Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"In the 1920s, the European avant-garde embraced the cinema, experimenting with the medium in radical ways. Painters including Hans Richter and Fernand Leger as well as filmmakers belonging to such avant-garde movements as Dada and surrealism made some of the most enduring and fascinating films in the history of cinema. In The Filming of Modern Life, Malcolm Turvey examines five films from the avant-garde canon and the complex, sometimes contradictory, attitudes toward modernity they express: Rhythm 21 (Hans Richter, 1921), Ballet mecanique (Dudley Murphy and Fernand Léger, 1924), Entr'acte (Francis Picabia and René Clair, 1924), Un chien Andalou (Salvador Dali and Luis Buñuel, 1929), and Man with a Movie Camera (Dziga Vertov, 1929). All exemplify major trends within European avant-garde cinema of the time, from abstract animation to "cinema pur."

film --- avant-garde --- modernisme --- dadaïsme --- surrealisme --- Richter, Hans --- Léger, Fernand --- Murphy, Dudley --- Picabia, Francis --- Clair, René --- Buñuel, Luis --- Dalí, Salvador --- Vertov, Dziga --- 1920 - 1930 --- 20ste eeuw --- Europa --- Experimental films --- Art and motion pictures --- Art and society --- Modernism (Art) --- History and criticism. --- History --- History and criticism --- Art and motion pictures - Europe --- Art and society - Europe - History - 20th century --- Experimental films - Europe - History and criticism --- Modernism (Art) - Europe --- film. --- avant-garde. --- modernisme. --- dadaïsme. --- surrealisme. --- Richter, Hans. --- Léger, Fernand. --- Murphy, Dudley. --- Picabia, Francis. --- Clair, René. --- Buñuel, Luis. --- Dalí, Salvador. --- Vertov, Dziga. --- 1920 - 1930. --- 20ste eeuw. --- Europa. --- Cinéma expérimental --- Art et cinéma --- Art --- Modernisme (art) --- Europe --- Histoire et critique --- Aspect social --- 20e siècle

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Jacques Tati is viewed as one of the most innovative filmmakers in the history of cinema. At the same time, he also achieved global box-office success and a devoted following. In drawing on and subverting the conventions of film comedy, Tati not only satirized aspects of modern life, he attempted to develop in his viewers a playful, participatory attitude toward the modern world in order to overcome what he saw as a passivity characteristic of modernity. Malcolm Turvey argues that Tati captured both an elite and a popular audience by combining a modernist aesthetic with slapstick, sight gags, and other popular traditions of comedian-centered comedy that had developed in the silent era. In discussing films such as Play Time, Mon Oncle, and Mr. Hulot's Holiday, Turvey describes Tati's distinct comedic sensibility as one that was 'democratic' in allowing the viewer to choose what to look at in a particular scene. In addition to considering Tati's distinct comedic style, Turvey also considers the director's satirical view of the bourgeoisie and his love/hate relationship with modernity. Amply illustrated with images from the Tati's films, Play Time provides an illuminating and in-depth understanding of the richness of Tati's work"

Comedy films --- History and criticism. --- Tati, Jacques --- Criticism and interpretation. --- Comédies (cinéma) --- Histoire et critique.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The film theories of Jean Epstein, Dziga Vertov, Bela Balazs, and Siegfried Kracauer have long been studied separately from each other. Film scholar Malcolm Turvey argues that their work constitutes a distinct, hitherto neglected tradition, which he calls revelationism, and which differs in important ways from modernism and realism.

Film criticism --- History.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This posthumous volume, the second of Annette Michelson's long anticipated Collected Writings, gathers her erudite and incisive readings of the revolutionary films of Sergei Eisenstein and Dziga Vertov and gives readers the opportunity to track her sustained investigations into their work over four decades. Michelson introduced American audiences to Soviet cinema in the early 1970s, extending the interpretative paradigm she had used for American filmmakers of the mid-twentieth century, which stressed phenomenological readings of the work of artists from Stan Brakhage to Michael Snow, to films and writings by Eisenstein and Vertov. She returned again and again to what she calls, following Eisenstein, "intellectual cinema"-the deliberate attempt to create philosophically informed analogues for consciousness. The volume includes Michelson's major essays on Eisenstein's unrealized attempts to make a movie of both Marx's Capital and James Joyce's Ulysses, as well as her key text on Vertov's 1929 masterpiece The Man with a Movie Camera. Together, the texts demonstrate Michelson's pervasive influence as a writer and thinker, and her key role in the establishment of cinema studies as an academic field. The book aims to make these canonical texts available for the next generation of film scholars. As Malcolm Turvey notes in his foreword, "the writings in this volume are indispensable in understanding this quintessentially modernist episode in (Soviet) film history.

Motion pictures --- History. --- Eisenstein, Sergei, --- Vertov, Dziga, --- Criticism and interpretation. --- Cinéma --- Communisme

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

interbellum --- film --- stad --- modernisme --- cultuurgeschiedenis --- Moholy-Nagy, László --- 1920 - 1940 --- 20ste eeuw