Post-war Cinema and Modernity: A Film Reader

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9780748612826: Post-war Cinema and Modernity: A Film Reader

Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. Its distinguishing feature is the focus on the close connections between history, theory and textual criticism. The first section, on Film Theory and Film Form, begins with a sustained group of theory readings. Bazin and Telotte critique new post-war forms of film narrative, while Metz and Birch respond to the filmic innovations of the 1960s and the question of modernism. Pasolini's landmark polemic on the cinema of poetry is a vital springboard for the later critiques by Deleuze and Tarkovsky of time and the image, and for Kawin and De Lauretis of subjectivities and their narrative transformation, while Jameson deals with the topical question of film and postmodernity. There follows a series of essays grouped around different aspects of film form. General discussion of changes in film technology and cinematic perception can be seen in the essays by Virilio, Wollen, Aumont and Bukatman, and is extended to a discussion of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration, with a specially commissioned essay on post-war British cinematography, and readings featuring the work of Michael Chapman with Martin Scorsese and Nestor Almendros with Terrence Malick. The second section looks at International Cinema, placing filmmaking and filmmakers in a social and a national context, as well as taking up many aspects of film theory. It brings together landmark essays which contextualise feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Bresson, Hitchcock, Godard, Fassbinder and Zhang Yimou. There is a new translation of Kieslowski's essay on Bergman's The Silence and an essay specially commissioned for the volume on the work of Theo Angelopoulos. Features * Filmmaking and filmmakers are placed in social, national and historical context * The selections address many aspects of film theory and film form * Topics include Film and Narrativity, Representation and Reflexivity, Time and the Image, Subjectivity and Perception, Film and Painting, Gender and Identity * Readings on individual directors - Welles, Antonioni, Rocher, Sembene, Greenaway and Egoyan

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ISBN 10: 0748612823 ISBN 13: 9780748612826
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Editore: EDINBURGH UNIVERSITY PRESS, United Kingdom (2000)
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Descrizione libro EDINBURGH UNIVERSITY PRESS, United Kingdom, 2000. Hardback. Condizione libro: New. 244 x 172 mm. Language: N/A. Brand New Book. Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. Its distinguishing feature is the focus on the close connections between history, theory and textual criticism. The first section, on Film Theory and Film Form, begins with a sustained group of theory readings. Bazin and Telotte critique new post-war forms of film narrative, while Metz and Birch respond to the filmic innovations of the 1960s and the question of modernism. Pasolini s landmark polemic on the cinema of poetry is a vital springboard for the later critiques by Deleuze and Tarkovsky of time and the image, and for Kawin and De Lauretis of subjectivities and their narrative transformation, while Jameson deals with the topical question of film and postmodernity. There follows a series of essays grouped around different aspects of film form. General discussion of changes in film technology and cinematic perception can be seen in the essays by Virilio, Wollen, Aumont and Bukatman, and is extended to a discussion of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration, with a specially commissioned essay on post-war British cinematography, and readings featuring the work of Michael Chapman with Martin Scorsese and Nestor Almendros with Terrence Malick. The second section looks at International Cinema, placing filmmaking and filmmakers in a social and a national context, as well as taking up many aspects of film theory. It brings together landmark essays which contextualise feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Bresson, Hitchcock, Godard, Fassbinder and Zhang Yimou. There is a new translation of Kieslowski s essay on Bergman s The Silence and an essay specially commissioned for the volume on the work of Theo Angelopoulos. Features * Filmmaking and filmmakers are placed in social, national and historical context * The selections address many aspects of film theory and film form * Topics include Film and Narrativity, Representation and Reflexivity, Time and the Image, Subjectivity and Perception, Film and Painting, Gender and Identity * Readings on individual directors - Welles, Antonioni, Rocher, Sembene, Greenaway and Egoyan. Codice libro della libreria AA79780748612826

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Editore: EDINBURGH UNIVERSITY PRESS, United Kingdom (2000)
ISBN 10: 0748612823 ISBN 13: 9780748612826
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Descrizione libro EDINBURGH UNIVERSITY PRESS, United Kingdom, 2000. Hardback. Condizione libro: New. 244 x 172 mm. Language: N/A. Brand New Book. Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. Its distinguishing feature is the focus on the close connections between history, theory and textual criticism. The first section, on Film Theory and Film Form, begins with a sustained group of theory readings. Bazin and Telotte critique new post-war forms of film narrative, while Metz and Birch respond to the filmic innovations of the 1960s and the question of modernism. Pasolini s landmark polemic on the cinema of poetry is a vital springboard for the later critiques by Deleuze and Tarkovsky of time and the image, and for Kawin and De Lauretis of subjectivities and their narrative transformation, while Jameson deals with the topical question of film and postmodernity. There follows a series of essays grouped around different aspects of film form. General discussion of changes in film technology and cinematic perception can be seen in the essays by Virilio, Wollen, Aumont and Bukatman, and is extended to a discussion of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration, with a specially commissioned essay on post-war British cinematography, and readings featuring the work of Michael Chapman with Martin Scorsese and Nestor Almendros with Terrence Malick. The second section looks at International Cinema, placing filmmaking and filmmakers in a social and a national context, as well as taking up many aspects of film theory. It brings together landmark essays which contextualise feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Bresson, Hitchcock, Godard, Fassbinder and Zhang Yimou. There is a new translation of Kieslowski s essay on Bergman s The Silence and an essay specially commissioned for the volume on the work of Theo Angelopoulos. Features * Filmmaking and filmmakers are placed in social, national and historical context * The selections address many aspects of film theory and film form * Topics include Film and Narrativity, Representation and Reflexivity, Time and the Image, Subjectivity and Perception, Film and Painting, Gender and Identity * Readings on individual directors - Welles, Antonioni, Rocher, Sembene, Greenaway and Egoyan. Codice libro della libreria AA79780748612826

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Descrizione libro Edinburgh University Press, 2000. HRD. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria FV-9780748612826

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John Orr, Olga Taxidou
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Descrizione libro Edinburgh University Press. Hardback. Condizione libro: new. BRAND NEW, Post-war Cinema and Modernity: A Film Reader, John Orr, Olga Taxidou, Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. Its distinguishing feature is the focus on the close connections between history, theory and textual criticism. The first section, on Film Theory and Film Form, begins with a sustained group of theory readings. Bazin and Telotte critique new post-war forms of film narrative, while Metz and Birch respond to the filmic innovations of the 1960s and the question of modernism. Pasolini's landmark polemic on the cinema of poetry is a vital springboard for the later critiques by Deleuze and Tarkovsky of time and the image, and for Kawin and De Lauretis of subjectivities and their narrative transformation, while Jameson deals with the topical question of film and postmodernity. There follows a series of essays grouped around different aspects of film form. General discussion of changes in film technology and cinematic perception can be seen in the essays by Virilio, Wollen, Aumont and Bukatman, and is extended to a discussion of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration, with a specially commissioned essay on post-war British cinematography, and readings featuring the work of Michael Chapman with Martin Scorsese and Nestor Almendros with Terrence Malick. The second section looks at International Cinema, placing filmmaking and filmmakers in a social and a national context, as well as taking up many aspects of film theory. It brings together landmark essays which contextualise feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Bresson, Hitchcock, Godard, Fassbinder and Zhang Yimou. There is a new translation of Kieslowski's essay on Bergman's The Silence and an essay specially commissioned for the volume on the work of Theo Angelopoulos. Features * Filmmaking and filmmakers are placed in social, national and historical context * The selections address many aspects of film theory and film form * Topics include Film and Narrativity, Representation and Reflexivity, Time and the Image, Subjectivity and Perception, Film and Painting, Gender and Identity * Readings on individual directors - Welles, Antonioni, Rocher, Sembene, Greenaway and Egoyan. Codice libro della libreria B9780748612826

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Descrizione libro Edinburgh University Press, 2000. Hardcover. Condizione libro: Brand New. 464 pages. 9.61x6.77x1.02 inches. In Stock. Codice libro della libreria __0748612823

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Descrizione libro 2000. Hardcover. Condizione libro: New. 172mm x 244mm x 26mm. Hardcover. Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. Its distinguishing feature is the focus on the close connect.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 464 pages. 1.131. Codice libro della libreria 9780748612826

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ORR, JOHN.
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Descrizione libro EUP, 2000. Hardback. Condizione libro: NEW. 9780748612826 This listing is a new book, a title currently in-print which we order directly and immediately from the publisher. Codice libro della libreria HTANDREE0150750

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Descrizione libro 2000. Hardcover. Condizione libro: New. 172mm x 244mm x 26mm. Hardcover. Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. Its distinguishing feature is the focus on the .Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. 464 pages. 1.131. Codice libro della libreria 9780748612826

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