The interface of old age and cinema provides a fascinating yet uncharted territory in the humanities and social sciences. Two central perspectives are explored: movies on old age by old filmmakers; and movies on old age by younger artists. The first perspective focuses on the cinematic representation of ageing from within, whereas the second examines the ways ageing is viewed from the outside. The distinction is based on the schism between the phenomenology of ageing and its social representation: The one hinges on intrinsic qualities of 'old age style' or 'late style'; the second addresses attitudes towards old age in general as well as towards ageing artists and the reception (or rejection) of their late films. The author combines these general perspectives as it shifts between text and context, beginning with ageing from the outside in order to introduce the semantics and pragmatics of the context (reception and filmmaking stylistic change, midlife images of old age), and continuing into the world of ageing as cinematically represented from within, by old filmmakers, an often idiosyncratic, metaphysical and sometimes unapproachable world. By providing a roadmap that charts previous scholarly paths of inquiry, this book offers a panoramic view of the direction of this new field of cinematic gerontology, and is essential reading for students and scholars of cinema, humanistic gerontology, psychology of art, and the sociology of old age and popular culture.

The interface of old age and cinema provides a fascinating yet uncharted territory in the humanities and social sciences and this book explores two central perspectives: movies on old age by old filmmakers; and movies on old age by younger artists. The first perspective focuses on the cinematic representation of aging from within, whereas the second examines the ways aging is viewed from the outside. The distinction is based on the schism between the phenomenology of aging and its social representation: The one hinges on intrinsic qualities of "old age style" or "late style;" the second addresses attitudes towards old age in general as well as towards aging artists and the reception (or rejection) of their late films. The author combines these general perspectives as it shifts between text and context, beginning with aging from the outside in order to introduce the semantics and pragmatics of the context (reception and filmmaking stylistic change, midlife images of old age), and continuing into the world of aging as cinematically represented from within, by old filmmakers, an often idiosyncratic, metaphysical, and sometimes unapproachable world. By providing a roadmap that charts previous scholarly paths of inquiry, this book offers a panoramic view of the direction of this new field of cinematic gerontology, and is essential reading for students and scholars of cinema, humanistic gerontology, psychology of art, and the sociology of old age and popular culture.

Both Worlds at Once is a study of works of art conceived and produced late in their creators' careers. It pronounces an alternative to the mainstream life span creativity research which has, in general, adopted a decline perspective to the fruits of old age. Amir Cohen-Shalev argues that this age-decrement approach misses what the artists themselves tried to do in old age, which is often to develop a new form that allows them to thrive on ambivalence. Against the bleak predictions of developmental psychology and folk wisdom, this book focuses on old age as a unique stage of creative activity.

Both Worlds at Once is a study of works of art conceived and produced late in their creators' careers. It pronounces an alternative to the mainstream life span creativity research which has, in general, adopted a decline perspective to the fruits of old age. Amir Cohen-Shalev argues that this age-decrement approach misses what the artists themselves tried to do in old age, which is often to develop a new form that allows them to thrive on ambivalence. Against the bleak predictions of developmental psychology and folk wisdom, this book focuses on old age as a unique stage of creative activity.