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Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective - which treats decorative style as foreign or sexually perverse - filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema. Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scene, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency. -- Book Description.

Motion pictures --- Aesthetics. --- 791.41 --- esthetica --- film --- filmtheorie --- Aesthetics

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"Volharden is de 'autobiografie' van de bekende Franse filmcriticus Serge Daney. De tekst is gebaseerd op gesprekken met Serge Toubiana, die vlak voor Daneys voortijdige dood in 1992 werden afgerond. Daney begon in 1964 voor de Cahiers du cinéma over film te schrijven en richtte vanaf de jaren tachtig zijn aandacht tevens op televisie, reclame en nieuwe media. Volharden is een diepgaande analyse van Daneys engagement met de cinema, maar hij liet voor het eerst ook zijn persoonlijke levensverhaal doorklinken in het theoretische discours en gaf het daarmee zijn werkelijke draagwijdte. Het resultaat is een cinebiografie."--

Daney, Serge --- film --- filmtheorie --- filmkritiek --- Frankrijk --- Cahiers du Cinéma --- twintigste eeuw --- Daney Serge --- 791.41 --- 798.3 --- biografieën --- film, esthetiek en kritiek

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Film --- Experimental films --- Films expérimentaux --- History and criticism. --- Histoire et critique --- Essay films --- 778.5 --- 791.43 --- film --- documentaire film --- documentaires --- essay film --- essayfilm --- filmtheorie --- 791.41 --- Filmfotografie. Filmkunst --- Filmkunst. Films. Cinema --- 791.43 Filmkunst. Films. Cinema --- 778.5 Filmfotografie. Filmkunst --- Essay films. --- Films expérimentaux --- History and criticism

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Mass communications --- Motion pictures --- Television broadcasting --- 130.2 --- 791.41 --- 791.46 --- film --- filmanalyse --- filmkritiek --- filmtheorie --- massamedia --- media --- mediatheorie --- televisie --- Telecasting --- Television --- Television industry --- Broadcasting --- Mass media --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Performing arts --- History and criticism

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Existentialism in motion pictures. --- Philosophy in motion pictures. --- Existentialisme au cinéma --- Philosophie dans le cinéma --- Sartre, Jean-Paul, --- Philosophy. --- Influence. --- film --- filmtheorie --- filmgeschiedenis --- eenentwintigste eeuw --- filmanalyse --- film en filosofie --- existentialisme --- Sartre Jean-Paul --- Weir Peter --- Haneke Michael --- Leigh Mike --- Coen Joel --- Coen Ethan --- Coppola Sophia --- Dardenne Jean-Pierre --- Dardenne Luc --- Jordan Neil --- Klapisch Cédric --- Sembene Ousmane --- Luhrmann Baz --- 791.41 --- Motion pictures --- Sartŭr, Zhan-Pol, --- Sartr, Zhan-Polʹ, --- Sārtar, Jān-Būl, --- Sārtar, Zhān-Pūl, --- Sha-tʻe, --- Sartre, J.-P. --- Sa-tʻe, --- Sate, --- Sa-tʻe, Jang-Pao-erh, --- Sate, Rangbao'er, --- Sāt, Chō̜ng-Pō̜n, --- Sarutoru, --- Sarṭr, G'on Pol, --- Chō̜ng-Pō̜n Sāt, --- Cārttar, L̲ān̲-Pōl, --- Сартp, Жан-Поль, --- סארטר, ג׳אן פול --- סארטר, ג׳אן פון --- סארטר, ז׳אן פול --- סארטר, ז׳אן־פול, --- سارتر، جان پول --- Guillemin, Jacques, --- Sārtra, Jyām̐ Pāla, --- Existentialisme au cinéma --- Philosophie dans le cinéma --- Existentialism in motion pictures --- Philosophy in motion pictures --- Sartre, Jean-Paul --- Sartŭr, Zhan-Pol --- Sartr, Zhan-Polʹ --- Sārtar, Jān-Būl --- Sārtar, Zhān-Pūl --- Sha-tʻe --- Sa-tʻe --- Sate --- Sa-tʻe, Jang-Pao-erh --- Sate, Rangbao'er --- Sāt, Chō̜ng-Pō̜n --- Sarutoru --- Sarṭr, G'on Pol --- Chō̜ng-Pō̜n Sāt --- Cārttar, L̲ān̲-Pōl --- Guillemin, Jacques --- Sārtra, Jyām̐ Pāla --- サルトル, ジャン ポール