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?Films, in their generic, stylistic, and rhetorical variety, are
modes of experience that provide a sense for the unexpected
dynamics of urban life and historical reality. This understanding
of cinema, as loving as it is theoretical, inspired the writings on
film which form a central part of the wide-ranging work of Austrian
historian Siegfried Mattl. From the political imaginary of
well-known "historical films" by Stanley Kubrick, Ridley Scott,
John Woo, and Todd Haynes, to inter-war comedies and post-war
educational films highlighting the changing socio-economic textures
of Vienna, and on to amateur films that offer surprising views of
how Austrians adapted themselves to Nazism or consumer culture,
Mattls investigations are rich in historical context and
re-evaluated material. Written with humor and a critical view of
power relations, his essays and studies - some published for the
first time - also enter into dialogues with Siegfried Kracauer's
and Jacques Ranciere's concepts of cinema's historicity. Exploring
imagescapes of Red Vienna, of Haneke's white, or of Dylan's blues,
Mattl invites us to look back at, and look out for, the ephemera
that make up history.
During the past decade, the international study of non-theatrical
cinematic forms has seen a strong expansion - with amateur film as
a central area of research. Changing collection policies in film
archives and museums and new forms of digital access are not the
only reasons for this interest. However, the major impulse to
current debates comes from contributions based on an analysis of
archival holdings. Abenteuer Alltag. Zur Archaologie des
Amateurfilms is the first German-language publication to give an
overview of amateur film research in Europe, presenting essays on
topics such as the politics and history, the technology and
aesthetics, as well as the bodies and spaces of amateur film. In
addition, several European and American film archives provide
information about their collection strategies.
Der Band befasst sich mit dem k. u. k. Kriegspressequartier (KPQ),
das von seiner Entstehung und Komplexitat her unter den
kriegsfuhrenden Landern des Ersten Weltkriegs einzigartig war. Die
Aufsatze widmen sich zum einen jenen Massnahmen, die das KPQ
anordnete, leitete und kontrollierte. Dazu gehoerten die
Kriegsberichterstattung in journalistischen Frontberichten und
fotografischen Dokumentationen, die Verarbeitung des Krieges
mittels Malerei oder das Festhalten des Kriegsgeschehens mit der
Filmkamera. Zum anderen bewerten die Autoren die
Propagandamassnahmen innerhalb eines breiteren Bezugsrahmens, und
zwar mit Blick auf die alternativen Spielraume, die die
zentralisierte Verwaltung gestattete. Als Vergleichsebenen werden
ausserhalb des Wirkungsbereichs des KPQ liegende Tendenzen des
Kulturbetriebs herangezogen.
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