The Cinema Of B La Tarr

Author: András B. Kovács
Editor: Columbia University Press
ISBN: 0231850379
Size: 15,68 MB
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The Cinema of Béla Tarr is a critical analysis of the work of Hungary's most prominent and internationally best known film director, written by a scholar who has followed Bela Tarr's career through a close personal and professional relationship for more than twenty-five years. András Bálint Kovács traces the development of Tarr's themes, characters, and style, showing that almost all of his major stylistic and narrative innovations were already present in his early films and that through a conscious and meticulous recombination of and experimentation with these elements, Tarr arrived at his unique style. The significance of these films is that, beyond their aesthetic and historical value, they provide the most powerful vision of an entire region and its historical situation. Tarr's films express, in their universalistic language, the shared feelings of millions of Eastern Europeans.

Organic Cinema

Author: Thorsten Botz-Bornstein
Editor: Berghahn Books
ISBN: 1785335677
Size: 12,55 MB
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The “organic” is by now a venerable concept within aesthetics, architecture, and art history, but what might such a term mean within the spatialities and temporalities of film? By way of an answer, this concise and innovative study locates organicity in the work of Béla Tarr, the renowned Hungarian filmmaker and pioneer of the “slow cinema” movement. Through a wholly original analysis of the long take and other signature features of Tarr’s work, author Thorsten Botz-Bornstein establishes compelling links between the seemingly remote spheres of film and architecture, revealing shared organic principles that emphasize the transcendence of boundaries.

The Cinema Of Central Europe

Author: Istvan Szabo
Editor: Wallflower Press
ISBN: 9781904764205
Size: 10,18 MB
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This new volume in the Twenty-Four Frames series focuses on twenty-four key Czech, Slovak, Hungarian, and Polish films from the twenties to the present. Between the wars the cinemas of Hungary, Poland, and the former Czechoslovakia each claimed their pioneers of early cinema and attained significant levels of production. They first attracted international attention in the 1930s, confirming this status with a succession of politically and aesthetically challenging films from the 1950s to the present. The work of directors such as Andrzej Wajda, Miklós Jancsó, Jirí Menzel, István Szabó, Márta Mészáros, Krzysztof Kieslowski, Jan Ävankmajer, and Béla Tarr are discussed. There are in depth studies of films such as Ashes and Diamonds, The Round-Up, The Shop on Main Street, Closely Watched Trains, Alice, The Decalogue, and Satantango.

Positioning Art Cinema

Author: Geoff King
Editor: Bloomsbury Publishing
ISBN: 1786735563
Size: 15,52 MB
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Art cinema occupies a space in the film landscape that is accorded a particular kind of value. From films that claim the status of harsh realism to others which embody aspects of the tradition of modernism or the poetic, art cinema encompasses a variety of work from across the globe. But how is art cinema positioned in the film marketplace, or by critics and in academic analysis? Exactly what kinds of cultural value are attributed to films of this type and how can this be explained? This book offers a unique analysis of how such processes work, including the broader cultural basis of the appeal of art cinema to particular audiences. Geoff King argues that there is no single definition of art cinema, but a number of distinct and recurrent tendencies are identified. At one end of the spectrum are films accorded the most 'heavyweight' status, offering the greatest challenges to viewers. Others mix aspects of art cinema with more accessible dimensions such as uses of popular genre frameworks and 'exploitation' elements involving explicit sex and violence. Including case studies of key figures such as Michael Haneke, Pedro Almodóvar and Jean-Pierre and Luc Dardenne, this is a crucial contribution to understanding both art cinema itself and the discourses through which its value is established.

Slow Movies

Author: Ira Jaffe
Editor: Columbia University Press
ISBN: 0231169787
Size: 19,50 MB
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"In all film there is the desire to capture the motion of life, to refuse immobility," Agnes Varda has noted. But to capture the reality of human experience, cinema must fasten on stillness and inaction as much as motion. Slow Movies investigates movies by acclaimed international directors who in the past three decades have challenged mainstream cinema's reliance on motion and action. More than other realist art cinema, slow movies by Lisandro Alonso, Nuri Bilge Ceylan, Pedro Costa, Jia Zhang-ke, Abbas Kiarostami, Cristian Mungiu, Alexander Sokurov, Bela Tarr, Gus Van Sant and others radically adhere to space-times in which emotion is repressed along with motion; editing and dialogue yield to stasis and contemplation; action surrenders to emptiness if not death.

Poetics Of Slow Cinema

Author: Emre Çağlayan
Editor: Springer
ISBN: 3319968726
Size: 10,73 MB
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This book discusses slow cinema, a contemporary global production trend that has recently gained momentum in film theory and criticism. Slow films dispense with narrative progression in favour of a contemplative mood, which is stretched out to the extreme in order to impel viewers to confront cinematic temporality in all its undivided glory. Despite its critical reputation as an oblique mode of film practice, slow cinema continues to attract, challenge and provoke audiences. Focusing on filmmakers Béla Tarr, Tsai Ming-liang and Nuri Bilge Ceylan, this book identifies nostalgia, absurd humour and boredom as intrinsic dimensions of slow cinema and explores the ways in which these directors negotiate local filmmaking conventions with the demands of a global cinephile niche. As the first study to treat slow cinema both as an aesthetic style and as an institutional discourse, Poetics of Slow Cinema offers an illuminating perspective on the tradition’s historical genealogy and envisions it with a Janus-faced disposition in the age of digital technologies—lamenting at once the passing of difficult, ambiguous modernist film and capitalizing on the yearning for its absence.

Phantasmatic Cinema

Author: Amy Levine
Editor:
ISBN: 9781109210439
Size: 12,98 MB
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The dissertation argues that cinema and psychoanalysis, in their interlocking histories, are critical to the concept of the ego, and the skin-ego of the cinematic screen. Psychoanalysis and cinema utilize the division of the transferential mise-en-scene: Both are driven by a phantasmatic space, one that is material, but neither active nor passive. The neutrality of the psychoanalytic and the cinematic spaces comprise Gilles Deleuze's and Louis Althusser's phantasm, one that is both material and derivative of unconscious mechanisms. Chapter One analyses Michelangelo Antonioni's films which present the viewer with the camera's gaze, one which conflates everyday objects with musings on Object Relations. He demonstrates the crisis of postwar Italy's coming into the Atomic Age by the disease of relations between self and other, and humans and the environment. Chapter Two examines the cinemas of Ufuk Aksoy and Bela Tarr, Aksoy explores the surface discontinuities of inverted mechanical, camera-driven, and human relationships, while Tarr exposes the inversion of political forms, sometimes masquerading as musical, sometimes as Eastern Bloc social realism. Tarr's work reveals Lacan's Real, that psychic space delineating the subject of desire, in its asymptotic encounter with an impossible Whole or political totality. Chapter Three offers readings of Jean-Luc Godard's operations of sound and image as these co-ordinate with Deleuze's opsigns and sonsigns. Ideology is reinscribed through the inherent division of the characters' personae in relation to the division of Object Relation's contention that pre-Oedipal partial objects operate on the oral and sexual planes, simultaneously. Chapter Four concludes by way of Alexander Sokurov's use of anamorphosis, visual and aural, to reveal previously illegible political realities. Sokurov's work sutures the relationships among the ideological and psychological realities of Russia throughout its recent past, or a national history, such as World War Two Japan standing in for Russia in Sun.

The Cinema Of James Cameron

Author: James Clarke
Editor: Columbia University Press
ISBN: 023185062X
Size: 16,84 MB
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This timely volume explores the massively popular cinema of writer-director James Cameron. It couches Cameron's films within the evolving generic traditions of science fiction, melodrama, and the cinema of spectacle. The book also considers Cameron's engagement with the aesthetic of visual effects and the 'now' technology of performance-capture which is arguably moving a certain kind of event-movie cinema from photography to something more akin to painting. This book is explicit in presenting Cameron as an authentic auteur, and each chapter is dedicated to a single film in his body of work, from The Terminator to Avatar. Space is also given to discussion of Strange Days as well as his short films and documentary works.

The Cinema Of Alexander Sokurov

Author: Jeremi Szaniawski
Editor: Columbia University Press
ISBN: 0231850522
Size: 17,75 MB
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One of the last representatives of a brand of serious, high-art cinema, Alexander Sokurov has produced a massive oeuvre exploring issues such as history, power, memory, kinship, death, the human soul, and the responsibility of the artist. Through contextualization and close readings of each of his feature fiction films (broaching many of his documentaries in the process), this volume unearths a vision of Sokurov's films as equally mournful and passionate, intellectual, and sensual, and also identifies in them a powerful, if discursively repressed, queer sensitivity, alongside a pattern of tensions and paradoxes. This book thus offers new keys to understand the lasting and ever-renewed appeal of the Russian director's Janus-like and surprisingly dynamic cinema – a deeply original and complex body of work in dialogue with the past, the present and the future.

The Cinema Of Michael Winterbottom

Author: Bruce Bennett
Editor: Columbia University Press
ISBN: 0231850530
Size: 17,12 MB
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This comprehensive study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. This volume undertakes a close analysis of a TV series directed by Winterbottom and sixteen of his films ranging from television dramas to transnational co-productions featuring Hollywood stars, and from documentaries to costume films. The critique is centered on Winterbottom's collaborative working practices, political and cultural contexts, and critical reception. Arguing that his work delineates a 'cinema of borders', this study examines Winterbottom's treatment of sexuality, class, ethnicity, and national and international politics, as well as his quest to adequately narrate inequality, injustice, and violence.