LEADER 04044oam 2200577Ia 450 001 9910815409703321 005 20190503073346.0 010 $a0-262-28369-7 010 $a1-4356-6800-6 035 $a(CKB)1000000000539282 035 $a(SSID)ssj0000122303 035 $a(PQKBManifestationID)11139462 035 $a(PQKBTitleCode)TC0000122303 035 $a(PQKBWorkID)10122858 035 $a(PQKB)10129809 035 $a(MiAaPQ)EBC3338946 035 $a(OCoLC)259741828$z(OCoLC)503445524$z(OCoLC)646764031$z(OCoLC)704073637$z(OCoLC)826459763$z(OCoLC)904805374$z(OCoLC)961538903$z(OCoLC)962605883$z(OCoLC)1037442748 035 $a(OCoLC-P)259741828 035 $a(MaCbMITP)7474 035 $a(Au-PeEL)EBL3338946 035 $a(CaPaEBR)ebr10251681 035 $a(OCoLC)259741828 035 $a(EXLCZ)991000000000539282 100 $a20081002d2008 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCinematic mythmaking $ephilosophy in film /$fIrving Singer 210 $aCambridge, MA $cMIT Press$dİ2008 215 $ax, 245 p 225 0 $aThe Irving Singer Library 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-262-51515-6 311 $a0-262-19589-5 320 $aIncludes bibliographical references (p. [231]-238) and index. 327 $aIntroduction -- The Lady Eve -- Pygmalion variations -- The heiress and Washington Square -- Cocteau : the mythological poetry of film -- Mythmaking in Kubrick and Fellini. 330 $aMythic themes and philosophical probing in film as an art form, as seen in works of Preston Sturges, Jean Cocteau, Stanley Kubrick, and various other filmmakers. Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship with the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films--including La Belle et la Bete, Orphee, and The Testament of Orpheus--as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals--both secular and religious--that have had enormous significance throughout the human search for love and meaning in life. 606 $aMyth in motion pictures 610 $aPHILOSOPHY/General 610 $aARTS/Photography & Film/General 615 0$aMyth in motion pictures. 676 $a791.43/615 700 $aSinger$b Irving$0551800 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910815409703321 996 $aCinematic mythmaking$94033870 997 $aUNINA