Theorizing Art Cinemas : : Foreign, Cult, Avant-Garde, and Beyond / / David Andrews.
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 noti...
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| Superior document: | Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 |
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| Place / Publishing House: | Austin : : University of Texas Press, , [2021] ©2013 |
| Year of Publication: | 2021 |
| Language: | English |
| Online Access: | |
| Physical Description: | 1 online resource (309 p.) |
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Table of Contents:
- Frontmatter
- Contents
- Preface
- Acknowledgments
- Introduction. Correcting Art Cinema’s Partial Vision
- Part 1 Art, Auteurism, and the World
- Chapter 1 Art as Genre as Canon: Defining “Art Cinema”
- Chapter 2 No Start, No End: Auteurism and the Auteur Theory
- Chapter 3 From “Foreign Films” to “World Cinema”
- Part 2 Formats and Fetishes
- Chapter 4 Recovery and Legitimation in the Traditional Art Film
- Chapter 5 Losing the Asterisk: A Theory of Cult-Art Cinema
- Chapter 6 Revisiting “The Two Avant-Gardes”
- Chapter 7 Sucking the Mainstream: A Theory of Mainstream Art Cinema
- Part Three. Institutions and Distributions
- Chapter 8 Re-integrating Stardom (. . . or Technology or Reception or . . .)
- Chapter 9 Art Cinema as Institution, Redux: Art Houses, Film Festivals, and Film Studies
- Chapter 10 Art Cinema, the Distribution Theory
- Epilogue Beyond, Before Cinephilia
- Notes
- Filmography
- Bibliography
- Index