Scultura lignea nel mondo latino / testo di Giovanni Mariacher

• Record Nr.: UNINA990005590460403321
• Autore: Mariacher, Giovanni <1912-1994>
• Pubbl/distr/stampa: Milano : F.lli Fabbri, c1966
• Descrizione fisica: 157 p. : ill. ; 20 cm
• Collana: Élite : le arti e gli stili in ogni tempo e paese ; 53
• Disciplina: 730.94; 731.462
• Locazione: FLFBC
• Collocazione: 730.94 MAR 1
• Lingua di pubblicazione: Italiano
• Formato: Materiale a stampa
• Livello bibliografico: Monografia

The Russian cinema reader . Volume one 1908 to the Stalin era / / edited by Rimgaila Salys

• Record Nr.: UNINA9910813402703321
• Pubbl/distr/stampa: Boston : , : Academic Studies Press, , 2013; ©2013
• ISBN: 1-61811-213-9
• Descrizione fisica: 1 online resource (310 p.)
• Collana: Cultural Syllabus; Cultural syllabus
• Altri autori (Persone): SalysRimgaila
• Disciplina: 791.4309
• Soggetti: Motion pictures - Russia - History - 20th century; Motion pictures - Russia - History; Motion pictures - Soviet Union - History and criticism; Motion pictures - Soviet Union - History - 20th century; Russia History 20th century
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Description based upon print version of record.
• Nota di bibliografia: Includes bibliographical references.
• Nota di contenuto: Front matter -- Contents -- List of Illustrations -- Preface / Salys, Rimgaila -- Acknowledgments -- Image Credits -- Part One -- Early Russian Cinema 1908-1919 / Youngblood, Denise J. -- New Notes on Russian Film Culture between 1908 and 1919 / Tsivian, Yuri -- Sten'ka Razin / Salys, Rimgaila -- The Cameraman's Revenge/Mest' kinematograficheskogo operatora / Salys, Rimgaila -- The Merchant Bashkirov's Daughter/Doch' kuptsa Bashkirova / Salys, Rimgaila -- Child of the Big City/Ditia bol'shogo goroda -- Introduction -- The Scheherezade of the Boulevard Novel. A Piquant Mix of the Vulgar and the Proper / Bulgakova, Oksana -- Part Two -- Soviet Silent Cinema 1918-1930 / Youngblood, Denise J. -- The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks/Neobychainye prikliucheniia mistera Vesta v strane bol'shevikov -- Introduction -- Mr. Kuleshov in the Land of the Modernists / Kepley, Vance -- A Subtextual Reading of Kuleshov's Satire The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924) / Petrić, Vlada -- Battleship Potemkin/Bronenosets Potemkin -- Introduction / Neuberger, Joan / Salys, Rimgaila -- Monumental Heroics: The Silent Films / Bordwell, David -- Bed and Sofa/Tret'ia Meshchanskaia -- Introduction -- Bed and Sofa / Graffy, Julian -- Life into Art: Laying Bare the Theme in Bed and Sofa / Salys, Rimgaila -- Man with a Movie Camera/Chelovek s kinoapparatom / Hicks, Jeremy -- Earth/Zemlia -- Introduction -- Earth / Kepley, Vance -- Part Three -- Stalinist Cinema 1928-1953 / Kaganovsky, Lilya -- Chapaev -- Introduction -- Chapaev / Hutchings, Steven -- The Elements and Consciousness: The Commander and the Commissar / Bulgakova, Oksana -- Circus/Tsirk / Salys, Rimgaila -- Ivan the Terrible/Ivan Groznyi / Neuberger, Joan
• Sommario/riassunto: This two-volume reader is intended to accompany undergraduate courses in the history of Russian cinema and Russian culture through film. Each volume consists of newly commissioned essays, excerpts from English language criticism and translations of Russian language essays on subtitled films which are widely taught in American and British courses on Russian film and culture. The arrangement is chronological: Volume one covers twelve films from the beginning of Russian film through the Stalin era; volume two covers twenty films from the Thaw era to the present. General introductions to each period of film history (Early Russian Cinema, Soviet Silent Cinema, Stalinist Cinema, Cinema of the Thaw, Cinema of Stagnation, Perestroika and Post-Soviet Cinema) outline its cinematic significance and provide historical context for the non-specialist reader. Essays are accompanied by suggestions for further reading. The reader will be useful both for film studies specialists and for Slavists who wish to broaden their Russian Studies curriculum by incorporating film courses or culture courses with cinematic material. Volumes one and two may be ordered separately to accommodate the timeframe and contents of courses. Volume one films: Sten'ka Razin, The Cameraman's Revenge, The Merchant Bashkirov's Daughter, Child of the Big City, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, Battleship Potemkin, Bed and Sofa, Man with a Movie Camera, Earth, Chapaev, Circus, Ivan the Terrible, Parts I and II. Volume two films: The Cranes are Flying, Ballad of a Soldier, Lenin's Guard, Wings, Commissar, The Diamond Arm, White Sun of the Desert, Solaris, Stalker, Moscow Does Not Believe in Tears, Repentance, Little Vera, Burnt by the Sun, Brother, Russian Ark, The Return, Night Watch, The Tuner, Ninth Company, How I Ended This Summer. Authors: Birgit Beumers, Robert ; Bird, David Bordwell, Mikhail Brashinsky, Oksana Bulgakova, Gregory Carlson, Nancy Condee, Julian Graffy, Jeremy Hicks, Andrew Horton, Steven Hutchings, Vida Johnson, Lilya Kaganovsky, Vance Kepley, Jr., Susan Larsen, Mark Lipovetsky, Tatiana Mikhailova, Elena Monastireva-Ansdell, Joan Neuberger, Vlada Petrić, Graham Petrie, Alexander Prokhorov, Elena Prokhorova, Rimgaila Salys, Elena Stishova, Vlad Strukov, Yuri Tsivian, Meghan Vicks, Josephine Woll, Denise J. Youngblood

Film manifestos and global cinema cultures [[electronic resource] ] : a critical anthology / / Scott MacKenzie

• Record Nr.: UNINA9910821412003321
• Autore: MacKenzie Scott <1967->
• Pubbl/distr/stampa: Berkeley ; ; London : , : University of California Press, , [2014]; ©2014
• ISBN: 0-520-95741-5
• Descrizione fisica: 1 online resource (675 p.)
• Disciplina: 791.4301
• Soggetti: Motion pictures - Philosophy; Motion pictures; Culture in motion pictures
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Includes index.
• Nota di bibliografia: Includes bibliographical references and index.
• Nota di contenuto: Film Manifestos and Global Cinema Cultures -- Front matter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION -- 1. THE AVANT-GARDE(S) -- THE FUTURIST CINEMA (Italy, 1916) -- LENIN DECREE (USSR, 1919) -- THE ABCs OF CINEMA (France, 1917-1921) -- WE: VARIANT OF A MANIFESTO (USSR, 1922) -- THE METHOD OF MAKING WORKERS' FILMS (USSR, 1925) -- CONSTRUCTIVISM IN THE CINEMA (USSR, 1928) -- PREFACE: UN CHIEN ANDALOU (France, 1928) -- MANIFESTO OF THE SURREALISTS CONCERNING L'AGE D'OR (France, 1930) -- MANIFESTO ON "QUE VIVA MEXICO" (USA, 1933) -- SPIRIT OF TRUTH (France, 1933) -- AN OPEN LETTER TO THE FILM INDUSTRY AND TO ALL WHO ARE INTERESTED IN THE EVOLUTION OF THE GOOD FILM ; (Hungary, 1934) -- LIGHT*FORM*MOVEMENT *SOUND (USA, 1935) -- PROLEGOMENA FOR ALL FUTURE CINEMA (France, 1952) -- NO MORE FLAT FEET! (France, 1952) -- THE LETTRISTES DISAVOW THE INSULTERS OF CHAPLIN (France, 1952) -- THE ONLY DYNAMIC ART (USA, 1953) -- A STATEMENT OF PRINCIPLES (USA, 1961) -- THE FIRST STATEMENT OF THE NEW AMERICAN CINEMA GROUP (USA, 1961) -- FOUNDATION FOR THE INVENTION AND CREATION OF ABSURD MOVIES (USA, 1962) -- FROM METAPHORS ON VISION (USA, 1963) -- KUCHAR 8mm FILM MANIFESTO (USA, 1964) -- FILM ANDEPANDAN [INDEPENDENTS] MANIFESTO (Japan, 1964) -- DISCONTINUOUS FILMS (Canada, 1967) -- HAND-MADE FILMS MANIFESTO (Australia, 1968) -- CINEMA MANIFESTO (Australia, 1971) -- FOR A METAHISTORY OF FILM: COMMONPLACE NOTES AND HYPOTHESES (USA, 1971) -- ELEMENTS OF THE VOID (Greece, 1972) -- SMALL GAUGE MANIFESTO (USA, 1980) -- CINEMA OF TRANSGRESSION MANIFESTO (USA, 1985) -- MODERN, ALL TOO MODERN (USA, 1988) -- OPEN LETTER TO THE EXPERIMENTAL FILM CONGRESS: LET'S SET THE RECORD STRAIGHT (Canada, 1989) -- ANTI-100 YEARS OF CINEMA MANIFESTO (USA, 1996) -- THE DECALOGUE (Czech Republic, 1999) -- YOUR FILM FARM MANIFESTO ON PROCESS CINEMA (Canada, 2012) -- 2. NATIONAL AND TRANSNATIONAL CINEMAS -- FROM "THE GLASS EYE" (Italy, 1933) -- THE ARCHERS' MANIFESTO (UK, 1942) -- WHAT IS WRONG WITH INDIAN FILMS? (India, 1948) -- BUÑUEL THE POET (Mexico, 1951) -- FRENCH CINEMA IS OVER (France, 1952) -- SOME IDEAS ON THE CINEMA (Italy, 1953) -- A CERTAIN TENDENCY IN FRENCH CINEMA (France, 1954) -- SALAMANCA MANIFESTO & CONCLUSIONS OF THE CONGRESS OF SALAMANCA (Spain, 1955) -- FREE CINEMA MANIFESTOS (UK, 1956-1959) -- THE OBERHAUSEN MANIFESTO (West Germany, 1962) -- UNTITLED [OBERHAUSEN 1965] (West Germany, 1965) -- THE MANNHEIM DECLARATION (West Germany, 1967) -- SITGES MANIFESTO (Spain, 1967) -- HOW TO MAKE A CANADIAN FILM (Canada, 1967) -- HOW TO NOT MAKE A CANADIAN FILM (Canada, 1967) -- FROM "THE ESTATES GENERAL OF THE FRENCH CINEMA, MAY 1968" (France, 1968) -- MANIFESTO OF THE NEW CINEMA MOVEMENT (India, 1968) -- WHAT IS TO BE DONE? (France, 1970) -- THE WINNIPEG MANIFESTO (Canada, 1974) -- HAMBURG DECLARATION OF GERMAN FILMMAKERS (West Germany, 1979) -- MANIFESTO I (Denmark, 1984) -- MANIFESTO II (Denmark, 1987) -- MANIFESTO III: I CONFESS! (Denmark, 1990) -- THE CINEMA WE NEED (Canada, 1985) -- PATHWAYS TO THE ESTABLISHMENT OF A NIGERIAN FILM INDUSTRY (Nigeria, 1985) -- MANIFESTO OF 1988 (German Democratic Republic, 1988) -- IN PRAISE OF A POOR CINEMA (Scotland, 1993) -- DOGME '95 MANIFESTO AND VOW OF CHASTITY (Denmark, 1995) -- I SINEMA MANIFESTO (Indonesia, 1999) -- 3. THIRD CINEMAS, COLONIALISM, DECOLONIZATION, AND POSTCOLONIALISM -- MANIFESTO OF THE NEW CINEMA GROUP (Mexico, 1961) -- CINEMA AND UNDERDEVELOPMENT (Argentina, 1962) -- THE AESTHETICS OF HUNGER (Brazil, 1965) -- FOR AN IMPERFECT CINEMA (Cuba, 1969) -- TOWARDS A THIRD CINEMA: NOTES AND EXPERIENCES FOR THE DEVELOPMENT OF A CINEMA OF LIBERATION IN THE THIRD WORLD (Argentina, 1969) -- FILM MAKERS AND THE POPULAR GOVERNMENT POLITICAL MANIFESTO (Chile, 1970) -- CONSCIOUSNESS OF A NEED (Uruguay, 1970) -- MILITANT CINEMA: AN INTERNAL CATEGORY OF THIRD CINEMA (Argentina, 1971) -- FOR COLOMBIA 1971: MILITANCY AND CINEMA (Colombia, 1971) -- THE CINEMA: ANOTHER FACE OF COLONISED QUÉBEC (Canada, 1971) -- 8 MILLIMETERS VERSUS 8 MILLIONS (Mexico, 1972) -- MANIFESTO OF THE PALESTINIAN CINEMA GROUP (Palestine, 1973) -- RESOLUTIONS OF THE THIRD WORLD FILMMAKERS MEETING (Algeria, 1973) -- THE LUZ E ; AÇÃO MANIFESTO (Brazil, 1973) -- PROBLEMS OF FORM AND CONTENT IN REVOLUTIONARY CINEMA (Bolivia, 1976) -- MANIFESTO OF THE NATIONAL FRONT OF CINEMATOGRAPHERS (Mexico, 1975) -- THE ALGIERS CHARTER ON AFRICAN CINEMA (Algeria, 1975) -- DECLARATION OF PRINCIPLES AND GOALS OF THE NICARAGUAN INSTITUTE OF CINEMA (Nicaragua, 1979) -- WHAT IS THE CINEMA FOR US? (Mauritania, 1979) -- NIAMEY MANIFESTO OF AFRICAN FILMMAKERS (Niger, 1982) -- BLACK INDEPENDENT FILMMAKING: A STATEMENT BY THE BLACK AUDIO FILM COLLECTIVE (UK, 1983) -- FROM BIRTH CERTIFICATE OF THE INTERNATIONAL SCHOOL OF CINEMA AND TELEVISION IN SAN ANTONIO DE LOS BAÑOS, CUBA, NICKNAMED THE SCHOOL OF THREE WORLDS (Cuba, 1986) -- FeC AViP MANIFESTO (France, 1990) -- FINAL COMMUNIQUE OF THE FIRST FRONTLINE FILM FESTIVAL AND WORKSHOP (Zimbabwe, 1990) -- POCHA MANIFESTO #1 (USA, 1994) -- POOR CINEMA MANIFESTO (Cuba, 2004) -- JOLLYWOOD MANIFESTO (Haiti, 2008) -- THE TORONTO DECLARATION: NO CELEBRATION OF OCCUPATION (Canada, 2009) -- 4. GENDER, FEMINIST, QUEER, SEXUALITY, AND PORN MANIFESTOS -- WOMAN'S PLACE IN PHOTOPLAY PRODUCTION (USA, 1914) -- HANDS OFF LOVE (France, 1927) -- THE PERFECT FILMIC APPOSITENESS OF MARIA MONTEZ (USA, 1962) -- ON FILM NO. 4 (IN TAKING THE BOTTOMS OF 365 SAINTS OF OUR TIME) (UK, 1967) -- STATEMENT (USA, 1969) -- WET DREAM FILM FESTIVAL MANIFESTO (The Netherlands, 1970) -- WOMEN'S CINEMA AS COUNTERCINEMA (UK, 1973) -- MANIFESTO FOR A NON-SEXIST CINEMA (Canada, 1974) -- WOMANIFESTO (USA, 1975) -- VISUAL PLEASURE AND NARRATIVE CINEMA (UK, 1975) -- AN EGRET IN THE PORNO SWAMP: NOTES OF SEX IN THE CINEMA (Sweden, 1977) -- FOR THE SELF-EXPRESSION OF THE ARAB WOMAN (France, 1978) -- MANIFESTO OF THE WOMEN FILMMAKERS (West Germany, 1979) -- WIMMIN'S FIRE BRIGADE COMMUNIQUÉ (Canada, 1982) -- THOUGHTS ON WOMEN'S CINEMA: EATING WORDS, VOICING STRUGGLES (USA, 1986) -- THE POST PORN MODERNIST MANIFESTO (USA, 1989) -- STATEMENT OF AFRICAN WOMEN PROFESSIONALS OF CINEMA, TELEVISION AND VIDEO (Burkina Faso, 1991) -- PUZZY POWER MANIFESTO: THOUGHTS ON WOMEN AND PORNOGRAPHY (Denmark, 1998) -- CINEMA WITH TITS (Spain, 1998) -- MY PORN MANIFESTO (France, 2002) -- NO MORE MR. NICE GAY: A MANIFESTO (USA, 2009) -- BAREFOOT FILMMAKING MANIFESTO (UK, 2009) -- DIRTY DIARIES MANIFESTO (Sweden, 2009) -- 5. MILITATING HOLLYWOOD -- CODE TO GOVERN THE MAKING OF TALKING, SYNCHRONIZED AND SILENT MOTION PICTURES (MOTION PICTURE PRODUCTION CODE) (USA, 1930) -- RED FILMS: SOVIETS SPREADING DOCTRINE IN U.S. THEATRES (USA, 1935) -- STATEMENT OF PRINCIPLES (USA, 1944) -- SCREEN GUIDE FOR AMERICANS (USA, 1947) -- WHITE ELEPHANT ART VS. TERMITE ART (USA, 1962) -- SUPER FLY: A SUMMARY OF OBJECTIONS BY THE KUUMBA WORKSHOP (USA, 1972) -- FULL FRONTAL MANIFESTO (USA, 2001) -- 6. THE CREATIVE TREATMENT OF ACTUALITY -- TOWARDS A SOCIAL CINEMA (France, 1930) -- FROM "FIRST PRINCIPLES OF DOCUMENTARY" (UK, 1932) -- MANIFESTO ON THE DOCUMENTARY FILM (UK, 1933) -- DECLARATION OF THE GROUP OF THIRTY (France, 1953) -- INITIAL STATEMENT OF THE NEWSREEL (USA, 1967) -- NOWSREEL, OR THE POTENTIALITIES OF A POLITICAL CINEMA (USA, 1970) -- DOCUMENTARY FILMMAKERS MAKE THEIR CASE (Poland, 1971) -- THE ASIAN FILMMAKERS AT YAMAGATA YIDFF MANIFESTO (Japan, 1989) -- MINNESOTA DECLARATION: TRUTH AND FACT IN DOCUMENTARY CINEMA (Germany, 1999) -- DEFOCUS MANIFESTO (Denmark, 2000) -- KILL THE DOCUMENTARY AS WE KNOW IT (USA, 2002) -- ETHNOGRAPHIC CINEMA (EC): A MANIFESTO / A ; PROVOCATION (USA, 2003) -- REALITY CINEMA MANIFESTO (Russia, 2005) -- DOCUMENTARY MANIFESTO (USA, 2008) -- CHINA INDEPENDENT FILM FESTIVAL MANIFESTO: SHAMANS * ANIMALS (People's Republic of China, 2011) -- 7.; STATES, DICTATORSHIPS, THE COMINTERN, AND THEOCRACIES -- CAPTURE THE FILM! HINTS ON THE USE OF, OUT OF THE USE OF, PROLETARIAN FILM PROPAGANDA (USA, 1925) -- THE LEGION OF DECENCY PLEDGE (USA, 1934) -- CREATIVE FILM (Germany, 1935) -- VIGILANTI CURA: ON MOTION PICTURES (Vatican City, 1936) -- FOUR CARDINAL POINTS OF A REVOLUÇÃO DE MAIO (Portugal, 1937) -- FROM ON THE ART OF CINEMA (North Korea, 1973) -- 8. ARCHIVES, MUSEUMS, FESTIVALS, AND CINEMATHEQUES -- A NEW SOURCE OF HISTORY: THE CREATION OF A DEPOSITORY FOR HISTORICAL CINEMATOGRAPHY (Poland/France, 1898) -- THE FILM PRAYER (USA, c. 1920) -- THE FILM SOCIETY (UK, 1925) -- FILMLIGA MANIFESTO (The Netherlands, 1927) -- STATEMENT OF PURPOSES (USA, 1948) -- THE IMPORTANCE OF FILM ARCHIVES (UK, 1948) -- A PLEA FOR A CANADIAN FILM ARCHIVE (Canada, 1949) -- OPEN LETTER TO FILM-MAKERS OF THE WORLD (USA, 1966) -- A DECLARATION FROM THE COMMITTEE FOR THE DEFENSE OF LA CINÉMATHÈQUE FRANÇAISE (France, 1968) -- FILMMAKERS VERSUS THE MUSEUM OF MODERN ART (USA, 1969) -- ANTHOLOGY FILM ARCHIVES MANIFESTO (USA, 1970) -- TOWARD AN ETHNOGRAPHIC FILM ARCHIVE (USA, 1971) -- BROOKLYN BABYLON CINEMA MANIFESTO (USA, 1998) -- DON'T THROW FILM AWAY: THE FIAF 70th ANNIVERSARY MANIFESTO (France, 2008) -- THE LINDGREN MANIFESTO: THE FILM CURATOR OF THE FUTURE (Italy, 2010) -- FILM FESTIVAL FORM: A MANIFESTO (UK, 2012) -- 9. SOUNDS AND SILENCE -- A STATEMENT ON SOUND (USSR, 1928) -- A REJECTION OF THE TALKIES (USA, 1931) -- A DIALOGUE ON SOUND: A MANIFESTO (UK, 1934) -- AMALFI MANIFESTO (Italy, 1967) -- 10. THE DIGITAL REVOLUTION -- CULTURE: INTERCOM AND EXPANDED CINEMA: A PROPOSAL AND MANIFESTO (USA, 1966) -- THE DIGITAL REVOLUTION AND THE FUTURE CINEMA (Iran, 2000) -- THE PLUGINMANIFESTO (UK, 2001) -- DIGITAL DEKALOGO: A MANIFESTO FOR A FILMLESS PHILIPPINES (The Philippines, 2003) -- 11. AESTHETICS AND THE FUTURES OF THE CINEMA -- THE BIRTH OF THE SIXTH ART (France, 1911) -- THE BIRTH OF A NEW AVANT GARDE: LA CAMÉRA-STYLO (France, 1948) -- FROM PREFACE TO FILM (UK, 1954) -- THE SNAKESKIN (Sweden, 1965) -- MANIFESTO (Italy, 1965) -- MANIFESTO ON THE RELEASE OF LA CHINOISE (France, 1967) -- DIRECT ACTION CINEMA MANIFESTO (USA, 1985) -- REMODERNIST FILM MANIFESTO (USA, 2008) -- THE AGE OF AMATEUR CINEMA WILL RETURN (People's Republic of China, 2010) -- APPENDIX -- NOTES -- ACKNOWLEDGMENTS OF PERMISSIONS -- INDEX
• Sommario/riassunto: Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, ; Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.