Post-war Cinema and Modernity : : A Film Reader / / John Orr.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Backlist eBook-Package 2013-2000
• VerfasserIn: Orr, John,
• MitwirkendeR: Almendros, Nestor,; Aumont, Jacques,; Bazin, Andre,; Bukatman, Scott,; Burch, Noel,; Chow, Rey,; Comito, Terry,; Corrigan, Timothy,; Daile Vacche, Angela,; Deleuze, Gilles,; Harcourt, Peter,; Jameson, Fredric,; Kawin, Bruce F.,; Kieslowski, Krzystof,; Kolocotroni, Vassiliki,; Lauretis, Teresa de,; MacCabe, Colin,; Metz, Christian,; Modleski, Tania,; Mulvey, Laura,; Nichols, Bill,; Orr, John,; Paolo Pasolini, Pier,; Pascoe, David,; Petrie, Duncan,; Richie, Donald,; Salvato, Larry,; Schaefer, Dennis,; Schrader, Paul,; Sontag, Susan,; Tarkovsky, Andrei,; Taxidou, Olga,; Telotte, J. P.,; Virilio, Paul,; Wollen, Peter,; Xavier, Ismail,; Youngblood, Denise,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2000
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (464 p.) :; Illustrated

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.Key FeaturesFilmmaking and filmmakers are placed in social, national and historical contextThe selections address many aspects of film theory and film formTopics include Film and Narrativity, Representation and Reflexivity, Time and the Image, Subjectivity and Perception, Film and Painting, Gender and IdentityReadings on individual directors - Welles, Antonioni, Rocher, Sembene, Greenaway and Egoyan

Table of Contents

Frontmatter -- CONTENTS -- LIST OF ILLUSTRATIONS -- ACKNOWLEDGEMENTS -- SECTION I FILM THEORY AND FILM FORM -- Theory and Culture -- INTRODUCTION -- 1 AN AESTHETIC OF REALITY: NEOREALISM (CINEMATIC REALISM AND THE ITALIAN SCHOOL OF THE LIBERATION) -- 2 NOIR NARRATION -- 3 THE 'CINEMA OF POETRY' -- 4 THE MODERN CINEMA AND NARRATIVITY -- 5 SPATIAL AND TEMPORAL ARTICULATIONS -- 6 THE MIND'S EYE -- 7 BEYOND THE MOVEMENT-IMAGE -- 8 IMAGING -- 9 TOTALITY AS CONSPIRACY -- 10 A CINEMA OF POETRY -- Form and Process -- 11 A TRAVELLING SHOT OVER EIGHTY YEARS -- 12 CINEMA AND TECHNOLOGY: A HISTORICAL OVERVIEW -- 13 THE ROLE OF THE APPARATUS -- 14 TIME, RHYTHM, EDITING -- 15 THE FACT OF REALISM AND THE FICTION OF OBJECTIVITY -- 16 THE ARTIFICIAL INFINITE: ON SPECIAL EFFECTS AND THE SUBLIME -- 17 NEG-EXPRESSIONISM AND BRITISH CINEMATOGRAPHY: THE WORK OF ROBERT KRASKER AND JACK CARDIFF -- 18 DAYS OF HEAVEN (TERRENCE MALICK - 1976) -- 19 MICHAEL CHAPMAN (INTERVIEW WITH MICHAEL CHAPMAN) -- SECTION 2 INTERNATIONAL CINEMA -- INTRODUCTION -- 20 INTRODUCTION TO OZU -- 21 FEMININITY BY DESIGN: VERTIGO -- 22 INTRODUCTION TO ORSON WELLES, DIRECTOR -- 23 BRESSON -- 24 GODARD -- 25 ANTONIONI'S RED DESERT -- 26 TRANSFORMATIONS IN FASSBINDER'S BITTER TEARS OF PETRA VON KANT -- 27 BLACK GOD, WHITE DEVIL: THE REPRESENTATION OF HISTORY -- 28 THE SHOOT -- 29 THE CARAPACE THAT FAILED: OUSMANE SEMBENE'S XALA -- 30 THE BOOK DEPOSITORY -- 31 THE FORCE OF SURFACES: DEFIANCE IN ZHANG YIMOU'S FILMS -- 32 MONUMENTS OF TIME: THE WORKS OF THEO ANGELOPOULOS -- 33 IMAGINARY IMAGES: AN EXAMINATION OF ATOM EGOYAN'S FILMS -- 34 BERGMAN'S SILENCE -- 35 REPENTANCE: STALINIST TERROR AND THE REALISM OF SURREALISM -- INDEX