The Seeing Century: Film, Vision and IdentityWendy Everett Rodopi, 2000 - 210 páginas The twentieth century, with all its turbulence and change, its conflicts and its discoveries was, perhaps above all, the century of cinema, and The Seeing Century offers an innovative, international, and interdisciplinary exploration of the role cinema plays in contemporary life and culture, and the complex and fascinating relationship between screen images and our changing concepts of personal and national identity. Rejecting the compartmentalisation that has traditionally marked film studies, and confronting an impressively eclectic range of material, fifteen essays by leading academics from around the world cut across 'divergent' cultures, languages, and genres: mainstream Hollywood rubs shoulders with low-budget Icelandic or Sicilian cinema, and the popular and the esoteric feature alongside each other. In this way, the reader is offered a stimulating overview which directly addresses the contradictions and ambiguities inherent in the relationship between film and identity, and reveals the vibrancy of contemporary film debate, to which The Seeing Century makes an important and thought-provoking contribution. |
Contenido
| 1 | |
| 20 | |
| 36 | |
History Memory and Art in Louis Malles | 49 |
Constructs of Film SpaceTime | 74 |
Ciprì and Marescos | 88 |
Too Late? Recent Developments | 98 |
Entering and leaving modernity Utopia and Dystopia | 124 |
Luc Bessons Cinquième élément 1997 | 136 |
Faggots and Fireworks | 174 |
Select Bibliography | 198 |
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Términos y frases comunes
Ada's Almagro Almodóvar articulate Atsushi Baines Barthes Barthes's Besson's body boys camera cinema Cinquième élément Ciprì city-body Cold Fever Colobane complex cowboys cultural cyborg death Distant Voices Dublin City University Ellis Island essays European explore fairy family portrait father Faust female feminine film film's filmic filmmakers French Full Metal Jacket gender genre Girl Without Hands Gomer Pyle Hollywood horse Iceland Irish Jean Jean's Jim Sheridan journey Julien landscape Laura Le Dernier Combat Leeloo London Lucian Pintilie male Malle Malle's Mambety Maresco masculine memory modernity mother movie myth narrative Paris past Perec photograph piano Pintilie political pony postmodern protagonist punctum reflects representation reveals role Romanian Routledge Samy scene screen seen sense sequence Sergeant Hartman sexual shot sniper social space Spanish spectator symbolic tion Tir na nOg Touki Bouki traditional trauma University Press utopia Vietnam War visual West woman York zio di Brooklyn
Pasajes populares
Página 125 - To be modern is to find ourselves in an environment that promises us adventure, power, joy, growth, transformation of ourselves and the world - and at the same time, that threatens to destroy everything we have, everything we know, everything we are.
Página 134 - Art's Utopia, the counterfactual yet-to-come, is draped in black. It goes on being a recollection of the possible with a critical edge against the real...
Página 125 - Modern environments and experiences cut across all boundaries of geography and ethnicity, of class and nationality, of religion and ideology: in this sense, modernity can be said to unite all mankind. But it is a paradoxical unity, a unity of disunity: it pours us all into a maelstrom of perpetual disintegration and renewal, of struggle and contradiction, of ambiguity and anguish. To be modern is to be part of a universe in which, as Marx said, "all that is solid melts into air.
Página 29 - For you, it would be nothing but an indifferent picture, one of the thousand manifestations of the 'ordinary'; it cannot in any way constitute the visible object of a science; it cannot establish an objectivity, in the positive sense of the term, at most it would interest your studium; period, clothes, photogeny; but in it, for you, no wound...
Página 118 - Ultimately it is this fraternity that makes it possible, over the past two centuries, for so many millions of people, not so much to kill, as willingly to die for such limited imaginings.
Página 22 - In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like Winnicott's psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
Página 83 - By the time we see him, he is already "there": he can ride a horse faultlessly, keep his countenance in the face of death, and draw his gun a little faster and shoot it a little straighter than anyone he is likely to meet. These are sharply defined acquirements, giving to the figure of the Westerner an apparent moral clarity which corresponds to the clarity of his physical image against his bare landscape; initially, at any rate, the Western movie presents itself as being without mystery, its whole...
Página 83 - Much of this apparent simplicity arises directly from those "cinematic" elements which have long been understood to give the Western theme its special appropriateness for the movies: the wide expanses of land, the free movement of men on horses. As guns constitute the visible moral center of the Western movie, suggesting continually the possibility of violence, so land and horses represent the movie's material basis, its sphere of action. But the land and the horses have also a moral significance...
Página 5 - The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never...
Referencias a este libro
Visuality and Identity: Sinophone Articulations across the Pacific Shu-mei Shih Vista previa limitada - 2007 |