Kooperativer Bibliotheksverbund

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Format: xx, 332 Seiten : , Illustrationen.

ISBN: 978-0-7486-9602-4 , 978-0-7486-9604-8

Series Statement: Transitions in world cinema

Additional Edition: Erscheint auch als Online-Ausgabe, EPUB ISBN 978-0-7486-9605-5

Additional Edition: Erscheint auch als Online-Ausgabe, PDF ISBN 978-0-7486-9603-1

Language: English

Subjects: General works

Keywords: Film ; Langsamkeit ; Monotonie ; Aufsatzsammlung ; Aufsatzsammlung

URL: Inhaltsverzeichnis

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Format: 1 Online-Ressource (304 pages) , 76 B/W illustrations 1 B/W tables 77 B&W illustrations

ISBN: 9781474453004

Series Statement: Edinburgh Studies in Film and Intermediality : ESFI

Content: Presents a new history of Brazilian Cinema, based on its dialogue with other arts and mediaLaunches an entirely new historiographic method, drawing on intermediality in order to reconstruct the history of a national cinemaUnveils the multimedia and polymathic wealth behind the various historical periods in Brazilian cinemaProvides an overarching historical coverage of Brazilian cinema, through an innovative approach that connects different periods in Brazilian film history through the multiple art and media forms interwoven in themProposes that different phases of a national cinema can be framed as comparable and interrelated phenomena, rather than relying on evolutionary chronologies and classical-modern or centre-periphery modelsExplores new ways of understanding Brazilian film history, and the history of cinema in generalFrom its inception, Brazilian cinema has combined extra-filmic artistic and cultural forms, both local and imported, resulting in an original aesthetic blend. Theatre, dance, music, circus, radio, television and the plastic arts left a distinctive mark on Brazilian cinema's poetics and politics, as can be observed in a host of fascinating phenomena analysed in this book, including: the film prologues that connected the screen to the stage in the 1920s; the chanchada musical comedies, inflected by vaudeville theatre and the radio; the manguebeat and árido movie movements that blurred the boundaries between music and film; and contemporary multimedia installations and other experiments. By adopting intermediality as a historiographic method, this book reconstructs the history and cultural wealth behind filmic expressions in Brazilian cinema.

Note: Description based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2022) , In English

Additional Edition: Erscheint auch als Druck-Ausgabe ISBN 9781474452984

Language: English

DOI: 10.1515/9781474453004

URL: Volltext  (URL des Erstveröffentlichers)

UID:

Format: XII, 268 S. : , Ill.

ISBN: 978-1-78076-630-0

Series Statement: Tauris world cinema series

Language: English

Keywords: Film ; Realismus ; Langsamkeit

URL: http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027037660&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA

UID:

Format: 1 online resource (384 p.) : , 76 B/W illustrations 1 B/W tables 77 B&W illustrations

ISBN: 9781474453004 , 9783110992809

Series Statement: Edinburgh Studies in Film and Intermediality : ESFI

Content: Presents a new history of Brazilian Cinema, based on its dialogue with other arts and mediaLaunches an entirely new historiographic method, drawing on intermediality in order to reconstruct the history of a national cinemaUnveils the multimedia and polymathic wealth behind the various historical periods in Brazilian cinemaProvides an overarching historical coverage of Brazilian cinema, through an innovative approach that connects different periods in Brazilian film history through the multiple art and media forms interwoven in themProposes that different phases of a national cinema can be framed as comparable and interrelated phenomena, rather than relying on evolutionary chronologies and classical-modern or centre-periphery modelsExplores new ways of understanding Brazilian film history, and the history of cinema in generalFrom its inception, Brazilian cinema has combined extra-filmic artistic and cultural forms, both local and imported, resulting in an original aesthetic blend. Theatre, dance, music, circus, radio, television and the plastic arts left a distinctive mark on Brazilian cinema's poetics and politics, as can be observed in a host of fascinating phenomena analysed in this book, including: the film prologues that connected the screen to the stage in the 1920s; the chanchada musical comedies, inflected by vaudeville theatre and the radio; the manguebeat and árido movie movements that blurred the boundaries between music and film; and contemporary multimedia installations and other experiments. By adopting intermediality as a historiographic method, this book reconstructs the history and cultural wealth behind filmic expressions in Brazilian cinema.

Note: Frontmatter -- , Contents -- , List of Figures -- , The Contributors -- , Acknowledgements -- , Introduction -- , Part I Intervisuality -- , 1 Traffic in Images: Visual Spectacle before Cinema in Brazil -- , 2 Intermedial Landscapes in the Work of Cao Guimarães -- , 3 'The most innocent film of the year': Comic Books, Sex and Cinema Marginal -- , 4 Photographs of the Invisible: Intermedial Figurations of Social Exclusion in Babás and Aquarius -- , 5 Exploring the Cinematic Imaginary: Carlos Adriano, André Parente and the Precision of the Vague -- , Part II The Empire of Music -- , 6 Watson Macedo's Aviso aos navegantes (1950): Reflections on the Musical Numbers of a Brazilian Chanchada -- , 7 (In)Visible Musicians: Supporting Instrumentalists and their Intermedial Vocation -- , 8 Music-video Aesthetics in Pernambucan Cinema -- , 9 Possessing Archival Images: Ghosts, Songs and Films in Cartola - música para os olhos (2007) -- , Part III Entertainment Circuits -- , 10 Intermediality in Brazilian Silent Cinema: Luiz de Barros's Works and Intermedial Strategies -- , 11 'Synchronised Film Fever' amid the 'Gramophonoradiomania': Record, Radio and Cinema at the Dawn of the 'Talkies' in Rio de Janeiro -- , 12 The Singer, the Acrobats and the Bands: A Study of Three Brazilian Films and their Intermedial Characters -- , 13 Gilda de Abreu's O Ébrio as a Unique Intermedial Project -- , 14 Chanchada, Samba and Beyond: From the Cinema of Radio to the Cinema of Television (1930s-1960s) -- , Part IV From Impure Cinema to Cosmopoetics -- , 15 Impure Cinema as Method: The Last Films of Eduardo Coutinho -- , 16 Queering Intermediality in Brazilian Cinema -- , 17 The Humiliation of the Father: Theatrical Melodrama and Cinema Novo's Critique of Conservative Modernisation -- , 18 Intermedial Territories: Maps and the Amazonian Moving Image -- , 19 An Intermedial Reading of Glauber Rocha's Cosmogony -- , Index , Mode of access: Internet via World Wide Web. , In English.

In: EBOOK PACKAGE Arts 2022, De Gruyter, 9783110992809

In: EBOOK PACKAGE Arts, Architecture and Design 2022 English, De Gruyter, 9783110992816

In: EBOOK PACKAGE COMPLETE 2022 English, De Gruyter, 9783110993899

In: EBOOK PACKAGE COMPLETE 2022, De Gruyter, 9783110994810

In: Edinburgh University Press Complete eBook-Package 2022, De Gruyter, 9783110780390

Language: English

DOI: 10.1515/9781474453004

URL: https://doi.org/10.1515/9781474453004

URL: https://www.degruyter.com/isbn/9781474453004

URL: Cover

UID:

Format: XII, 268 Seiten , Illustrationen

ISBN: 9781780766300 , 1780766300

Series Statement: Tauris world cinema series

Language: English

Keywords: Film ; Sinnlichkeit ; Realismus ; Filmtheorie

URL: Inhaltsverzeichnis

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Format: 1 online resource (320 p.) : , 40 B/W illustrations

ISBN: 9781474421843

Content: Rethinks cinematic journeys through history, globalisation, form and genreHonourable Mention - BAFTSS Best Edited Collection Award 2020!Addressing the appeal of the journey narrative from pre-cinema to new media and through documentary, fiction and the spaces between, this collection reveals the journey to be a persistent presence across cinema and in cultural modernity. Drawing on examples from different regions and cultures that traverse art and genre cinema, the book explores the journey as a motif for something wider, a metaphor for self-discovery and social transformation, and evidence of autonomy and progress (or their lack). Illuminating areas of global movement, belonging, diaspora and memory, these essays document epochal changes in human behaviour, from urbanisation, migration and war to tourism and shopping.ContributorsStefano Baschiera, Queen’s University BelfastLouis Bayman, University of SouthamptonCarlo Cenciarelli, Cardiff UniversityMaurizio Cinquegrani, University of KentClelia Clini, Loughborough UniversityAnna Cooper, University of ArizonaTiago de Luca, University of WarwickAlan Freeman, University of KentChris Fujiwara, film critic and programmerHajnal Király, Eötvös Lóránd University of BudapestLucy Mazdon, University of SouthamptonEwa Mazierska, University of Central LancashireEva Näripea, Tallinn UniversityMichael Pigott, University of WarwickNatalia Pinazza, University of ExeterLázsló Strausz, Eötvös Lóránd University of Budapest"

Note: Frontmatter -- , Contents -- , Figures -- , Notes on the Contributors -- , Introduction -- , Part 1a Mapping Cinematic Journeys: Chronotopes of Journeys -- , 1 Global Visions: Around-the-World Travel and Visual Culture in Early Modernity -- , 2 Brief Encounters: The Railway Station on Film -- , 3 Diasporic Dreams and Shattered Desires: Displacement, Identity and Tradition in Heaven on Earth -- , 4 Chronotopic Ghosts and Quiet Men: José Luis Guerín’s Innisfree -- , 5 Memories, Notebooks, Roads: The Essayistic Journey in Time and Space -- , Part 1b Expanding Europe: Interstitial Production and Border-crossing in Eastern European Cinema -- , 6 Shadows of Unforgotten Ancestors: Representations of Estonian Mass Deportations of the 1940s in In the Crosswind and Body Memory -- , 7 The Holocaust and the Cinematic Landscapes of Postmemory in Lithuania, Hungary and Ukraine -- , 8 Hesitant Journeys: Fugitive and Migrant Narratives in the New Romanian Cinema -- , 9 Women on the Road: Representing Female Mobility in Contemporary Hungarian–Romanian Co-productions -- , Part 2a Form and Narrative in Journey Genres -- , 10 The Sense of an Ending: Music, Time and Romance in Before Sunrise -- , 11 Moving in Circles: Kinetic Elite and Kinetic Proletariat in ‘End of the World’ Films -- , 12 Gothic Journeys: Travel and Transportation in the Films of Terence Fisher -- , 13 Transnational Productions and Regional Funding: Bordercrossing, European Locations and the Case of Contemporary Horror -- , Part 2b The Politics of the Road Movie -- , 14 Colonialism in Latin American Road Movies -- , 15 Spaces of Failure: The Gendering of Neoliberal Mobilities in the US Indie Road Movie -- , 16 Sic transit: The Serial Killer Road Movie -- , Index , In English.

Language: English

DOI: 10.1515/9781474421843

URL: https://doi.org/10.1515/9781474421843

URL: https://www.degruyter.com/isbn/9781474421843

URL: https://doi.org/10.1515/9781474421843

URL: https://www.degruyter.com/isbn/9781474421843

UID:

Format: 330 Seiten , Illustrationen , 24 cm

ISBN: 9789463729628 , 9463729623

Series Statement: Film culture in transition

Note: Includes bibliographical references and index

Additional Edition: ISBN 9789048550968

Language: English

URL: Inhaltsverzeichnis

UID:

Format: 1 online resource (352 p.)

ISBN: 9780748696031

Series Statement: Traditions in World Cinema : TWC

Content: Situates, theorises and maps out cinematic slowness within contemporary global film production and across world cinema historyIn the context of a frantic world that celebrates instantaneity and speed, a number of cinemas steeped in contemplation, silence and duration have garnered significant critical attention in recent years, thus resonating with a larger sociocultural movement whose aim is to rescue extended temporal structures from the accelerated tempo of late-capitalism. Although not part of a structured film movement, directors such as Carlos Reygadas, Tsai Ming-liang, Béla Tarr, Pedro Costa and Kelly Reichardt have been largely subsumed under the term ‘slow cinema’. But what exactly is slow cinema? Is it a strictly recent phenomenon or an overarching cinematic tradition? And how exactly do slow cinemas interrelate on an aesthetic, technical and political level?Deploying the concept of slowness as an umbrella category under which filmmakers and traditions from different historical and geographical backgrounds can fruitfully converge, this innovative collection of essays interrogates and expands the frameworks that have generally informed slow cinema debates. Repositioning the term in a broader theoretical space, the book combines an array of fine-grained studies that will provide valuable insight into the notion of slowness in the cinema, while mapping out past and contemporary slow films across the globe.Key featuresEstablishes the significance of slow cinema studies in film scholarshipIlluminates the interconnectedness of past and present-day world cinemas through the methodological and comparative prism of slownessProvides in-depth critical analyses of a wide variety of world cinema traditions and practicesIntervenes in, and contributes to, key debates in current film scholarship: new technologies, art cinema, realism ContributorsMartin Brady teaches in the German and Film Studies Departments at King’s College London William Brown is Senior Lecturer in Film at the University of Roehampton, London Paul Cooke is Professor of German Cultural Studies and Director of the Centre for World Cinemas at the University of Leeds Glyn Davis is Chancellor’s Fellow and Reader in Screen Studies at the University of Edinburgh Elena Gorfinkel is Assistant Professor of Art History and Film Studies at the University of Wisconsin-Milwaukee Michael Gott is Assistant Professor of French at the University of Cincinnati, where he teaches courses in French and Francophone literature and cinema, European Studies, and film Asbjørn Grønstad is Professor of Visual Culture at the University of Bergen, where he is also founding director of the Nomadikon Center for Visual Culture Song Hwee Lim is Senior Lecturer in Film Studies at the University of Exeter Stephanie Lam is a PhD candidate in the Film and Visual Studies program at Harvard University Philippa Lovatt is a Lecturer in Media and Communications at the University of Stirling and also teaches at the University of Social Sciences and Humanities, Ho Chi Minh City Cecília Mello is Lecturer in Film Studies in the Department of Film, Radio and Television, University of São Paulo, and FAPESP Senior Research Fellow in the Department of History of Art, Federal University of São Paulo, Brazil Matilda Mroz is Senior Lecturer in Film and Visual Culture at the University of Greenwich Lúcia Nagib is Professor of Film at the University of Reading Jacques Rancière is Professor Emeritus at the Université de Paris (St. Denis) Justin Remes is an assistant professor of film studies at Iowa State University Julian Ross is a researcher, curator and writer based in Amsterdam Karl Schoonover is Associate Professor of Film and Television Studies at the University of Warwick Patrick Brian Smith is a Frederick H. Lowy Doctoral Fellow in the Mel Hoppenheim School of Cinema at Concordia University Rob Stone is Professor of European Film at the University of Birmingham and Director of B-Film: The Birmingham Centre for Film Studies Julian Stringer is Associate Professor in Film and Television Studies at the University of Nottingham, UK C. Claire Thomson is a Senior Lecturer in Scandinavian Film at UCL Michael Walsh is Associate Professor, University of Hartford

Note: Frontmatter -- , CONTENTS -- , ILLUSTRATIONS -- , CONTRIBUTORS -- , ACKNOWLEDGEMENTS -- , TRADITIONS IN WORLD CINEMA -- , FOREWORD -- , INTRODUCTION: FROM SLOW CINEMA TO SLOW CINEMAS -- , PART 1 HISTORICISING SLOW CINEMA -- , 1. THE POLITICS OF SLOWNESS AND THE TRAPS OF MODERNITY -- , 2. THE SLOW PULSE OF THE ERA: CARL TH. DREYER’S FILM STYLE -- , 3. THE FIRST DURATIONAL CINEMA AND THE REAL OF TIME -- , 4. ‘THE ATTITUDE OF SMOKING AND OBSERVING’: SLOW FILM AND POLITICS IN THE CINEMA OF JEAN-MARIE STRAUB AND DANIÈLE HUILLET -- , PART II CONTEXTUALISING SLOW CINEMA -- , 5. TEMPORAL AESTHETICS OF DRIFTING: TSAI MING-LIANG AND A CINEMA OF SLOWNESS -- , 6. STILLS AND STILLNESS IN APICHATPONG WEERASETHAKUL’S CINEMA -- , 7. MELANCHOLIA: THE LONG, SLOW CINEMA OF LAV DIAZ -- , 8. EXHAUSTED DRIFT: AUSTERITY, DISPOSSESSION AND THE POLITICS OF SLOW IN KELLY REICHARDT’S MEEK’S CUTOFF -- , 9. IF THESE WALLS COULD SPEAK: FROM SLOWNESS TO STILLNESS IN THE CINEMA OF JIA ZHANGKE -- , PART III SLOW CINEMA AND LABOUR -- , 10. WASTRELS OF TIME: SLOW CINEMA’S LABOURING BODY, THE POLITICAL SPECTATOR AND THE QUEER -- , 11. LIVING DAILY, WORKING SLOWLY: PEDRO COSTA’S IN VANDA’S ROOM -- , 12. WORKING/SLOW: CINEMATIC STYLE AS LABOUR IN WANG BING’S TIE XI QU: WEST OF THE TRACKS -- , 13. ‘SLOW SOUNDS’: DURATION, AUDITION AND LABOUR IN LIU JIAYIN’S OXHIDE AND OXHIDE II -- , PART IV SLOW CINEMA AND THE NON-HUMAN -- , 14. IT’S ABOUT TIME: SLOW AESTHETICS IN EXPERIMENTAL ECOCINEMA AND NATURE CAM VIDEOS -- , 15. NATURAL VIEWS: ANIMALS, CONTINGENCY AND DEATH IN CARLOS REYGADAS’S JAPÓN AND LISANDRO ALONSO’S LOS MUERTOS -- , 16. THE SLEEPING SPECTATOR: NON-HUMAN AESTHETICS IN ABBAS KIAROSTAMI’S FIVE: DEDICATED TO OZU -- , PART V THE ETHICS AND POLITICS OF SLOWNESS -- , 17. BÉLA TARR: THE POETICS AND THE POLITICS OF FICTION -- , 18. ETHICS OF THE LANDSCAPE SHOT: AKA SERIAL KILLER AND JAMES BENNING’S PORTRAITS OF CRIMINALS -- , 19. SLOW CINEMA AND THE ETHICS OF DURATION -- , PART VI BEYOND ‘SLOW CINEMA’ -- , 20. PERFORMING EVOLUTION: IMMERSION, UNFOLDING AND LUCILE HADŽIHALILOVIC´ ’S INNOCENCE -- , 21. THE SLOW ROAD TO EUROPE: THE POLITICS AND AESTHETICS OF STALLED MOBILITY IN HERMAKONO AND MORGEN -- , 22. CRYSTALLISING THE PAST: SLOW HERITAGE CINEMA -- , INDEX , In English.

Language: English

DOI: 10.1515/9780748696031

URL: https://www.degruyter.com/isbn/9780748696031

URL: https://www.degruyter.com/isbn/9780748696031