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cinema of poetry
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Journal Article
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
... as a model for collectivity is analyzed in tandem with a reading of Pier Paolo Pasolini's 1965 essay “The Cinema of Poetry.” The article examines several of the film's formal strategies, such as the mobilization of the female authorial voice, in discussing how the film engages with and expands on the notion...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
... in our homes, so we would listen to ghazals and Urdu poetry
and also watch Hindi cinema.4 The relationship with leisure and
170 • Camera Obscura
pleasure was quite strong. As a young person, I didn’t make the
distinction between high and low culture, though I discovered
how strong...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 105–139.
Published: 01 September 2004
... structures of enuncia-
tion place many of John Cassavetes’ films in the tradition of what
Pier Paolo Pasolini has called “the cinema of poetry” and that
Cassavetes’ cinema explores the related parameters of “free indi-
rect subjectivity.”2 Pasolini defines the free indirect style as a
mode of cinematic...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 120–126.
Published: 01 September 1988
... the Univocality of
sense suddenly emerges from a poetry freed of figures, maintaining the
trace of the deepest sonorities, primary and adjacent to language. This
ephemeral instant, where sense and being coincide, belongs to the
cinema as an art of the figure in that cinema restores...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
...
and film, along with some of the patriarchs of twentieth-century
American literature.10 During the symposium, Deren outlined her
conception of poetic cinema by distinguishing between what she
called the “horizontal” development of drama and the “vertical”
investigation of poetry. Deren wrote...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
... indirect subjective. In “The Cinema of Poetry”
(1965), he describes free indirect subjective in the cinema as a “sty-
listic condition” in which the events or world depicted by a film are
viewed through the “eyes” of one of the (usually neurotic) protago-
Violence...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 1–31.
Published: 01 December 2013
... Maas at New York’s
Cinema 16, Deren famously distinguished between narrative
form, which she saw as horizontally structured, and poetic form,
which she viewed as vertically structured. See “Poetry and the
Film: A Symposium,” Film Culture, no. 29 (1963): 55 – 63.
17...
Journal Article
Camera Obscura (2001) 16 (3 (48)): 229–263.
Published: 01 December 2001
...Zhang Zhen Camera Obscura 2001 Zhang Zhen is an assistant professor of cinema studies at New York University. Her critical and creative writings have appeared in a number of journals and anthologies, including Public Culture, Asian Cinema, Cinema and Urban Culture in China 1922-1943...
Journal Article
Camera Obscura (1976) 1 (1 (1)): 97–103.
Published: 01 May 1976
... is possible in the
theater where the spectator sees all the scenes from the same viewpoint,
and within the same frame, becomes terribly complicated in the cinema
where point of view and frame are determined by a superior determina-
tion (the director) and that the spectator can only get hold...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 129–155.
Published: 01 May 2003
...
The Quick and the Dead • 131
World’s Fair, and the fantastic dream voyage Mother Dao, made
from documentary Dutch colonial archival footage of the country
now known as Indonesia, actually transform the genre of found
footage film and achieve cinema’s truly surrealist potential. The
disjunctions...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 180–181.
Published: 01 May 2001
... in Baudelaire’s
Poetry, Truffaut’s Cinema, and Freud’s Psychoanalysis. Ann Arbor:
University of Michigan Press, 2000.
Eberwein, Robert. Sex Ed: Film, Video, and the Framework of Desire. New
Brunswick, NJ: Rutgers University Press, 1999...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 59–67.
Published: 01 December 2022
... vigor among French film writers in the period after the war. These include questions of cinema's relationship to the real, the ability of images to capture historical change, and the relationship between cinematic montage and the act of writing. 8. Of course, we did not think that our bit...
FIGURES
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
...Catherine Zimmer This essay explores Cheryl Dunye's The Watermelon Woman (1997) in the context of reflexive practice in film. The film has been variously approached as queer cinema, women's autobiographical and documentary cinema, and black cinema; this essay emphasizes how one might add to all...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 61–85.
Published: 01 May 2021
... film, The Creatures ( Les créatures , France). A handheld camera yet watches. Located within this thoroughly self-made house of cinema, Varda poses with one foot atop a pile of film reel canisters. The Beaches of Agnès concludes here, with Varda in her filmic home, prior to the film's spirited...
FIGURES
Journal Article
Camera Obscura (1990) 8 (3 (24)): 216–217.
Published: 01 September 1990
...) and
Videofrom Tokyo to Fukui and Kyoto and New Video:]apan. She is currently
working on contemporary Japanese art and video.
Dana Polan teaches English and Film at the University of Pittsburgh. He is
the author of Power and Paranoia: History, Narrative and the American
Cinema, 1940-1 950 (Columbia...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 69–85.
Published: 01 December 2022
... singularity in the landscape of postwar French film writing. Opening out from this historical context, it closes by gesturing toward the modernity of Vedrès's essay in terms of more contemporary archival filmmaking, as well as thinking on the relationship between cinema and history. 28. Quoted in Volker...
FIGURES
Journal Article
Camera Obscura (2011) 26 (3 (78)): 137–145.
Published: 01 December 2011
... being able to see after a while that the movies are insane,
or obsolete, or whatever. I just think of them as poetry, as clues into
the past which teach me about the present, as cues for creating my
own pure cinema.
You’ve written on your blog about the way certain audience members col-
lapse...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
..., their sex, and their sound tracks; it would seem that the footage in both films might have been shown in any order, that anyone on-screen might have sex with anyone else, and that any ambient sound might score any image. In cinema, synchronization takes disparate image and sound tracks and fixes them...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 69–95.
Published: 01 May 2012
..., and Diaspora (Temple University Press, 2009). He has published essays on Asian American cinema in Cineaste, Amerasia Journal, Jump Cut, Quarterly Review of Film and Video , and Cinema Journal . © 2012 by Camera Obscura 2012 Figure . Video still from Myth(s) of Creation
by Ming- Yuen S. Ma (US...
Journal Article
Camera Obscura (1981) 3 (1 (7)): 110–127.
Published: 01 May 1981
... like to make some remarks on The Song ofthe
Shirt: its place within the exhibition practices of British Independent
Cinema, and its relationship to feminist cinema and other feminist
practices, in particular feminist history. It should be seen as a text to be
read along with thefilm, a text...
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