Search Results for art cinema

.... Through a close reading of select song sequences from both popular and art cinema, I demonstrate how they may be read as allegories of temporal sensibilities at odds with the temporality presented in the main narrative of the film. Songs condense a heterogeneous variety of pasts and possible futures...

... expansion of postcolonial discourse to Europe’s own backyard needs to be matched by an expansion of research methods and objects. Postcolonial studies’ traditional commitment to theory and to textual analysis of literature and art cinema is beneficially complemented by engaging with popular media...

.... Certainly, it is not only within film studies that questions about international or global influences are felt; this is a vital topic in art history, literary studies, and music. But it is particularly insistent when talking about cinema. Partly this has to do with the history of cinema itself...

...Jason McGrath In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big‐budget blockbusters that compete...

... in the Colonial Bengal (2009), Writing Postcolonial History (2010), and Art Cinema and India's Forgotten Futures: Film and History in the Postcolony (2021). Joshua Malitsky is associate professor of cinema and media studies at Indiana University. He is the author of Post-Revolution Nonfiction Film...

... had access (pers. comm., March 28, 2018). Rabinowitz / Blaufuks s Als Ob/As If 119 Stevens s postwar comments about filming Dachau are central to Godard s concluding remarks for this section: 1944, martyrdom and resurrection of the documentary. No cinema, in fact no art, without death, without war...

... . Wasson Haidee . 2005 . Museum Movies: The Museum of Modern Art and the Birth of Art Cinema . Berkeley : University of California Press . Waugh Thomas . 2016 . The Conscience of Cinema: The Works of Joris Ivens, 1912–1989 . Amsterdam : Amsterdam University Press . Werner...

...-themed international avant-garde films as Mary Ellen Bute’s Passages from Finne- gans Wake (1965). To support his call for a ‘‘quality’’ cinema, Marcus emphasized the boom in art-house exhibition, particularly in the United States, and he high- lighted a ‘‘quality audience ‘‘For among...

... fellow filmmakers exercise a “medium communitarianism” by reinvesting in the rural as the site of a possible subculture and alternative future, thus repositioning cinema and art in relation to agricultural heritage as sustainable cultural techniques of the environment and public sphere. By shifting...

... Contributors Masao Adachi is a prominent experimental filmmaker who first appeared in the Japanese New Wave movement of the 1950s and 1960s, and was associated with Nagisa Oshima, Kiju Yoshida, and others who forged the formation of new cinema devoted to probing...

...Daniel Ross Bernard Stiegler's account of aesthetics is rooted in André Leroi-Gourhan's concept of exteriorization, Gilbert Simondon's concept of individuation, and Edmund Husserl's concepts of retention and protention. Cinema takes up a singular place in this account, both in terms of its...

.... To put it very schematically, the thematic content is the critical relation that happens in between so- called politics and art, without resorting to a theory of cinema. However, as I said previously, I feel that the problem of imagination is at the heart of everything, so a mere...

... University Press, 1987), 34–45. 11. George Stephen Semsel, ‘‘Film in China: An Introduction in Chinese Film: The State of the Art in the People’s Republic, ed. George Stephen Semsel (New York: Praeger, 1987), 3–6. 12. Wu Xuanong, ed., Shanghai dianying zhi [An Account of Shanghai’s Cinema] (Shang- hai...

... to Celan (1996). Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor in the Art History Department and a member of the Cinema and Media Committee at the University of Chicago. Author of D. W...

... markers. By contrast, a frontal mode of address can be used to fix the viewer within a strictly ordered spatial 4. Geeta Kapur, ‘‘Mythic Material in Indian Cinema Journal of Arts and Ideas,no.14– 15 (1987): 79–108; Geeta Kapur, ‘‘Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi...

... which light is embodied and through whichIamphoto-graphed.2 That film gazes at us (or glares or glances) aligns it with the great arts, though its specific way of animating the world—unlike poetry’s, or painting’s or theater’s—is unprecedented, still being absorbed...

... della memoria di Gabriele D’Annunzio: Il Vittoriale degli Italiani,” Journal of Decorative and Propaganda Arts, 1875–1945, no. 3 (Winter 1987): 10. 51. Gian Piero Brunetta, Storia del cinema italiano: Il cinema muto 1895–1929, vol. 3 (Rome: Riuniti, 2001), 97–106. 52. Barbara Spackman...

...-Asia Cultural Studies, Framework: The Journal of Cinema and Media, Southern Review: Communication, Politics & Culture, n.paradoxa: International Feminist Art Journal, Women: A Cultural Review, Journal of Asian Studies, and Metro. She writes regu- larly for Filmwaves: The Magazine for Independent...

... at the Korean National University of the Arts in Seoul during fall 2004, for which I thank Professor Kim So-young and the graduate students there. A shorter version was presented at the Pusan International Film Festival on October 12, 2005. I thank Kim So-young, Earl Jackson, Masao Miyoshi...

..., on the other. Here one would need to examine the genuine possibilities that cinema offered as a demo- cratic and classical art in the immediate postwar period. Such an account would make clear that the history of the Hollywood Ten, as the history of the Hays Code before them, was not a minor question...