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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.
The literary relationship of James Joyce and Wyndham Lewis has
previously been described in merely biographical terms. In The
fictions of James Joyce and Wyndham Lewis Scott W. Klein takes
Wyndham Lewis's criticism of Ulysses in Times and Western Man, and
Joyce's implicit response to Lewis in Finnegan's Wake as an
emblematic opposition signalling significant textual relations
within and between the fictions of the two authors. The seeing eye
and the world, the creating mind and fiction, language and its
aesthetic and political object, and the processes of history: all
appear in the work of both Joyce and Lewis, as related thematic
structures that raise questions about binarism, dialectic, and the
reconciliation of opposites. Detailed examination of key texts by
Joyce and Lewis reveals hitherto unperceived affiliations between
the two writers, and offers new insight into the politics and
aesthetics of modernism.
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Tarr (Paperback, New)
Wyndham Lewis; Edited by Scott W. Klein
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R344
R280
Discovery Miles 2 800
Save R64 (19%)
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Ships in 9 - 15 working days
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Played out against the backdrop of Paris before the start of the
First World War, Tarr tells the blackly comic story of the lives
and loves of two artists--the English enfant terrible Frederick
Tarr, and the middle-aged German Otto Kreisler, a failed painter
who finds himself in a widening spiral of militaristic
self-destruction. When both become interested in the same two
women--Bertha Lunken, a conventional German, and Anastasya Vasek,
the ultra-modern international devotee of "swagger sex"--Wyndham
Lewis sets the stage for a scathing satire of national and social
pretensions, the fraught relationship between men and women, and
the incompatibilities of art and life. Scott W. Klein's
introduction places the novel in the context of social satire and
the avant-garde, especially the artistic developments of the
1910s--including Cubism, Futurism, and Lewis's own movement,
Vorticism--and explores the links between Tarr and other Modernist
masterpieces. The book also features Lewis's Preface to the 1918
American edition, comprehensive notes, a glossary of foreign words
and phrases, and a map of Paris.
About the Series: For over 100 years Oxford World's Classics has
made available the broadest spectrum of literature from around the
globe. Each affordable volume reflects Oxford's commitment to
scholarship, providing the most accurate text plus a wealth of
other valuable features, including expert introductions by leading
authorities, voluminous notes to clarify the text, up-to-date
bibliographies for further study, and much more.
The literary relationship of James Joyce and Wyndham Lewis has
previously been described in merely biographical terms. In The
Fictions of James Joyce and Wyndham Lewis Scott W. Klein takes
Wyndham Lewis's criticism of Ulysses in Time and Western Man and
Joyce's implicit response to Lewis in Finnegans Wake as an
emblematic opposition signalling significant textual relations
within and between the fictions of the two authors. The seeing eye
and the world, the creating mind and fiction, language and its
aesthetic and political object, and the processes of history: all
appear in the work of both Joyce and Lewis, as related thematic
structures that raise questions about binarism, dialectic, and the
reconciliation of opposites. Detailed examination of key texts by
Joyce and Lewis reveals hitherto unperceived affiliations between
the two writers, and offers new insight into the politics and
aesthetics of modernism.
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