- ホーム
- > 洋書
- > 英文書
- > Cinema / Film
基本説明
Brings together a diverse group of authors, including reigning authorities and rising stars, in a timely conversation that reaffirms the study of art cinema as a relevant, provocative, and even fundamental undertaking.
Full Description
Art cinema is a canonical term used in critical histories of postwar world cinema to carve out a space of aesthetic and commercial distinction that is neither mainstream nor avant-garde. For over fifty years, "art cinema" has defined how audiences and critics imagine cinema outside Hollywood, and this book uses art cinema's unique position to explore questions central to contemporary film studies. However, surprisingly little scholarly attention has been paid to the concept since the 1970s. The term itself almost began to seem quaint. Despite these conservative connotations, art cinema retains at its core a comparitivist and internationalist impulse central to any understanding of globalized culture. In the last thirty years, art cinema has flourished worldwide. The emergence of Central European, East Asian, and Latin American new waves, as well as northern Europe's Dogme and Iranian realism have contributed a vibrant new body of films that also demonstrates the centrality of art cinema to thinking film as a global phenomenon.This anthology reassesses the field of art cinema in light of recent scholarship on world film culture. The editors, each known for their important work in new approaches to international cinemas, have assembled a stimulating group of essays that cover the major issues in global art cinema, including new theorizations of the film image; revised industrial, legal, and exhibition histories; and the renewed debates about national, postcolonial, and regional cinema cultures. Global Art Cinema thus brings together a diverse group of authors in a timely conversation that reaffirms the category of art cinema as relevant, provocative, and even fundamental to contemporary film studies.
Contents
Foreword ; Dudley Andrew ; Introduction ; The Impurity of Art Cinema ; Rosalind Galt and Karl Schoonover ; 1. Delimiting the Field ; Beyond Europe: A Parametric Tradition? ; Mark Betz ; The Fantastic Trajectory of Pink Art Cinema From Stalin to Bush ; Sharon Hayashi ; Towards an Inclusive, Exclusive Approach to Art Cinema ; David Andrews ; Unthinking Heterocentrism: Bisexual Representability in Art Cinema ; Maria San Filippo ; Interactive Art Cinema: Between "Old" and "New" Media with Un Chien andalou and eXistenZ ; Adam Lowenstein ; 2. The Art Cinema Image ; Art/Cinema and Cosmopolitanism Today ; Brian Price ; Between Auditorium and Gallery: Perception in Apichatpong Weerasethakul's Films and Installations ; Jihoon Kim ; Pasolini's Exquisite Flowers: "The 'Cinema of Poetry'" as a Theory of Art Cinema ; John David Rhodes ; From Index to Figure in the European Art Film: The Case of The Conformist ; Angelo Restivo ; Surrealism in Art and Film: Face and Time ; Angela Dalle Vacche ; 3. Art Cinema Histories ; The Volcano and the Barren Hill: Gabriel Figueroa and the Space of Art Cinema ; Patrick Keating ; The Essay Film as a Cinema of Ideas ; Timothy Corrigan ; The Cloud-Capped Star: Ritwik Ghatak on the Horizon of Global Art Cinema ; Manishita Dass ; Notes on Art Cinema and the Emergence of Sub-Saharan Film ; Philip Rosen ; Disentangling the International Festival Circuit: Genre and Iranian Cinema ; Azadeh Farahmand ; 4. Geopolitical Intersections ; European Art Cinema, Affect, and Post-colonialism: Herzog, Denis, and the Dardenne Brothers ; E. Ann Kaplan ; Offering Tales They Want to Hear: Transnational European Film Funding as Neo-Orientalism ; Randall Halle ; Abderrahmane Sissako: Second and Third Cinema in the First Person ; Rachel Gabara ; Tsai Ming-liang's Haunted Movie Theater ; Jean Ma ; Traveling Theory, Shots, and Players: Jorge Sanjines, New Latin American Cinema, and the European Art Film ; Dennis Hanlon ; Critical Bibliography ; Notes on the Contributors
