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1. |
Record Nr. |
UNINA990005301980403321 |
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Autore |
Vernière, Yvonne |
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Titolo |
Symboles et mythes dans la pensèe de Plutarque : Essai d'interprètation philosophique et religieuse des moralia / par Yvonne Verniere |
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Pubbl/distr/stampa |
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Paris : Les Belles Lettres, 1977 |
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Descrizione fisica |
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Disciplina |
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Locazione |
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Collocazione |
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P2B-610-PLUTAR.-8V.Y.-1977 BIS |
P2B-610-PLUTAR.-8V.Y.-1977 |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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2. |
Record Nr. |
UNINA9910420939903321 |
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Autore |
Nagib Lúcia |
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Titolo |
Realist cinema as world cinema : non-cinema, intermedial passages, total cinema / / Lúcia Nagib |
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Pubbl/distr/stampa |
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Amsterdam : , : Amsterdam University Press, , [2020] |
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©2020 |
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ISBN |
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9789048539215 |
9789462987517 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (300 pages) : illustrations; digital, PDF file(s) |
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Collana |
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Film Culture in Transition |
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Disciplina |
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Soggetti |
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PERFORMING ARTS / Film & Video / History & Criticism |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Frontmatter -- Table of Contents -- List of Illustrations -- Acknowledgements -- Introduction -- Part I. Non-cinema -- 1. The |
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Death of (a) Cinema -- 2. Jafar Panahi’s Forbidden Tetralogy -- 3. Film as Death -- 4. The Blind Spot of History -- Part II. Intermedial Passages -- 5. The Geidōmono Genre and Intermedial Acting in Ozu and Mizoguchi -- 6. Intermedial History-Telling -- 7. Passages to Reality -- Part III. Towards Total Cinema -- 8. The Reality of Art -- 9. Historicising the Story through Film and Music -- 10. Total Cinema as Mode of Production -- Bibliography -- Index |
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Sommario/riassunto |
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This book presents the bold and original proposal to replace the general appellation of 'world cinema' with the more substantive concept of 'realist cinema'. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: 'non-cinema', or a cinema that aspires to be life itself; 'intermedial passages', or films that incorporate other artforms as a channel to historical and political reality; and 'total cinema', or films moved by a totalising impulse, be it towards the total artwork, total history or universalising landscapes. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, proving that realism is timeless and inherent in cinema from its origin. |
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