Cinema 16
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Art in Cinema
Author | : Scott MacDonald |
Publisher | : Temple University Press |
Total Pages | : 332 |
Release | : 2006 |
Genre | : Performing Arts |
ISBN | : 9781592134274 |
Fascinating documentation of one of the most important film societies in American history.
A Modernist Cinema
Author | : Scott W. Klein |
Publisher | : Oxford University Press |
Total Pages | : 337 |
Release | : 2021 |
Genre | : Performing Arts |
ISBN | : 0199379459 |
"In A Modernist Cinema, edited by Scott W. Klein and Michael Valdez Moses, sixteen distinguished scholars in the field of the New Modernist Studies explore the interrelationships among modernism, cinema, and modernity. Focusing on several culturally influential films from Europe, America, and Asia produced between 1914 and 1941, this collection of essays contends that cinema was always a modernist enterprise. Examining the dialectical relationship between a modernist cinema and modernity itself, these essays reveal how the movies represented and altered our notions and practices of modern life, as well as how the so-called crises of modernity shaped the evolution of filmmaking. Attending to the technical achievements and formal qualities of the works of several prominent directors-Giovanni Pastrone, D. W. Griffith, Sergei Eisenstein, Fritz Lang, Alfred Hitchcock, F. W. Murnau, Carl Theodore Dreyer, Dziga Vertov, Luis Buänuel, Yasujiro Ozu, John Ford, Jean Renoir, Charlie Chaplin, Leni Riefenstahl, and Orson Welles-these essays investigate several interrelated topics: how a modernist cinema represented and intervened in the political and social struggles of the era; the ambivalent relationship between cinema and the other modernist arts; the controversial interconnection between modern technology and the new art; the significance of representing the mobile human body in a new medium; the gendered history of modernity; and the transformative effects of cinema on modern conceptions of temporality, spatial relations, and political geography. Contributors: Richard Begam, Maurizia Bascagli, Enda Duffy, Laura Frost, Andrzej Gasiorek, Scott W. Klein, Douglas Mao, Laura Marcus, Jesse Matz, Tyrus Miller, Michael Valdez Moses, Michael North, Elizabeth Otto, Carrie J. Preston, Lisa Siraganian, Michael Wood"--
Sure Seaters
Author | : Barbara Wilinsky |
Publisher | : U of Minnesota Press |
Total Pages | : 194 |
Release | : 2001-01-01 |
Genre | : Performing Arts |
ISBN | : 9780816635627 |
By the end of the Second World War, a growing segment of the American filmgoing public was wearying of mainstream Hollywood films and began to seek out something different. In major cities and college towns across the country, art film theaters provided a venue for alternatives to the films playing in main-street movie palaces: British, foreign-language, and independent American films, as well as documentaries and revivals of Hollywood classics. A skeptical film industry dubbed such cinemas "sure seaters," convinced that patrons would have no trouble finding seats there. However, with the success of art films like Rossellini's Open City and Mackendrick's Tight Little Island, the meaning of the term "sure seater" changed and, by the end of the 1940s, reflected the frequency with which art house cinemas filled all their seats. Wilinsky examines the development of the theaters that introduced such challenging, personal, and artistic films as The Bicycle Thief and The Red Shoes to American audiences, and offers a more complete understanding of postwar popular culture and the often complicated relationship between art cinema and the commercial film industry that ultimately shaped both and resulted in today's vibrant film culture. -- from back cover.
It's Only a Movie!
Author | : Raymond J. HaberskiJr. |
Publisher | : University Press of Kentucky |
Total Pages | : 303 |
Release | : 2021-10-21 |
Genre | : Performing Arts |
ISBN | : 0813185211 |
Once derided as senseless entertainment, movies have gradually assumed a place among the arts. Raymond Haberski's provocative and insightful book traces the trajectory of this evolution throughout the twentieth century, from nickelodeon amusements to the age of the financial blockbuster. Haberski begins by looking at the barriers to film's acceptance as an art form, including the Chicago Motion Picture Commission hearings of 1918–1920, one of the most revealing confrontations over the use of censorship in the motion picture industry. He then examines how movies overcame the stigma attached to popular entertainment through such watershed events as the creation of the Museum of Modern Art's Film Library in the 1920s. The arguments between Pauline Kael and Andrew Sarris's heralded a golden age of criticism, and Haberski focuses on the roles of Kael, Sarris, James Agee, Roger Ebert, and others, in the creation of "cinephilia." Described by Susan Sontag as "born of the conviction that cinema was an art unlike any other," this love of cinema centered on coffee houses, universities, art theaters, film festivals, and, of course, foreign films. The lively debates over the place of movies in American culture began to wane in the 1970s. Haberski places the blame on the loss of cultural authority and on the increasing irrelevance of the meaning of art. He concludes with a persuasive call for the re-emergence of a middle ground between art and entertainment, "something more complex, ambiguous, and vexing—something worth thought."
Laura Mulvey 'Visual Pleasure and Narrative Cinema' 1975
Author | : Laura Mulvey |
Publisher | : Koenig Books |
Total Pages | : 64 |
Release | : 2016 |
Genre | : Feminism and motion pictures |
ISBN | : 9783863359652 |
Since it first appeared in Screen in 1975, Laura Mulvey's essay "Visual Pleasure and Narrative Cinema" has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey's compelling polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge preconceived ideas and produce new works that owe their possibility to the generative qualities of this key essay. In this book, the celebrated New York-based video artist Rachel Rose (born 1986) has produced an innovative work that extends and adds to the essay's frame of reference. Drawing on 18th- and 19th-century fairy tales, and observing how their flat narratives matched the flatness of their depictions, Rose created collages that connect these pre-cinematic illustrations to what Mulvey describes in her essay--cinema flattening sexuality into visuality.
The Oxford Handbook of Chinese Cinemas
Author | : Carlos Rojas |
Publisher | : Oxford University Press |
Total Pages | : 730 |
Release | : 2013-03-13 |
Genre | : Performing Arts |
ISBN | : 0199988447 |
What does it mean for a cinematic work to be "Chinese"? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like "Chinese cinema" difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity -- all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages.
Freedom to Offend
Author | : Raymond J. HaberskiJr. |
Publisher | : University Press of Kentucky |
Total Pages | : 280 |
Release | : 2007-03-16 |
Genre | : History |
ISBN | : 0813138418 |
In the postwar era, the lure of controversy sold movie tickets as much as the promise of entertainment did. In Freedom to Offend, Raymond J. Haberski Jr. investigates the movie culture that emerged as official censorship declined and details how the struggle to free the screen has influenced our contemporary understanding of art and taste. These conflicts over film content were fought largely in the theaters and courts of New York City in the decades following World War II. Many of the regulators and religious leaders who sought to ensure that no questionable content invaded the public consciousness were headquartered in New York, as were the critics, exhibitors, and activists who sought to expand the options available to moviegoers. Despite Hollywood's dominance of film production, New York proved to be not only the arena for struggles over film content but also the market where the financial fates of movies were sealed. Advocates for a wider range of cinematic expression eventually prevailed against the forces of censorship, but Freedom to Offend is no simple homily on the triumph of freedom from repression. In his analysis of controversies surrounding films from The Bicycle Thief to Deep Throat, Haberski offers a cautionary tale about the responsible use of the twin privileges of free choice and free expression. In the libertine 1970s, arguments in favor of the public's right to see challenging and artistic films were twisted to provide intellectual cover for movies created solely to lure viewers with outrageous or titillating material. Social critics who stood against this emerging trend were lumped in with the earlier crusaders for censorship, though their criticism was usually rational rather than moralistic in nature. Freedom to Offend calls attention to what was lost as well as what was gained when movie culture freed itself from the restrictions of the early postwar years. Haberski exposes the unquestioning defense of the doctrine of free expression as a form of absolutism that mirrors the censorial impulse found among the postwar era's restrictive moral guardians. Beginning in New York and spreading across America throughout the twentieth century, the battles between these opposing worldviews set the stage for debates on the social effects of the work of artists and filmmakers.
Theorizing Art Cinemas
Author | : David Andrews |
Publisher | : University of Texas Press |
Total Pages | : 434 |
Release | : 2013-11-01 |
Genre | : Performing Arts |
ISBN | : 0292747764 |
The term “art cinema” has been applied to many cinematic projects, including the film d’art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies—an activity that has occurred across film history and across film subcultures—rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.
Movie Journal
Author | : Jonas Mekas |
Publisher | : Columbia University Press |
Total Pages | : 496 |
Release | : 2016-04-19 |
Genre | : Performing Arts |
ISBN | : 0231541589 |
In his Village Voice "Movie Journal" columns, Jonas Mekas captured the makings of an exciting movement in 1960s American filmmaking. Works by Andy Warhol, Gregory J. Markapoulos, Stan Brakhage, Jack Smith, Robert Breer, and others echoed experiments already underway elsewhere, yet they belonged to a nascent tradition that only a true visionary could identify. Mekas incorporated the most essential characteristics of these films into a unique conception of American filmmaking's next phase. He simplified complex aesthetic strategies for unfamiliar audiences and appreciated the subversive genius of films that many dismissed as trash. This new edition presents Mekas's original critiques in full, with additional material on the filmmakers, film studies scholars, and popular and avant-garde critics whom he inspired and transformed.