MARC record from Internet Archive

LEADER: 05251cam 2200877 a 4500
001 ocm28962921
003 OCoLC
005 20200625201419.0
008 930824s1993 enka bq 001 0 eng
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050 00 $aPN1995.25$b.O77 1993
080 $a791.430 1
082 00 $a791.43/01$220
084 $a24.31$2bcl
084 $aAP 45000$2rvk
084 $aMS 7960$2rvk
100 1 $aOrr, John,$d1943-
245 10 $aCinema and modernity /$cJohn Orr.
260 $aCambridge, UK :$bPolity Press ;$aCambridge, MA :$bBlackwell,$c1993.
300 $aix, 224 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aFilmography: pages 202-218.
504 $aIncludes bibliographical references (pages 195-201) and index.
505 00 $g1.$tFilm and the Paradox of the Modern --$g2.$tTragicomedy and the Cool Apocalypse --$g3.$tThe Double and the Innocent --$g4.$tThe Power of the Gaze --$g5.$tThe Absent Image and the Unreal Object --$g6.$tCommodified Demons I: The Machine and the Mask --$g7.$tCommodified Demons II: The Automobile --$g8.$tThe Strange Passions of Film Noir.
520 $aThis 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.
520 8 $aIn 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.
520 8 $aThe 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.
650 0 $aMotion pictures$xAesthetics.
650 0 $aMotion pictures and the arts.
650 1 $aMotion pictures and the arts.
650 6 $aCinéma$xEsthétique.
650 6 $aCinéma et arts.
650 7 $aMotion pictures$xAesthetics.$2fast$0(OCoLC)fst01027288
650 7 $aMotion pictures and the arts.$2fast$0(OCoLC)fst01027422
650 7 $aFilm$2gnd
650 17 $aFilmkunst.$2gtt
650 17 $aModerniteit.$2gtt
650 07 $aFilm.$2swd
648 7 $aGeschichte 1958-1978$2swd
648 7 $aGeschichte 1944-1990$2swd
653 0 $aCinema$aFilms (Motion pictures)
653 0 $aUnited States
653 0 $aWestern Europe
856 41 $3Table of contents$uhttp://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=005863928&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
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