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Full Description
In A Modernist Cinema, 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 Buñuel, 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 of filmmaking; 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.
Contents
Introduction
Chapter 1: Giovanni Pastrone's Cabiria, Gesture, Modernism, by Enda Duffy and Maurizia Boscagli
Chapter 2: D. W. Griffith's Intolerance and the Ever-Present Now, by Michael North
Chapter 3: Sergei Eisenstein's Collage: Filming Montage in Museums at Night, by Lisa Siraganian
Chapter 4: From Automaton to Autonomy: Mechanical Reproduction in Fritz Lang's Metropolis, by Richard Begam
Chapter 5: "Suspense is Like a Woman": Sex and Style in Alfred Hitchcock's Pleasure Garden and The Lodger, by Laura Frost
Chapter 6: F. W. Murnau's Sunrise: Between Two Worlds, by Laura Marcus
Chapter 7: "A Language Worth the Trouble of Learning"? Carl Theodore Dreyer's The Passion of Joan of Arc, by Andrzej Gasiorek
Chapter 8: Intervals of Transition: Dziga Vertov's The Man With a Movie Camera, by Tyrus Miller
Chapter 9: Luis Buñuel, Surrealism and the Politics of Disorder, by Michael Wood
Chapter 10: Yasujir's Ozu's A Story of Floating Weeds and the Art of Being Behind, by Carrie J. Preston
Chapter 11: "Saved from the Blessings of Civilization": John Ford's Stagecoach, the West, and American Vernacular Modernism, by Michael Valdez Moses
Chapter 12: "Tout le monde a ses raisons" The Problem of Impressionist Commitment in Jean Renoir's La Règle du jeu, by Jesse Matz
Chapter 13: "You Must Speak": Silence, Scale, and Power in Charlie Chaplin's The Great Dictator, by Scott W. Klein
Chapter 14: Leni Riefenstahl's Nazi Neoclassicism: Olympia, by Elizabeth Otto
Chapter 15: On Auratic and Sentimental Objects: High and Low Modernism in Orson Welles' Citizen Kane, by Douglas Mao
Index
