Cinema and modernity /
This book discusses the complex relation between modernity and cinema drawing particularly upon the European and American cinema during the second half of the twentieth century. In this period, the author argues, the terms 'modernist' and 'postmodern' are both inappropriate to th...
| Main Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Cambridge, UK : Cambridge, MA :
Polity Press ; Blackwell,
1993
Cambridge, UK : Oxford, UK ; Cambridge, MA, USA : Polity Press ; Blackwell Publishers, 1993 Cambridge, UK : Polity Press, 1993 Cambridge, UK : Cambridge, MA : 1993 |
| Subjects: |
| Summary: | This book discusses the complex relation between modernity and cinema drawing particularly upon the European and American cinema during the second half of the twentieth century. In this period, the author argues, the terms 'modernist' and 'postmodern' are both inappropriate to the cinema's critical vision of modernity This book discusses the complex relation between modernity and cinema drawing particularly upon the European and American cinema during the second half of the twentieth century. In this period, the author argues, the terms 'modernist' and 'postmodern' are both inappropriate to the cinema's critical vision of modernity. Instead there emerges a neo-modern movement which subverts American melodrama and supplants Italian neo-realism, yet also echoes the earlier modernisms of Dreyer, Eisenstein, Bunuel and Fritz Lang This book discusses the complex relation between modernity and cinema drawing particularly upon the European and American cinema during the second half of the twentieth century. In this period, the author argues, the terms 'modernist' and 'postmodern' are both inappropriate to the cinema's critical vision of modernity. Instead there emerges a neo-modern movement which subverts American melodrama and supplants Italian neorealism, yet also echoes the earlier modernisms of Dreyer, Eisenstein, Bunuel and Fritz Lang In the American cinema attention is paid to the work of Welles, Hitchcock and the changing patterns of the film noir. In the European cinema, the author re-assesses the French New Wave, the Italian cinema after neo-realism and the complex retro-vision by European film-makers of the politics of fascism In the American cinema attention is paid to the work of Welles, Hitchcock and the changing patterns of the film noir. In the European cinema, the author re-assesses the French New Wave, the Italian cinema after neo-realism and the complex retro-vision by European film-makers of the politics of fascism. The work of Bergmann, Antonioni, Godard, Bertolucci, Rohmer and Wenders is discussed in relation to the changing role of cinematic space and modern vision of the automobile and the city, together with the new forms of tragicomedy and apocalypse in the cinema of the nuclear age In the American cinema attention is paid to the work of Welles, Hitchcock and the changing patterns of the film noir. In the European cinema, the author re-assesses the French New Wave, the Italian cinema after neorealism and the complex retro-vision by European film-makers of the politics of fascism. The work of Bergmann, Antonioni, Godard, Bertolucci, Rohmer and Wenders is discussed in relation to the changing role of cinematic space and modern vision of the automobile and the city, together with the new forms of tragicomedy and apocalypse in the cinema of the nuclear age Instead there emerges a neo-modern movement which subverts American melodrama and supplants Italian neo-realism, yet also echoes the earlier modernisms of Dreyer, Eisenstein, Bunuel and Fritz Lang It will be essential reading for all students of film theory, popular culture and communications The book challenges many of the critical complacencies of postmodernism and offers a fresh perspective upon the development of the modern cinema. It will be essential reading for all students of film theory, popular culture and communications The book regards critique as the dominant mode of film study, thus breaking down the artificial boundaries which currently exist between theory, history and textual reading. Its intellectual heritage lies firmly in the writings of Nietzsche, Freud and Sartre, and opposes the current dependence upon semiology and post-structuralism. It is thus an attempt to rethink the relation of film-making to the contemporary world The book regards critique as the dominant mode of film study, thus breaking down the artificial boundaries which currently exist between theory, history and textual reading. Its intellectual heritage lies firmly in the writings of Nietzsche, Freud and Sartre, and opposes the current dependence upon semiology and post-structuralism. It is thus an attempt to rethink the relation of film-making to the contemporary world. The book challenges many of the critical complacencies of postmodernism and offers a fresh perspective upon the development of the modern cinema The book regards critique as the dominant mode of film study, thus breaking down the artificial boundaries which currently exist between theory, history and textual reading. Its intellectual heritage lies firmly in the writings of Nietzsche, Freud and Sartre, and opposes the current dependence upon semiology and post-structuralism. It is thus an attempt to rethink the relation of film-making to the contemporary world. The book challenges many of the critical complacencies of postmodernism and offers a fresh perspective upon the development of the modern cinema. It will be essential reading for all students of film theory, popular culture and communications The work of Bergmann, Antonioni, Godard, Bertolucci, Rohmer and Wenders is discussed in relation to the changing role of cinematic space and modern vision of the automobile and the city, together with the new forms of tragicomedy and apocalypse in the cinema of the nuclear age |
|---|---|
| Item Description: | This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |
| Physical Description: | 224 p ix, 224 p. : ill. ; 23 cm ix, 224 p. : ill. ; 24 cm ix, 224 p., 8 p. of plates : ill. ; 24 cm ix, 224 p., [8] p. of plates : ill. ; 24 cm ix, 224 pages : illustrations ; 24 cm ix, 224 pages, 8 unnumbered pages of plates : illustrations ; 24 cm |
| Bibliography: | Filmography: p Filmography: p. [202]-218 Filmography: p.[202]-218 Filmography: pages [202]-218 Includes bibliographical references (p. [195]-201) and index Includes bibliographical references (p.[15]-201) and index Includes bibliographical references (pages [195]-201) and index Includes bibliographical references and index Includes filmography |
| ISBN: | 0745606318 (alk. paper) 0745606318 0745611869 (pbk. : alk. paper) 0745611869 9780745606316 (alk. paper) 9780745611860 (pbk. : alk. paper) |