UID:
edocfu_9960141178002883
Format:
1 online resource (336 p.) :
,
21 B/W illustrations
ISBN:
9780748697960
Content:
Demonstrates how the films of Theo Angelopoulos react aesthetically to their historical periodThe Cinema of Theo Angelopoulos is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, this groundbreaking collection brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Angelopoulos’ formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the confines of the Greek national film industry, the book approaches his work as representative of modernism more generally, and in particular of the modernist imperative to document its allusive historical objects through artistic innovation.Retrospective in nature, The Cinema of Theo Angelopoulos argues that Angelopoulos’ films are not emblems of a bygone historical and cultural era or abstract exercises in artistic style, but are foreshadowing documents that speak to the political complexities and economic contradictions of the present.Read the introduction online for free (pdf)ContributorsMaria Chalkou holds a PhD in Film Theory and History (University of Glasgow).Stephanie Hemelryk Donald is Head of the School of the Arts at the University of Liverpool. Caroline Eades is Associate Professor in the School of Languages, Literatures and Cultures at the University of Maryland, College Park. Hamish Ford is a Senior Lecturer in Film Studies at the University of Newcastle, Australia.Dan Georgakas has been one of the editors of Cineaste film quarterly since 1969. Asbjørn Grønstad is Professor of Visual Culture in the Department of Information Science and Media Studies at the University Of Bergen.Andrew Horton is Jeanne H. Smith Professor of Film and Media Studies at the University of Oklahoma, an award-winning screenwriter, and the author of twenty-seven books on film, screenwriting and cultural studies.Fredric Jameson is the author of Postmodernism, or The Cultural Logic of Late Capitalism (1991), which won the MLA Lowell Award.Smaro Kamboureli is the Avie Bennett Professor in Canadian Literature at the University of Toronto.Vrasidas Karalis is a Professor of Modern Greek at the University of Sydney.Alexander Kluge is a political philosopher, author, filmmaker and co-writer of the Oberhausen Manifesto (1962). Julian Murphet is Professor in Modern Film and Literature at the University of New South Wales and the Director of the Centre for Modernism studies in Australia. Dany Nobus is Professor of Psychoanalytic Psychology and Pro-Vice-Chancellor for External Affairs at Brunel University London.Nagisa Oshima (1932–2013) was an influential Japanese filmmaker and scriptwriter. Nektaria Pouli teaches courses in Psychology at St Mary’s University, South Bank University and the Open University.Sylvie Rollet is Professor in Film Studies at the University of Poitiers and has previously taught at the Sorbonne Nouvelle University.Richard Rushton is Senior Lecturer at Lancaster University, UK. Robert Sinnerbrink is Senior Lecturer in Philosophy at Macquarie University. "
Note:
Frontmatter --
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Contents --
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Figures --
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Acknowledgements --
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Note on the Text --
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Foreword --
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Introduction – Angelopoulos and the Lingua Franca of Modernism --
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Part I. Authorship --
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1. Theo Angelopoulos as Film Critic --
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2. Two Short Essays on Angelopoulos’ Early Films --
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3. Generative Apogee and Elegiac Expansion: European Film Modernism from Antonioni to Angelopoulos --
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4. The Gestus of Showing: Brecht, Tableaux and Early Cinema in Angelopoulos’ Political Period (1970–80) --
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5. Angelopoulos’ Gaze: Modernism, History, Cinematic Ethics --
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Part II. Politics --
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6. Angelopoulos and Collective Narrative --
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7. Theo Angelopoulos’ Early Films and the Demystification of Power --
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8. Megalexandros: Authoritarianism and National Identity --
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9. Tracks in the Eurozone: Late Style Meets Late Capitalism --
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Part III. Poetics --
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10. Cinematography of the Group: Angelopoulos and the Collective Subject of Cinema --
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11. The Narrative Imperative in the Films of Theo Angelopoulos --
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12. Syncope and Fractal Liminality: Theo Angelopoulos’ Voyage to Cythera and the Question of Borders --
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13. Landscape in the Mist: Thinking Beyond the Perimeter Fence --
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14. An ‘Untimely’ History --
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Part IV. Time --
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15. Angelopoulos and the Time-image --
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16. Memory Under Siege: Archive Fever in Theo Angelopoulos’ Ulysses’ Gaze --
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17. ‘Nothing Ever Ends’: Angelopoulos and the Image of Duration --
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Afterword – Theo Angelopoulos’ Unfinished Odyssey: The Other Sea --
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Theo Angelopoulos’ Filmography --
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Notes on Contributors --
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Bibliography --
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Index
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In English.
Language:
English
Subjects:
General works
DOI:
10.1515/9780748697960
URL:
https://www.degruyter.com/isbn/9780748697960
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