KOVACS SCREENING MODERNISM PDF

Amazon Second Chance Pass it on, trade it in, give it a second life. Everyone interested in the expressive resources of cinema, past and present, will want to read this book. Not all these tendencies were equally strong or influential in all periods during late modern cinema. The Destabilization of the Fabula: Tanner rated it liked it Mar 04, Goodreads helps you keep track of books you want to read. For a work of such scope, it manages to give its compoment parts the detail and depth they deserve.

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Screening Modernism: European Art Cinema Chicago: University of Chicago Press, ISBN: pp Review copy supplied by University of Chicago Press As we approach the end of the s, it is worth remembering that it has been fifty years since that annus mirabilis during which history and aesthetics took a quantum leap.

In February Fidel Castro arrived in Havana. In October a Soviet probe transmitted the first photos of the dark side of the moon. It was an efflorescence of rare velocity. In an era in which we are spoilt for choice as movies, television, DVD, satellite and cable vie for our viewing habits, any thoroughgoing attempt to account for the canonical audiovisual moment is welcome.

Post-war modernism became the first truly international style or movement in cinema. And seemed seminal. But that is exactly what happened in in European cinema. These films were not only emblematic of modern cinema, but represented all the important trends of modernism that would later spread throughout Europe and the world…almost the whole spectrum of modern cinema was opened up at once.

Indeed, as rich and rigorous as this history of post-war aesthetics is, you find yourself wanting a little more of the history behind the history, so to speak. And syntactically cumbersome, the sentences go on and on and on. As for the factual errors, these are not so frequent that they detract from the exacting intellectual ambition of the book, but they do glare. What about Woody Allen, an arch-legatee of Bergman, surely?

The Free Cinema movement did not emerge out of the theatrical tradition. It was the result of a British Film Institute funding initiative to re-invigorate British cinema cinematically, owing more to the poetic tradition in British documentary than to the British theatre, the hidebound traditions of which it opposed.

There is also an irritating habit of shortening film titles.

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