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Covering more than forty films made since 2001 - including The
Death of Mr. Lazarescu, The Paper will be Blue, Police, Adjective
and Beyond the Hills - this pioneering collection of essays on New
Romanian Cinema is the first to contextualise it aesthetically,
theoretically and historically.
Films such as Occident, The Death of Mr. Lazarescu, 4 Months, 3
Weeks & 2 Days, Police, Adjective and If I Want to Whistle, I
Whistle have brought Romanian cinema from relative obscurity into
the limelight of the international festival circuit and to the
attention of professional and lay audiences alike. These films'
common aesthetic, thematic, ethical and ideological traits expound
a coherent and increasingly important film movement - the new
Romanian cinema. Through the prism of a representative selection of
twenty extraordinarily well-crafted and highly awarded films made
over the last decade, this book offers an overview of Romanian
cinema from its origins to the present. It describes the cultural,
social and political environment. It features historical and
textual analysis of key films. It offers a unique exploration of
the films' audio-visual grammar of space and time. It integrates
contemporary film theory and cultural and gender studies. It
examines the broader (Eastern European) industrial context and the
impact of audience and industry discourses. It features interviews
with prominent directors such as Cristi Puiu, Cristian Mungiu, and
Corneliu Porumboiu.
Ludwig Wittgenstein loved movies, and based on his remarks on
watching them, there is a strong connection between his experience
of watching films and his thoughts on aesthetics. Furthermore,
however, Wittgenstein himself has been invoked in recent cinema.
Wittgenstein at the Movies is centered on in-depth explorations of
two intriguing experimental films on Wittgenstein: Derek Jarman's
Wittgenstein and Peter Forgacs' Wittgenstein Tractatus. The
featured essays look at cinematic interpretations of Wittgenstein's
life and philosophy in a manner bound to provoke the lively
interest of Wittgenstein scholars, film theorists, and students of
film aesthetics. As well, the book engages a broader audience
concerned with philosophical issues about film and Wittgenstein's
cultural significance, with the world of fin-de-siecle Vienna, of
Cambridge in the first half of the twentieth century, of artistic
modernism.
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