Eyes Can't Sleep - Technique Visuality and What is Beyond Them ab 49 € als Taschenbuch: Modes of Interpreting Peter Greenaway's Cinema of Baroque. Aus dem Bereich: Bücher, Wissenschaft, Philosophie,
Eyes Can't Sleep - Technique Visuality and What is Beyond Them ab 49 EURO Modes of Interpreting Peter Greenaway's Cinema of Baroque
Since it first appeared in Screen in 1975, Laura Mulvey’s essay ‘Visual Pleasure and Narrative Cinema’ has been an enduring point of reference for artists, filmmakers, writers and theorists. Mulvey’s compelling, structured and polemical analysis of visual pleasure has provoked and encouraged others to take positions, challenge pre-conceived ideas and produce new works that owe their possibility to the generative qualities of this key essay. In this book, the artist Rachel Rose has produced an innovative work that extends and adds to the essay’s frame of reference. Drawing on eighteenth and nineteenth century fairy tales, and observing that their flat narratives matched the flatness of their depictions, Rose has drawn a connection between what happened in these illustrations before cinema, and what Mulvey describes in her essay – cinema flattening sexuality into visuality. Rose’s intricately layered work, with its mixing of genres and histories, is a complex and playful reformation.
Cinema and modern city are born in the same period of time and have developed concurrently. They have also interacted and transformed each other. Some cities of the world are referred as 'cinematic cities' as a consequence of this representational relationship. Cinema utilizes designerly tools for both the representation and the construction of cinematic reality. Representation of the city in cinema is no exception. For the representation of cities like New York and Berlin, directors make use of designerly tools such as color, lighting and sound to design and construct the visuality of films. In this book, Istanbul is studied in terms of the representational relationship between cinema and the city. The concept of cinematic representation is discussed and cinematic cities are analyzed, also the representation of Istanbul in both Turkish and American cinema is portrayed. Two American films are taken as case study. Designerly tools and their purpose for the representation of Istanbul are discussed through Jules Dassin's Topkapi (1964) and Alan Parker's Midnight Express (1978) to put Istanbul on the place it deserves together with the other cinematic cities.
Peter Greenaway's cinema of baroque has always been and will remain a topic that arises many questions and several modes of interpretations. The main concern of my analysis is whether we can interpret Peter Greenaway's cinema of baroque as a complex manifestation of Britain's conditions in the 1980s and 1990s. In my study I claim that the baroque references and allusions in the films are not only on the level of visuality, but they are able to touch upon the most important social and political problems of Thatcherism. Because of the multi-layered and self-reflexive nature of his cinema of baroque I believe that not only academics, but laymen also can be interested and entertained by these spectacular and suggestive films of Peter Greenaway.
The Visual Culture of Modernism offers a wide-ranging exploration of intertextual relations that bring together artists, artistic forms and artistic periods in response to the question: what is the relevance of early twentieth-century American Modernism to our present historical moment? Scholars from Europe and America develop responses to this question based on the philosophical heritage of modernity and in the context of the range of Modernist cultural praxis. The essays collected here explore links between literary and cultural Modernism, the relationship between the concepts of modernity and Modernism, and the legacy of Modernism in the late twentieth century and the contemporary period. Cinema, cinematic paratexts, television, the visual arts of painting and photography, poetry, fiction, and drama are among the artistic forms discussed in terms of issues ranging from cinematic and stage reinterpretations of Modernist literary texts to the genre of televisual melodrama and the trope of racial passing. The essays argue that visuality remains an urgent concern, from the Modernist period to our present age of media revolution.
Cinema and Language Loss provides the first sustained exploration of the relationship between linguistic displacement and visuality in the filmic realm, examining in depth both its formal expressions and theoretical implications. Combining insights from psychoanalysis, philosophy and film theory, the author argues that the move from one linguistic environment to another profoundly destabilizes the subject's relation to both language and reality, resulting in the search for a substitute for language in vision itself - a reversal, as it were, of speaking into seeing. The dynamics of this shift are particularly evident in the works of many displaced filmmakers, which often manifest a conflicted interaction between language and vision, and through this question the signifying potential, and the perceptual ambiguities, of cinema itself. In tracing the encounter between cinema and language loss across a wide range of films - from Billy Wilder's Sunset Boulevard to Chantal Akerman's News from Home to Michael Haneke's Cache - Mamula reevaluates the role of displacement in postwar Western film and makes an original contribution to film theory and philosophy based on a reconsideration of the place of language in our experience and understanding of cinema.