MARC Record from marc_columbia

LEADER: 03308cam a2200325 a 4500
001 6899553
005 20221122060821.0
008 080414t20082008mau b 001 0 eng
010 $a 2008017023
020 $a9780262195898 (hbk. : alk. paper)
020 $a0262195895 (hbk. : alk. paper)
024 $a40015873417
035 $a(OCoLC)ocn216938371
035 $a(OCoLC)216938371
035 $a(NNC)6899553
035 $a6899553
040 $aDLC$cDLC$dBTCTA$dBAKER$dYDXCP$dUKM$dOrLoB-B
050 00 $aPN1995.9.M96$bS56 2008
082 00 $a791.43/615$222
100 1 $aSinger, Irving.$0http://id.loc.gov/authorities/names/n83328620
245 10 $aCinematic mythmaking :$bphilosophy in film /$cIrving Singer.
260 $aCambridge, MA :$bMIT Press,$c[2008], ©2008.
300 $ax, 245 pages ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. [231]-238) and index.
505 00 $tIntroduction: Philosophical Dimensions of Myth and Cinema -- $g1.$tThe Lady Eve -- $g2.$tPygmalion Variations -- $g3.$tThe Heiress and Washington Square -- $g4.$tCocteau: The Mythological Poetry of Film -- $g5.$tMythmaking in Kubrick and Fellini.
520 1 $a"Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques - panning, tracking, zooming, and the other tools in the filmmaker's toolbox - create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship with the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself." "Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films - including La Belle et la Bjte, Orphee, and The Testament of Orpheus - as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 81/2 The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals - both secular and religious - that have had enormous significance throughout the human search for love and meaning in life."--BOOK JACKET.
650 0 $aMyth in motion pictures.$0http://id.loc.gov/authorities/subjects/sh85089367
852 00 $bglx$hPN1995.9.M96$iS56 2008