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A renowned Soviet director discusses his theory of film as an artistic medium which must appeal to all senses and applies it to an analysis of sequences from his major movies.
Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.
Catalogue published in conjunction with the exhibition "Extravagant Inventions: the Princely Furniture of the Roentgens" on view at The Metropolitan Museum of Art, New York, from October 30, 2102, through January 27, 2013.
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.
A transnational history of the performance, reception, translation, adaptation and appropriation of Bizet's Carmen from 1875 to 1945. This volume explores how Bizet's opera swiftly travelled the globe, and how the story, the music, the staging and the singers appealed to audiences in diverse contexts.
"Barthes's most popular and unusual performance as a writer is "A Lover's Discourse," a writing out of the discourse of love. This language primarily the complaints and reflections of the lover when alone, not exchanges of a lover with his or her partner is unfashionable. Thought it is spoken by millions of people, diffused in our popular romances and television programs as well as in serious literature, there is no institution that explores, maintains, modifies, judges, repeats, and otherwise assumes responsibility for this discourse . . . Writing out the figures of a neglected discourse, Barthes surprises us in "A Lover's Discourse" by making love, in its most absurd and sentimental forms, an object of interest." Jonathan Culler
A classic on the aesthetics of filmmaking from the pioneering Soviet director who made Battleship Potemkin. Though he completed only a half-dozen films, Sergei Eisenstein remains one of the great names in filmmaking, and is also renowned for his theory and analysis of the medium. Film Form collects twelve essays, written between 1928 and 1945, that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an introduction by Jay Leyda, this volume allows modern-day film students and fans to gain insights from the man who produced classics such as Alexander Nevsky and Ivan the Terrible and created the renowned “Odessa Steps” sequence.
Noel Burch's new book is a critique of the assumptions underlying 'classical' approaches to film history: the assumption that what we call the language of film was a natural, organic development, that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being; and the assumption that this language was a universal, neutral medium, innocent of any social or historical meaning in itself." "His major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed -- in the capitalist and imperialist west between 1892 and 1929." "The book examines the chronology of the emergence of what it defines as cinema's Institutional Mode of Representation and the socio-historical circumstances in which this took place. It examines the principles of visualisation -- camera placement and movement, lighting, editing, mise-en-scene -- that film-makers and audiences came to internalize over the first three decades. Special emphasis is laid on the allimportant change that occurred in the imaginary placing of the spectator, from a position of exteriority to the film image, implicit in both film-form and viewing conditions during the primitive era (pre-1909), to the imaginary centering of the spectator-subject, completed only with the generalisation of lip-synch sound after 1929. It is the contention of this book that this imaginary centering of a sensorily isolated spectator is the keystone of the cinematic illusion of reality, still achieved today by the same means as it was sixty years ago.