: Ewa Mazierska,Lars Kristensen

Publisher: Berghahn Books

ISBN: 1782386432

Category: Performing Arts

Page: 290

View: 2395

In Theses on Feuerbach, Marx writes, "The philosophers have only interpreted the world differently; the point is to change it." This collection examines how filmmakers have tried to change the world by engaging in emancipatory politics through their work, and how audiences have received them. It presents a wide spectrum of case studies, covering both film and digital technology, with examples from throughout cinematic history and around the world, including Soviet Russia, Palestine, South America, and France. Discussions range from the classic Marxist cinema of Aleksandr Medvedkin, Chris Marker, and Jean-Luc Godard, to recent media such as 5 Broken Cameras (2010), the phenomena of video-blogging, and bicycle activism films.
Release

Storytelling in World Cinemas

Forms

Author: Lina Khatib

Publisher: Columbia University Press

ISBN: 0231850077

Category: Performing Arts

Page: 240

View: 1051

Storytelling in World Cinemas, Vol. 1: Forms is an innovative collection of essays that discuss how different cinemas of the world tell stories. The book locates European, Asian, African, and Latin American films within their wider cultural and artistic frameworks, showing how storytelling forms in cinema are infused with influences from other artistic, literary, and oral traditions. This volume also reconsiders cinematic storytelling in general, highlighting the hybridity of 'national' forms of storytelling, calling for a rethinking of African cinematic storytelling that goes beyond oral traditions, and addressing films characterised by 'non-narration'. This study is the first in a two-volume project, with the second focusing on the contexts of cinematic storytelling.
Release