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In A Modernist Cinema, sixteen distinguished scholars in the field
of the New Modernist Studies explore the interrelationships among
modernism, cinema, and modernity. Focusing on several culturally
influential films from Europe, America, and Asia produced between
1914 and 1941, this collection of essays contends that cinema was
always a modernist enterprise. Examining the dialectical
relationship between a modernist cinema and modernity itself, these
essays reveal how the movies represented and altered our notions
and practices of modern life, as well as how the so-called crises
of modernity shaped the evolution of filmmaking. Attending to the
technical achievements and formal qualities of the works of several
prominent directors - Giovanni Pastrone, D. W. Griffith, Sergei
Eisenstein, Fritz Lang, Alfred Hitchcock, F. W. Murnau, Carl
Theodore Dreyer, Dziga Vertov, Luis Bunuel, Yasujiro Ozu, John
Ford, Jean Renoir, Charlie Chaplin, Leni Riefenstahl, and Orson
Welles - these essays investigate several interrelated topics: how
a modernist cinema represented and intervened in the political and
social struggles of the era; the ambivalent relationship between
cinema and the other modernist arts; the controversial
interconnection between modern technology and the new art of
filmmaking; the significance of representing the mobile human body
in a new medium; the gendered history of modernity; and the
transformative effects of cinema on modern conceptions of
temporality, spatial relations, and political geography.
In A Modernist Cinema, sixteen distinguished scholars in the field
of the New Modernist Studies explore the interrelationships among
modernism, cinema, and modernity. Focusing on several culturally
influential films from Europe, America, and Asia produced between
1914 and 1941, this collection of essays contends that cinema was
always a modernist enterprise. Examining the dialectical
relationship between a modernist cinema and modernity itself, these
essays reveal how the movies represented and altered our notions
and practices of modern life, as well as how the so-called crises
of modernity shaped the evolution of filmmaking. Attending to the
technical achievements and formal qualities of the works of several
prominent directors - Giovanni Pastrone, D. W. Griffith, Sergei
Eisenstein, Fritz Lang, Alfred Hitchcock, F. W. Murnau, Carl
Theodore Dreyer, Dziga Vertov, Luis Bunuel, Yasujiro Ozu, John
Ford, Jean Renoir, Charlie Chaplin, Leni Riefenstahl, and Orson
Welles - these essays investigate several interrelated topics: how
a modernist cinema represented and intervened in the political and
social struggles of the era; the ambivalent relationship between
cinema and the other modernist arts; the controversial
interconnection between modern technology and the new art of
filmmaking; the significance of representing the mobile human body
in a new medium; the gendered history of modernity; and the
transformative effects of cinema on modern conceptions of
temporality, spatial relations, and political geography.
As England withdrew from its empire after World War II, how did
writers living outside the United Kingdom respond to the history of
colonialism and the aesthetics of modernism within a global
context? In fourteen original essays, edited by Richard Begam and
Michael Valdez Moses, a distinguished group of scholars considers
these questions in relation to novelists, playwrights, and poets
living in English-speaking countries around the world. Modernism,
Postcolonialism, and Globalism not only examines how modernism and
postcolonialism evolved over several generations, but also situates
the writers analyzed in terms of canonical realignments inspired by
the New Modernist Studies and an array of emerging methodologies
and approaches. While this volume highlights social and political
questions connected with the end of empire, it also considers the
aesthetics of postcolonialism, detailing how writers drew upon,
responded to and, sometimes reacted against, the formal innovations
of modernism. Many of the essays consider the influence modernist
artists and movements exercised on postcolonial writers, from W. B.
Yeats, Joseph Conrad, Franz Kafka, Marcel Proust, James Joyce, T.
S. Eliot, and Virginia Woolf to Impressionism, Expressionism,
Surrealism, and Abstractionism. Modernism, Postcolonialism, and
Globalism is organized around six geographic locales and includes
essays on Africa (Chinua Achebe, Ngugi wa Thiong'o, Nadine
Gordimer, J. M. Coetzee), Asia (Salman Rushdie, Arundhati Roy), the
Caribbean (Jean Rhys, Derek Walcott, V. S. Naipaul), Ireland
(Samuel Beckett, Seamus Heaney), Australia/New Zealand (David
Malouf, Keri Hulme) and Canada (Michael Ondaatje). Examining how
Anglophone writers engaged with the literary, intellectual, and
cultural heritage of modernism, this volume offers a vital and
distinctive intervention in ongoing discussions of modern and
contemporary literature.
Bringing together canonical European authors with authors from the
Third World, this book analyzes the emergence of the modern global
novel, and the way it mirrors the underlying process of cultural
globalization. Through detailed readings of Stendhal, Hardy,
Conrad, Achebe, and Vargas Llosa, this study reveals how the spread
of Western modernity--materially and culturally--has been shadowed
by the destruction of traditional societies. These novels focus on
the individual tragedies of those who represent pre-modern ways of
life; in the process, offering a corrective to Hegel's abstruse
philosophy of history. From rural Victorian England to the Malay
Archipelago, and from the Igbo heartland in Africa to the backlands
of Brazil, a global narrative unfolds, one where the forces of
modernization clash with the defenders of traditional society.
Moses contributes to the ongoing debate on Alexandre Kojeve and the
"end of history," while, at the same time, moving beyond sterile
oppositions--canonical versus non-canonical works, formal literary
criticism versus political/historical critique. With its new
conceptualization of modernity and globalization, this book will
interest the literary scholar, cultural critic, social scientist,
and political theorist.
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