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Jean Vigo is one of the legendary figures of world cinema, whose films L'Atalante and Zéro de Conduite still inspire young audiences today. Film historian Michael Temple explores Vigo's intense career and asks why it has had such a long-lasting impact on film culture, not just in France, but also for generations of filmmakers, critics, and moviegoers around the world. Accessibly written, this will be essential reading for students, teachers, film enthusiasts, and researchers.
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.
The world-famous French singer Édith Piaf (1915-63) was never just a singer. This book suggests new ways of understanding her, her myth and her meanings over time at home and abroad, by proposing the notion of an 'imagined Piaf.
A quiet revolution is taking place in avant-garde French poetry and prose. In this collection of twelve interviews with some of France's most important poets and writers, Serge Gavronsky introduces American readers to these exciting new developments. As Gavronsky explains, a neolyricism is now replacing the formalism of the 1960s, '70s, and '80s. In his substantial introduction, Gavronsky notes how the ideological definition of writing (écriture) has given way to more open forms of writing. Human experiences of the most ordinary kinds are finding a place in the text. These interviews offer a view of the poets' and writers' creative processes and range over such topics as current literary theory, the impact of American poetry in France, and the place of feminism in contemporary French writing. Each interview is accompanied by samples of the writer's work in French and in Gavronsky's English translations. Toward a New Poetics provides a highly informative cultural and critical perspective on contemporary writing in France, introducing us to works which are now transforming the idea of literature itself.
On the American underground cinema
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Russian and Soviet cinema occupies a unique place in the history of world cinema. Legendary filmmakers such as Sergei Eisenstein, Vsevolod Pudovkin, Dziga Vertov, Andrei Tarkovsky, and Sergei Paradjanov have created oeuvres that are being screened and studied all over the world. The Soviet film industry was different from others because its main criterion of success was not profit, but the ideological and aesthetic effect on the viewer. Another important feature is Soviet cinema’s multinational (Eurasian) character: while Russian cinema was the largest, other national cinemas such as Georgian, Kazakh, and Ukrainian played a decisive role for Soviet cinema as a whole. The Historical Dictionary of Russian and Soviet Cinema provides a rich tapestry of factual information, together with detailed critical assessments of individual artistic accomplishments. This second edition of Historical Dictionary of Russian and Soviet Cinema contains a chronology, an introduction, and a bibliography. The dictionary section has over 600 cross-referenced entries on directors, performers, cinematographers, composers, designers, producers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about Russian and Soviet Cinema.
Positing that a radical utopianism is one of the most vital impulses of feminist politics, Partial Visions traces the articulation of this impulse in the work of Euro-American, French and German women writers of the 1970s. It argues that this feminist utopianism both continued and reconceptualized a critical dimension of Left politics, yet concludes that feminist utopianism is not just visionary, but myopic - time and culture bound - as well.