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From its inception, Brazilian cinema has combined extra-filmic
artistic and cultural forms, both local and imported, resulting in
an original aesthetic blend. Theatre, dance, music, circus, radio,
television and the plastic arts left a distinctive mark on
Brazilian cinema's poetics and politics, as can be observed in a
host of fascinating phenomena analysed in this book, including: the
film prologues that connected the screen to the stage in the 1920s;
the chanchada musical comedies, inflected by vaudeville theatre and
the radio; the manguebeat and arido movie movements that blurred
the boundaries between music and film; and contemporary multimedia
installations and other experiments. By adopting intermediality as
a historiographic method, this book reconstructs the history and
cultural wealth behind filmic expressions in Brazilian cinema.
Andre Bazin's famous article, 'Pour un cinema impur: defense de
l'adaptation', was first translated into English simply as 'In
Defence of Mixed Cinema', probably to avoid any uncomfortable
sexual or racial resonances the word 'impure' might have. 'Impure
Cinema' goes back to Bazin's original title precisely for its
defence of impurity, applying it on the one hand to cinema's
interbreeding with other arts and on the other to its ability to
convey and promote cultural diversity. In contemporary progressive
film criticism, ideas of purity, essence and origin have been
superseded by favourable approaches to 'hybridization',
'transnationalism', 'multiculturalism' and cross-fertilizations of
all sorts. 'Impure Cinema' builds on this idea in novel and
exciting ways, as it draws on cinema's combination of intermedial
and intercultural aspects as a means to bridge the divide between
studies of aesthetics and culture. Film is revealed here as the
location par excellence of media encounters, mutual questioning and
self-dissolution into post-medium experiments. Most importantly,
the book argues, film's intermedial relations can only be properly
understood if their cultural determinants are taken into account.
Scholars and students of film, cinephiles and students of the arts
will discover here unexpected connections across many artistic
practices.
This is a sweeping study of world cinema, illustrating how its
creative peaks stem from the urge to reveal otherwise hidden
political and social dimensions of reality. "World Cinema and the
Ethics of Realism" is a highly original study. It breaks away from
the binary divisions which underpin most of film theory, and
challenges traditional views of cinematic realism, drawing instead
on the filmmaker's commitment to truth and to film's material bond
with the real. Nagib conducts comparative case studies drawn from a
wide range of realist trends, including the Japanese New Wave, the
nouvelle vague, the Cinema Novo, the New German Cinema, the Inuit
Indigenous Cinema, the Taiwan New Cinema and the New Brazilian
Cinema. She reveals that these creative peaks are animated by the
desire to reveal concealed or unknown political, social,
psychological or mystical dimensions of reality - as observed in
the various cycles of new waves and new cinemas across film history
and geography. "World Cinema and the Ethics of Realism" is
groundbreaking scholarship that surveys and defines World Cinema
not as the opposite of Hollywood, but in positive terms; and draws
upon the work of Badiou and Ranciere to take film theory in a bold
new direction.
This is a sweeping study of world cinema, illustrating how its
creative peaks stem from the urge to reveal otherwise hidden
political and social dimensions of reality. "World Cinema and the
Ethics of Realism" is a highly original study. It breaks away from
the binary divisions which underpin most of film theory, and
challenges traditional views of cinematic realism, drawing instead
on the filmmaker's commitment to truth and to film's material bond
with the real. Nagib conducts comparative case studies drawn from a
wide range of realist trends, including the Japanese New Wave, the
nouvelle vague, the Cinema Novo, the New German Cinema, the Inuit
Indigenous Cinema, the Taiwan New Cinema and the New Brazilian
Cinema. She reveals that these creative peaks are animated by the
desire to reveal concealed or unknown political, social,
psychological or mystical dimensions of reality - as observed in
the various cycles of new waves and new cinemas across film history
and geography. "World Cinema and the Ethics of Realism" is
groundbreaking scholarship that surveys and defines World Cinema
not as the opposite of Hollywood, but in positive terms; and draws
upon the work of Badiou and Ranciere to take film theory in a bold
new direction.
Two periods of Brazilian film history are particularly notable for
their artistic momentum: the Cinema Novo movement of the 1960s and
early '70s, and the film revival from the mid 1990s onwards. What
makes them especially strong, this book argues, is their utopian
impulse. By adopting Utopia as a theme, as well as a method of film
analysis, Lucia Nagib unveils, organises and interprets a
fascinating wealth of recurrent images, which are a bridge between
a cinema strongly concerned with the national project and another
informed by global culture. Outstanding recent films, such as
"Central Station", "Perfumed Ball", "Hans Staden", "Orfeu", "City
of God" and "The Trespasser", are illuminated by Nagib's sharp
analysis, which detects utopian, anti-utopian and even dystopian
impulses in them. They are at once representatives of a political
arena in constant struggle against underdevelopment and legitimate
(as well as critical) heirs of past cinematic traditions. Throwing
new light on a large selection of Cinema Novo and contemporary
films, this book thus presents a national cinema that rejects the
end of history and of film history, while benefiting from, and
contributing to, a new transnational aesthetics.
This innovative book is about the place of world cinema in the
cultural imaginary. It also repositions world cinema in a wider
discursive space than is usually the case and treats it as an
object of theoretical enquiry, rather than as a commercial label.
The editors and distinguished group of contributors offer a range
of approaches and case studies whose organizing principle is the
developing idea of polycentrism as applied to cinema. They refine
and redefine key concepts in film studies, including identification
and identity, narrative and realism, allegory and the national
project, auteurism and the popular, art and genre. They re-evaluate
how cinema shapes and responds to the philosophical, cultural and
political effects of transnationalism and cosmopolitanism in the
age of the moving image, and explore the interconnectedness of
films produced worldwide, as well as the links between cinema and
other visual cultural forms. The contributors include: John
Caughie, Felicia Chan, Tiago de Luca, Rajinder Dudrah, Song Hwee
Lim, Laura Mulvey, Lucia Nagib, Geoffrey Nowell-Smith, Chris
Perriam, Ashish Rajadhyaksha, Paul Julian Smith, and Ismail Xavier.
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On Cinema (Paperback)
Glauber Rocha; Edited by Ismail Xavier; Translated by Charlotte Smith, Stephanie Dennison, Cecilia Mello; Edited by (associates) …
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R1,339
Discovery Miles 13 390
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Ships in 10 - 15 working days
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Glauber Rocha is known as the visionary Brazilian director of
landmark films, Black God, White Devil, Entranced Earth and Antonio
das Mortes. Hitherto virtually unknown outside Brazil is that he
was also a brilliant film critic and innovative thinker on world
cinema. On Cinema brings together for the first time in the English
language a comprehensive selection of Rocha's film writings,
revealing for the first time to English-speaking readers the full
critical power, inventiveness and vision of a great filmmaker.
Rocha's writings, endowed with critical verve and humour, give
insights into key moments of film history, as well as the politics
of world cinema. Here he fearlessly confronts the film
establishment and debates with a host of sacred filmmakers of the
world pantheon. Included is Rocha's early criticism of Brazilian
films, landmark manifestoes such as 'An Aesthetics of Hunger' and
'An Aesthetics of Dreams', articles about the development of Cinema
Novo, and his international film criticism, including pieces on
Charlie Chaplin, Orson Welles, James Dean, David Lean, John Huston,
Stanley Kubrick, John Ford, Jean-Luc Godard, Pier Paolo Pasolini,
Federico Fellini, Luis Bunuel, Luchino Visconti and Roberto
Rossellini. The publication of On Cinema, edited by film scholar
Ismail Xavier and in expert translation, is an international
publishing event.
Andre Bazin's famous article, 'Pour un cinema impur: defense de
l'adaptation', was first translated into English simply as 'In
Defence of Mixed Cinema', probably to avoid any uncomfortable
sexual or racial resonances the word 'impure' might have. Impure
Cinema goes back to Bazin's original title precisely for its
defense of impurity, applying it on the one hand to cinema's
interbreeding with other arts and on the other to its ability to
convey and promote cultural diversity. In contemporary progressive
film criticism, ideas of purity, essence and origin have been
superseded by favorable approaches to 'hybridization',
'transnationalism', 'multiculturalism' and cross-fertilizations of
all sorts. Impure Cinema builds on this idea in novel and exciting
ways, as it draws on cinema's combination of intermedial and
intercultural aspects as a means to bridge the divide between
studies of aesthetics and culture. Film is revealed here as the
location par excellence of media encounters, mutual questioning and
self-dissolution into post-medium experiments. Most importantly,
the book argues, film's intermedial relations can only be properly
understood if their cultural determinants are taken into account.
Scholars and students of film, cinefiles and students of the arts
will discover here unexpected connections across many artistic
practices.
This innovative book is about the place of world cinema in the
cultural imaginary. It also repositions world cinema in a wider
discursive space than is usually the case and treats it as an
object of theoretical enquiry, rather than as a commercial label.
The editors and distinguished group of contributors offer a range
of approaches and case studies whose organizing principle is the
developing idea of polycentrism as applied to cinema. They refine
and redefine key concepts in film studies, including identification
and identity, narrative and realism, allegory and the national
project, auteurism and the popular, art and genre. They re-evaluate
how cinema shapes and responds to the philosophical, cultural and
political effects of transnationalism and cosmopolitanism in the
age of the moving image, and explore the interconnectedness of
films produced worldwide, as well as the links between cinema and
other visual cultural forms. The contributors include: John
Caughie, Felicia Chan, Tiago de Luca, Rajinder Dudrah, Song Hwee
Lim, Laura Mulvey, Lucia Nagib, Geoffrey Nowell-Smith, Chris
Perriam, Ashish Rajadhyaksha, Paul Julian Smith, and Ismail Xavier.
Two periods of Brazilian film history are particularly notable for
their artistic momentum: the Cinema Novo movement of the 1960s and
early '70s, and the film revival from the mid 1990s onwards. What
makes them especially strong, this book argues, is their utopian
impulse. By adopting Utopia as a theme, as well as a method of film
analysis, Lucia Nagib unveils, organises and interprets a
fascinating wealth of recurrent images, which are a bridge between
a cinema strongly concerned with the national project and another
informed by global culture. Outstanding recent films, such as
"Central Station", "Perfumed Ball", "Hans Staden", "Orfeu", "City
of God" and "The Trespasser", are illuminated by Nagib's sharp
analysis, which detects utopian, anti-utopian and even dystopian
impulses in them. They are at once representatives of a political
arena in constant struggle against underdevelopment and legitimate
(as well as critical) heirs of past cinematic traditions. Throwing
new light on a large selection of Cinema Novo and contemporary
films, this book thus presents a national cinema that rejects the
end of history and of film history, while benefiting from, and
contributing to, a new transnational aesthetics.
Lucia Nagib presents a comprehensive critical survey of Brazilian
film production since the mid 1990s, which has become known as the
"renaissance of Brazilian cinema". Besides explaining the recent
boom, this book elaborates on the new aesthetic tendencies of
recent productions, as well as their relationships to earlier
traditions of Brazilian cinema. Internationally acclaimed films,
such as "Central Station", "Seven Days in September" and "Orpheus",
are analysed alongside daringly experimental works, such as
"Chronically Unfeasible", "Starry Sky" and "Perfumed Ball".
Contributors include Carlos Diegues, Robert Stam, Laura Mulvey and
Jose Carlos Avellar.
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