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Rainer Werner Fassbiner left behind a literary and cinematic legacy
which holds a unique place in the history of European film and in
the culture of the twentieth century. It evolved as the expression
of an era, between 1966 and 1982, in a country which was then
another Germany and which no longer exists.
Chantal Akerman is widely acclaimed as one of cinema's boldest
visionaries. A towering figure in women's and feminist film-making,
she produced a diverse and intensely personal body of work ranging
from minimalist portraits of the everyday to exuberant romantic
comedies, and from documentaries and musicals to installation art.
This book traces the director's career at the crossroads between
experimental and mainstream cinema, contextualising her work within
the American avant-garde of the 1970s, European anti-naturalism,
feminism and the post-modern aesthetics. While offering an in-depth
analysis of her multi-faceted film style, it also stresses the
social and ethical dimension of her work, especially as regards her
representation of marginal groups and her exploration of exilic and
diasporic identities. Particular attention is given to the
inscription of the Holocaust and of Jewish memory in her films. --
.
This book examines the genetic processes that shaped two of the
great literary masterpieces of modernity: Flaubert's L'Education
sentimentale and Proust's A la recherche du temps perdu. A detailed
investigation of Flaubert's notebooks and scenarios from 1864 to
1869 and Proust's cahiers from 1908 to 1911 reveals the most
diametrically opposed ways in which the two novels evolved in their
early stages. By challenging certain modernist' readings of
Flaubert, and inviting a rethinking of Proust, the author
demonstrates that genetic studies have a direct bearing on the
interpretation of literary texts.
Film established itself as an artistic form of expression at the
same time that Proust started work on his masterpiece, A la
recherche du temps perdu. If Proust apparently took little interest
in what he described as a poor avatar of reductive, mimetic
representation, the resonances between his own radical reworking of
writing styles and the novelistic forms, and cinema as the art of
time are undeniable. Proust at the Movies is the first study in
English to consider these rich interconnections. Its introductory
chapter charts the missed encounter between Proust and the cinema
and addresses the problems inherent in adapting his novel to the
screen. The following chapters examine the various cinematic
responses to A la recherche du temps perdu attempted to date:
Luchino Visconti and Joseph Losey's failed attempts at adapting the
whole of the novel in the 1970s, Volker SchlAndorff's Un Amour de
Swann (1984), Raoul Ruiz's Le Temps retrouve (1999), Chantal
Akerman's La Prisonniere in La Captive (2000), and Fabio Carpi's
Quartetto Basileus (1982) and Le Intermittenze del cuore (2003).
The last chapter tracks the echoes of Proust's writing in the work
of various directors, from Abel Grace to Jean-Luc Godard. The
approach is multidisciplinary, combining literary criticism with
film theory and elements of philosophy of art. Special attention is
given to the modernist legacy in literature and film with its
distinctive aesthetic and narrative features. An outline of the
history and recent evolution of contemporary art cinema thus
emerges: a cinema where the themes at the heart of Proust's work -
memory, time, perception - are ceaselessly explored.
Film established itself as an artistic form of expression at the
same time that Proust started work on his masterpiece, A la
recherche du temps perdu. If Proust apparently took little interest
in what he described as a poor avatar of reductive, mimetic
representation, the resonances between his own radical reworking of
writing styles and the novelistic forms, and cinema as the art of
time are undeniable. Proust at the Movies is the first study in
English to consider these rich interconnections. Its introductory
chapter charts the missed encounter between Proust and the cinema
and addresses the problems inherent in adapting his novel to the
screen. The following chapters examine the various cinematic
responses to A la recherche du temps perdu attempted to date:
Luchino Visconti and Joseph Losey's failed attempts at adapting the
whole of the novel in the 1970s, Volker SchlAndorff's Un Amour de
Swann (1984), Raoul Ruiz's Le Temps retrouve (1999), Chantal
Akerman's La Prisonniere in La Captive (2000), and Fabio Carpi's
Quartetto Basileus (1982) and Le Intermittenze del cuore (2003).
The last chapter tracks the echoes of Proust's writing in the work
of various directors, from Abel Grace to Jean-Luc Godard. The
approach is multidisciplinary, combining literary criticism with
film theory and elements of philosophy of art. Special attention is
given to the modernist legacy in literature and film with its
distinctive aesthetic and narrative features. An outline of the
history and recent evolution of contemporary art cinema thus
emerges: a cinema where the themes at the heart of Proust's work -
memory, time, perception - are ceaselessly explored.
Casting fresh light on one of the most important movements in film
history, Intermedial Dialogues: The French New Wave and the Other
Arts is the first comprehensive study of the New Wave's
relationship with the older arts. Traversing the fields of
literature, theatre, painting, architecture and photography, and
drawing on Andre Bazin alongside recent theories of intermediality,
it investigates the 'impure', intermedial aesthetics of New Wave
cinema. Filmmakers under discussion include
critics-turned-directors Francois Truffaut, Eric Rohmer, Jean-Luc
Godard, Jacques Rivette and Claude Chabrol, members of the Left
Bank Group Alain Resnais, Agnes Varda and Chris Marker, but also
lesser-known directors, notably the 'secret child of the New Wave',
Guy Gilles. This wide-ranging book offers an original reading of
the complex, often ambivalent ways in which the New Wave engages
the other arts in both its discursive construction and filmic
practice. Key Features: A wide-ranging study which explores the
complex, often ambiguous ways in which the New Wave engages with
the other arts in both its discursive construction and cinematic
practice Affords a new prism for understanding New Wave filmmaking
and its legacy through comprehensive analysis of the ways in which
the New Wave aesthetic was shaped through intermedial dialogue and
medium rivalry Reassesses one of the most acclaimed movements in
film history drawing on cutting-edge theory in the prominent field
of intermediality studies Offers an inclusive, heterogeneous view
of the New Wave through inclusion of lesser-known directors such as
Guy Gilles, Jean-Daniel Pollet and Jacques Demy alongside renowned
Nouvelle Vague filmmakers
Das umfangreiche Werk der in Auschwitz umgekommenen Autorin Irene
Nemirovsky erlebt seit der posthumen Veroeffentlichung ihres
unvollendeten Romanepos Suite francaise sowie dessen prompter
Auszeichnung mit dem Prix Renaudot eine internationale Renaissance.
Die detaillierten Romanentwurfe und Projektskizzen aus dem
handschriftlichen Nachlass der bereits zu Lebzeiten gefeierten
Schriftstellerin bedeuten einen Glucksfall fur die Forschung,
dokumentieren sie doch im Detail Nemirovskys intensive
Auseinandersetzung mit intermedialen Schreibexperimenten. Wie vor
ihr Marcel Proust, James Joyce und Thomas Mann, entdeckte sie die
Musik als vielseitiges Modell fur die Konzeption und Gestaltung
ihres Schreibens. Keine geringere als Beethovens fulminante 5.
Symphonie stand Pate fur Suite francaise - das Werk orientiert sich
damit in Form und Struktur, aber auch in assoziativen
aussermusikalischen Inhalten an einer der bedeutendsten
Kompositionen der klassischen Musik. Das Buch zeigt auf, mit
welchen rhetorischen, narrativen und strukturellen Mitteln es
Nemirovsky gelingt, die jeweilige musikalische Vorlage in den
literarischen Text zu ubersetzen, und ermoeglicht somit voellig
neue Einblicke in das Hauptwerk der Autorin.
This edited collection proposes new directions for understanding
cinematic intermediality, mapping out innovative approaches to
film's relationship with some of its most influential artistic
predecessors in the fields of performance, sculpture, painting,
photography and dance. With essays by leading researchers and
practitioners, this book investigates cinema's productive synergies
and crossovers with the other arts through a broad range of
avant-garde and experimental work. Mapping a trajectory from
pre-cinema to the digital era, the book considers the impact of
technological materiality on intermedial expression, incorporating
both mainstream and experimental practice, world cinema and
peripheral cinemas. Bridging the gap between theory and practice,
it opens up new pathways for thinking about how intermediality, as
both a creative method and an interpretative paradigm, might be
explored alongside probing questions of what cinema is, has been
and can be.
Casting fresh light on one of the most important movements in film
history, Intermedial Dialogues: The French New Wave and the Other
Arts is the first comprehensive study of the New Wave's
relationship with the older arts. Traversing the fields of
literature, theatre, painting, architecture and photography, and
drawing on Andre Bazin alongside recent theories of intermediality,
it investigates the 'impure', intermedial aesthetics of New Wave
cinema. Filmmakers under discussion include
critics-turned-directors Francois Truffaut, Eric Rohmer, Jean-Luc
Godard, Jacques Rivette and Claude Chabrol, members of the Left
Bank Group Alain Resnais, Agnes Varda and Chris Marker, but also
lesser-known directors, notably the 'secret child of the New Wave',
Guy Gilles. This wide-ranging book offers an original reading of
the complex, often ambivalent ways in which the New Wave engages
the other arts in both its discursive construction and filmic
practice. Key Features: A wide-ranging study which explores the
complex, often ambiguous ways in which the New Wave engages with
the other arts in both its discursive construction and cinematic
practice Affords a new prism for understanding New Wave filmmaking
and its legacy through comprehensive analysis of the ways in which
the New Wave aesthetic was shaped through intermedial dialogue and
medium rivalry Reassesses one of the most acclaimed movements in
film history drawing on cutting-edge theory in the prominent field
of intermediality studies Offers an inclusive, heterogeneous view
of the New Wave through inclusion of lesser-known directors such as
Guy Gilles, Jean-Daniel Pollet and Jacques Demy alongside renowned
Nouvelle Vague filmmakers
Chantal Akerman is widely acclaimed as one of the most original and
important directors working in Europe today. A towering figure in
women's and feminist film-making, she has produced a diverse and
intensely personal body of work ranging from minimalist portraits
of the everyday to exuberant romantic comedies, and from
documentaries and musicals to installation art. This book traces
the director's career at the crossroads between experimental and
mainstream cinema, contextualising her work within the American
avant-garde of the 1970s, European anti-naturalism, feminism and
the post-modern aesthetics. While offering an in-depth analysis of
her multi-faceted film style, it also stresses the social and
ethical dimension of her work, especially as regards her
representation of marginal groups and her exploration of exilic and
diasporic identities. Particular attention is given to the
inscription of the Holocaust and of Jewish memory in her films. --
.
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