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Cinema was the most important new artistic medium of the twentieth
century and modernism was the most important new aesthetic movement
across the arts in the twentieth century. However, what exactly is
the relationship between cinema and modernism? Cinematic Modernism
and Contemporary Film explores how in the early twentieth century
cinema came to be seen as one of the new technologies which
epitomised modernity and how cinema itself reflected ideas, hopes
and fears concerning modern life. Howard Finn examines the
emergence of a new ‘international style’ of cinema, combining a
poetic aesthetic of the image with genre-based fictional narrative
and documentary realism. He provides concise accounts of how
theorists such as André Bazin, Siegfried Kracauer, Gilles Deleuze
and Jacques Rancière have discussed this cinematic aesthetic,
clarifying debates over terms such as ‘realism’,
‘classical’ and ‘avant-garde’ as well as recent
controversies over terms such as ‘slow cinema’ and
‘vernacular modernism’. He further argues the influence of
modernism through close readings of many contemporary films,
including films by Abbas Kiarostami, Béla Tarr, Jia Zhangke, and
Angela Schanelec. Drawing on a broad range of examples, including
Soviet montage, Italian neorealism, postwar new waves and the
‘new cinema’ of Taiwan and Iran, this book explores the
cultural significance of modernism and its lasting influence over
cinema.
Cinema was the most important new artistic medium of the twentieth
century and modernism was the most important new aesthetic movement
across the arts in the twentieth century. However, what exactly is
the relationship between cinema and modernism? Cinematic Modernism
and Contemporary Film explores how in the early twentieth century
cinema came to be seen as one of the new technologies which
epitomised modernity and how cinema itself reflected ideas, hopes
and fears concerning modern life. Howard Finn examines the
emergence of a new 'international style' of cinema, combining a
poetic aesthetic of the image with genre-based fictional narrative
and documentary realism. He provides concise accounts of how
theorists such as Andre Bazin, Siegfried Kracauer, Gilles Deleuze
and Jacques Ranciere have discussed this cinematic aesthetic,
clarifying debates over terms such as 'realism', 'classical' and
'avant-garde' as well as recent controversies over terms such as
'slow cinema' and 'vernacular modernism'. He further argues the
influence of modernism through close readings of many contemporary
films, including films by Abbas Kiarostami, Bela Tarr, Jia Zhangke,
and Angela Schanelec. Drawing on a broad range of examples,
including Soviet montage, Italian neorealism, postwar new waves and
the 'new cinema' of Taiwan and Iran, this book explores the
cultural significance of modernism and its lasting influence over
cinema.
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