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The Cinema Ideal

The Cinema Ideal
Author: Harriet E. Margolis
Publisher: Routledge
Total Pages: 206
Release: 2013-12-04
Genre: Performing Arts
ISBN: 1317928725

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This study explores the model derived from Freudian and Lacanian psychoanalysis, via Marxism and semiotics, of looking at film. It retraces the steps of film theory from ideological criticism of the late ‘60s to spectator studies in 1988 when the book was originally published. Psychoanalysis enables a discussion of the cinema’s role as a social and political force and this book enters a discourse of the politics of representation. Reconstructing discussion of basic issues, the book addresses our instincts and defences in reacting to cinema, the similarity between mental processes and cinematic technique, narrative techniques and the ‘cinematic apparatus’. Importantly, the book concerns itself with the concept of ideology and how the filmviewing experience engages the spectator in a complex net of stimuli presenting representations of an ideal world and the effect of this within film studies.


The Cinema Ideal

The Cinema Ideal
Author: Harriet Elaine Margolis
Publisher:
Total Pages: 612
Release: 1985
Genre: Motion picture audiences
ISBN:

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Cinema/Politics/Philosophy

Cinema/Politics/Philosophy
Author: Nico Baumbach
Publisher: Columbia University Press
Total Pages: 239
Release: 2018-10-30
Genre: Performing Arts
ISBN: 0231545371

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Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto “Cinema/Ideology/Criticism,” helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? In this concise and provocative book, Baumbach argues that we need a new philosophical approach that sees cinema as both a mode of thought and a form of politics. Through close readings of the writings on cinema by the contemporary continental philosophers Jacques Rancière, Alain Badiou, and Giorgio Agamben, he asks us to rethink both the legacy of ideology critique and Deleuzian film-philosophy. He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable. Cinema/Politics/Philosophy offers fundamental new ways to think about cinema as thought, art, and politics.


Australian National Cinema

Australian National Cinema
Author: Tom O'Regan
Publisher: Routledge
Total Pages: 403
Release: 2005-08-10
Genre: Education
ISBN: 1134933495

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Situates Australian cinema in its historical and cultural perspective, offering detailed critiques of key films from 1970 onwards, and using them to illustrate the recent theories on the cinema industries.


Nikita Mikhalkov

Nikita Mikhalkov
Author: Birgit Beumers
Publisher: Bloomsbury Publishing
Total Pages: 157
Release: 2004-11-26
Genre: Performing Arts
ISBN: 0857715208

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Adored by Russian audiences for his commercially-oriented films, and loathed by the Russian intelligentsia for the same, Nikita Mikhalkov is one of the most successful, ambitious and controversial film-directors in the history of Soviet and Russian cinema. Revealing and discussing the key themes explored in his work, Birgit Beumers follows his career from his 1974 debut At Home Among Strangers, a Stranger at Home; through to the French co-productions: the award-winning Urga and the internationally renowned Oscar-winning Burnt by the Sun, 1994.


Babel and Babylon

Babel and Babylon
Author: Miriam Hansen
Publisher: Harvard University Press
Total Pages: 390
Release: 2009-07-01
Genre: Performing Arts
ISBN: 0674038290

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Although cinema was invented in the mid-1890s, it was a decade more before the concept of a “film spectator” emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown—vaudeville, dime museums, fairgrounds—a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In Babel and Babylon, Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere. Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School’s debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm—as one of the new industry’s strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience. After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D. W. Griffith’s Intolerance (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer. Babel and Babylon recasts the debate on early American cinema—and by implication on American film as a whole. It is a model study in the field of cinema studies, mediating the concerns of recent film theory with those of recent film history.


Public Spectacles of Violence

Public Spectacles of Violence
Author: Rielle Navitski
Publisher: Duke University Press
Total Pages: 342
Release: 2017-05-18
Genre: Performing Arts
ISBN: 0822372894

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In Public Spectacles of Violence Rielle Navitski examines the proliferation of cinematic and photographic images of criminality, bodily injury, and technological catastrophe in early twentieth-century Mexico and Brazil, which were among Latin America’s most industrialized nations and later developed two of the region’s largest film industries. Navitski analyzes a wide range of sensational cultural forms, from nonfiction films and serial cinema to illustrated police reportage, serial literature, and fan magazines, demonstrating how media spectacles of violence helped audiences make sense of the political instability, high crime rates, and social inequality that came with modernization. In both nations, sensational cinema and journalism—influenced by imported films—forged a common public sphere that reached across the racial, class, and geographic divides accentuated by economic growth and urbanization. Highlighting the human costs of modernization, these media constructed everyday experience as decidedly modern, in that it was marked by the same social ills facing industrialized countries. The legacy of sensational early twentieth-century visual culture remains felt in Mexico and Brazil today, where public displays of violence by the military, police, and organized crime are hypervisible.


Consuming Visions

Consuming Visions
Author: Maite Conde
Publisher: University of Virginia Press
Total Pages: 400
Release: 2012
Genre: Literary Criticism
ISBN: 0813932149

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Consuming Visions explores the relationship between cinema and writing in early twentieth-century Brazil, focusing on how the new and foreign medium of film was consumed by a literary society in the throes of modernization. Maite Conde places this relationship in the specific context of turn-of-the-century Rio de Janeiro, which underwent a radical transformation to a modern global city, becoming a concrete symbol of the country's broader processes of change and modernization. Analyzing an array of literary texts, from journalistic essays and popular women's novels to anarchist treatises and vaudeville plays, the author shows how the writers' encounters with the cinema were consistent with the significant changes taking place in the city. The arrival and initial development of the cinema in Brazil were part of the new urban landscape in which early Brazilian movies not only articulated the processes of the city's modernization but also enabled new urban spectators--women, immigrants, a new working class, and a recently liberated slave population--to see, believe in, and participate in its future. In the process, these early movies challenged the power of the written word and of Brazilian writers, threatening the hegemonic function of writing that had traditionally forged the contours of the nation's cultural life. An emerging market of consumers of the new cultural phenomena--popular theater, the department store, the factory, illustrated magazines--reflected changes that not only modernized literary production but also altered the very life and everyday urban experiences of the population. Consuming Visions is an ambitious and engaging examination of the ways in which mass culture can become an agent of intellectual and aesthetic transformation.


Directory of World Cinema: Australia and New Zealand 2

Directory of World Cinema: Australia and New Zealand 2
Author: Ben Goldsmith
Publisher: Intellect Books
Total Pages: 372
Release: 2015-04-01
Genre: Performing Arts
ISBN: 1783204818

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Building on and bringing up to date the material presented in the first instalment of Directory of World Cinema: Australia and New Zealand, this volume continues the exploration of the cinema produced in Australia and New Zealand since the beginning of the twentieth century. Among the additions to this volume are in-depth treatments of the locations that feature prominently in the countries’ cinema. Essays by leading critics and film scholars consider the significance of the outback and the beach in films, which are evoked as a liminal space in Long Weekend and a symbol of death in Heaven’s Burning, among other films. Other contributions turn the spotlight on previously unexplored genres and key filmmakers, including Jane Campion, Rolf de Heer, Charles Chauvel and Gillian Armstrong. Accompanying the critical essays in this volume are more than one hundred and fifty new film reviews, complemented by film stills and significantly expanded references for further study. From The Piano to Crocodile Dundee, Directory of World Cinema: Australia and New Zealand 2 completes this comprehensive treatment of a consistently fascinating national cinema.