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Books > Arts & Architecture > Performing arts > Films, cinema > Film theory & criticism
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In Person - Reenactment in Postwar and Contemporary Cinema (Hardcover)
Loot Price: R3,621
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In Person - Reenactment in Postwar and Contemporary Cinema (Hardcover)
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In Person: Reenactment in Postwar and Contemporary Cinema
delineates a new performative genre based on replay and
self-awareness. The book argues that in-person reenactment, an
actual person reenacting her past on camera, departs radically from
other modes of mimetic reconstruction. In Person theorizes this
figure's protean temporality and revisionist capabilities and it
considers its import in terms of social representativity and
exemplarity. Close readings of select, historicized examples define
an alternate, confessional-performative vein to understand the
self-reflexive nature of postwar and post-holocaust testimonial
cinemas. The book contextualizes Zavattini's proposal that in
neorealism everyone should act his own story in a sort of
anti-individualist, public display (Love in the City and We the
Women). It checks the convergence between verite experiments, a
heightened self-critique in France and the reception of psychodrama
in France (Chronicle of a summer and The Human Pyramid) in the late
fifties. And, through Bazin, it reflects on the quandaries of
celebrity biopics: how the circularity of the star's iconography is
checked by her corporeal limits (Sophia her Own Story and the
docudrama Torero!). In Person traces a shift from the exemplary and
transformative ethos of fifties reenactment towards the
un-redemptive stance of contemporary reenactment films such as
Lanzmann's Shoah, Zhang Yuan's Sons, Andrea Tonacci's Hills of
Chaos. It defines continuities between verite testimony (Chronicle,
and Moi un Noir) and later para-juridical films such as the Karski
Report and Rithy Panh's S21, the Khmer Rouge Killing Machine
suggesting the power of co-presence and in person actualization for
an ethics of viewership.
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