Filed under book | Tags: · cinema, experimental film, film, film history, film theory
“Metaphors on Vision is a collection of writings on the film and, in particular, on the film as Stan Brakhage sees and makes it. Yet more significantly it is a testament of what makes mythopoeic art. Mythopoeia is the often attempted and seldom achieved result of making a myth new or making a new myth.” (from the Introduction)
Edited with an Introduction by P. Adams Sitney
Book design by George Maciunas
Publisher Film Culture, Inc.
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Filed under book | Tags: · cinema, film, film theory, maoism, montage, photography, politics, sexuality, technology, television
Godard: Images, Sounds, Politics is an important step in making Godard’s experiments in image and sound beyond the institutions of cinema and television visible. It reads the earlier films through the more recent work, focusing on politics, technology and sexuality. These insistent themes dominate Godard’s investigation of our representation in the image, a representation always inflected by sound. These terms enable us to understand more critical the circulation of money and images in which we participate, a circulation which Godard’s work cuts across.” (from the back cover)
Includes essays by Colin MacCabe, Laura Mulvey, and Mick Eaton. Also features interviews with Godard, a filmography, and a selected bibliography. Printed in black-and-white.
With Mick Eaton and Laura Mulvey
Design Richard Hollis
Publisher The Macmillan Press, London and Basingstoke, 1980
British Film Institute Cinema series
ISBN 0333290739, 9780333290736
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Filed under journal | Tags: · cinema, film, film criticism, film theory, politics, television
With texts by Alexander Kluge, Eric Rentschler, Timothy Corrigan, Helke Sander, Heide Schluepmann, Gertrud Koch, Richard Wolin, John Rajchman, and Marc Silberman.
Editors: David Bathrick, Helen Fehervary, Miriam Hansen, Andreas Huyssen, Anson Rabinbach, Jack Zipes
Publisher Telos Press, New York, Winter 1990
Filed under book | Tags: · cinema, film, film theory
“The diaries of the Russian filmmaker Andrei Tarkovsky cover his life and work in the Soviet Union and the time of his exile in Western Europe.
He called his diaries Martyrolog about which he said in 1974: ‘Pretentious and false as a title, but let it stay as a reminder of my ineradicable, futile worthlessness.’ The diaries are deeply personal and were intended mainly for Tarkovsky himself. Some entries are seemingly trivial, as for example shopping lists or entries on his health. Another frequent topic are other film directors or artists, which Tarkovsky generally regarded with a negative attitude. At other time Tarkovsky discusses philosophical or film theoretical questions, not necessarily related to day to day events. Tarkovsky kept his diary until shortly before his death on December 29, 1986. The last entry was on December 15, 1986. His last words were ‘But now I have no strength left – that is the problem’.
After the 1991 coup several memos surfaced that alleged that the KGB had at times access to the diaries. Although Tarkovsky did not openly oppose the Soviet system, his work heavily emphasized spiritual themes, that were at conflict with the official anti-religious atheist ideology, prompting the KGB to open a file on him.” (Wikipedia)
First published in German, Verlag Ullstein, Frankfurt am Main/Berlin, 1989
Translated from the Russian by Kitty Hunter-Blair, 1991 (Russian original was not published until 2008)
Publisher Faber and Faber, London/Boston, 1994
ISBN 0571167179, 9780571167173
Filed under book | Tags: · 1920s, 1930s, cinema, cultural criticism, cultural politics, dance, everyday, film theory, literature, photography, weimar
Siegfried Kracauer was one of the twentieth century’s most brilliant cultural critics, a daring and prolific scholar, and an incisive theorist of film. In this volume his finest writings on modern society make their long-awaited appearance in English.
This book is a celebration of the masses–their tastes, amusements, and everyday lives. Taking up themes of modernity, such as isolation and alienation, urban culture, and the relation between the group and the individual, Kracauer explores a kaleidoscope of topics: shopping arcades, the cinema, bestsellers and their readers, photography, dance, hotel lobbies, Kafka, the Bible, and boredom. For Kracauer, the most revelatory facets of modern life in the West lie on the surface, in the ephemeral and the marginal. Of special fascination to him is the United States, where he eventually settled after fleeing Germany and whose culture he sees as defined almost exclusively by “the ostentatious display of surface.”
With these essays, written in the 1920s and early 1930s and edited by the author in 1963, Kracauer was the first to demonstrate that studying the everyday world of the masses can bring great rewards. The Mass Ornament today remains a refreshing tribute to popular culture, and its impressively interdisciplinary essays continue to shed light not only on Kracauer’s later work but also on the ideas of the Frankfurt School, the genealogy of film theory and cultural studies, Weimar cultural politics, and, not least, the exigencies of intellectual exile.
In his introduction, Thomas Levin situates Kracauer in a turbulent age, illuminates the forces that influenced him–including his friendships with Walter Benjamin, Theodor Adorno, and other Weimar intellectuals–and provides the context necessary for understanding his ideas. Until now, Kracauer has been known primarily for his writings on the cinema. This volume brings us the full scope of his gifts as one of the most wide-ranging and penetrating interpreters of modern life.
Originally published in German as Das Ornament der Masse: Essays, Suhrkamp Verlag, 1963
Translated, Edited, and with an Introduction by Thomas Y. Levin
Publisher Harvard University Press, 1995
Filed under book | Tags: · aesthetics, capitalism, cinema, film, film theory, narrative, philosophy, politics, postmodern
Taking contemporary films from the United States, Russia, Taiwan, France, and the Philippines, The Geopolitical Aesthetic offers a reading of some of the most interesting films of the last decade and a general account of filmic representation in the postmodern world. Fredric Jameson poses some essential questions: How does representation function in contemporary film? How does contemporary cinema represent an ever more complex and international social reality? Jameson’s sophisticated and theoretically informed readings stress the ways in which disparate films—for example, Godard’s Passion, Pakula’s All the President’s Men, Yang’s The Terrorizer, Tahimik’s The Perfumed Nightmare, Tarkovsky’s Andrei Roublev—confront similar problems of representation. The solutions vary widely but the drive remains the same—the desire to find adequate allegories for our social existence.
The Geopolitical Aesthetic, a refinement and development of the arguments put forward in Jameson’s seminal work The Political Unconscious, is crucial reading for everyone interested in both film analysis and cultural studies.
Publisher Indiana University Press, 1992
ISBN 0253330939, 9780253330932
Filed under book | Tags: · cinema, film, film theory
This classic in the literature of cinema represents the convergence of the three leading figures of French film: Jean Renoir, universally considered the greatest French director; André Bazin, the outstanding French film critic and theorist; and François Truffaut, the pioneer of la nouvelle vague. Bazin left this examination of Renoir’s films unfinished when he died in 1958; Truffaut collected and edited the essays, and added a comprehensive filmography in which Bazin, Truffaut, Jacques Rivette, Jean-Luc Godard, Eric Rohmer, and other Cahiers du Cinéma regulars comment on the films. Here are brilliant insights into the whole of Renoir’s oeuvre, from the avant-garde fantasy of La Petite Marchande d’Allumettes, through the epic humanism of Grand Illusion and The Rules of the Game, to the quiet grace of The River and the profound theatricality of The Golden Coach. Bazin shows why Renoir is the critical figure in the development of cinema since the silent era, and how he went beyond montage to give the art new expressive potential. Renoir’s work constitutes one of the most fully and beautifully elaborated visions in contemporary art, and nowhere is this humanistic vision better illuminated than in this book.
Originally published in French as Jean Renoir, avant-propos de Jean Renoir, éditions Champ libre, 1971
Translated by W. W. Halsey II and William H. Simon
Edited and with an Introduction by François Truffaut
Introduction by Jean Renoir
Publisher W.H.Allen, London & New York, a division of Howard & Wyndham Ltd., 1974
Translated by Isabel Lobinho
Publisher Forja, Lisbon, 1975