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Camera Historica: The Century in Cinema [Minkštas viršelis]

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Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scene to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," disrupts the very material of film, much like historical events disturb the narrative of human progress. De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works of catastroika; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristic mise en forme of filmmaker Sacha Guitry, who, in Si Versailles m'etait conte (1954), filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate.

Recenzijos

De Baecque is one of our most meticulous and enterprising film historians, and in Camera Historica, he finds a new way of looking at the two sides of his interest, film and history, making each a clarifying reflection of the other. As a particular bonus, he's especially good on important filmmakers who emerged during the 1960s, such as the Nouvelle Vague and Peter Watkins. -- Jonathan Rosenbaum, film critic Camera Historica marks a new stage in thinking about the relationship between cinema (as art) and history (as both real and narrative). Going beyond the classic 'histories of cinema,' this book reveals what cinema makes of history, its way of making history visible, and of allowing us to judge it. -- Alain Badiou Thanks to this book I now understand precisely why and how I am goth. -- Tim Burton Those in search of superb academic writing need look no further. De Baecque renders a beguiling mix of auteurism, rigorous methodology, and historical analysis in an evenhanded, engaging tone. -- Jonathan Robbins Film Comment Cinema and history are in lively dialogue here, which creates much more exciting reading...highly recommended. Choice Politics, social insights and film art blend in a scholarly international probe perfect for film analysts studying the art and culture of cinema. Midwest Book Review presents an intelligent, opinionated, emotionally engaging, intermittently flawed meditation on cinema's ongoing negotiations with history... -- David Sterritt Cineaste Camera Historica is a refreshing and stimulating read, ultimately offering a vital contribution to the ongoing need for serious discussions of the intersections between film and history. -- Paula Amad American Historical Review

Daugiau informacijos

Antoine de Baecque is one of the most interesting and original historians writing today, as fluent in historical method as he is in semiotics and film history. This book is breathtaking in its scope, remarkable in its command of multiple cinematic traditions, and complex and thought-provoking in its arguments. The book ranges widely, treating everything from Chaplin films to middle-brow historical epics, from the politics of the French New Wave to the newest wave of Russian films made after the fall of Communism. The field of cinema and history is just opening up. No book has taken on as many different aspects of the relationship with such aplomb, verve, and insight. A landmark in the field. -- Vanessa Schwartz, author of It's So French! Hollywood, Paris, and the Making of Cosmopolitan Film Culture
Prelude The Tree of History xi
Introduction The Cinematographic Forms of History 1(30)
Disciplinary Uncertainties
5(7)
Cinema as Historian
12(6)
Cinema and History: An Analogy of the "Half-Cooked State"
18(2)
Cinema Pursues the Path of History to Reveal What Is Hidden Even from Memory
20(8)
The Sensible Fabric of the World
28(3)
1 Foreclosed Forms How Images of Mass Death Reemerged in Modern Cinema
31(46)
The Look-to-Camera: A Modern Form of History
32(5)
The Gaze of Death in Action
37(7)
How History Reemerges Through Cinema
44(3)
Alain Resnais and the Editing of Time
47(5)
Monsieur Verdoux, or How Chaplin Puts to Death His Inner Wandering Jew
52(4)
"Faces with Black, Rat-Like Eyes"
56(5)
Hitchcock and the Indelible Corpse
61(4)
Man Alone in the Face of the Machine of Death
65(4)
Mass Death: Neither Reconstruction nor Mise-en-scene
69(8)
2 From Versailles to the Silver Screen Sacha Guitry, Historian of France
77(26)
"Doing Versailles": Controversial Project and Historical Polemic
79(9)
Guitry and the Revenge of History
88(2)
A Certain Vision of History
90(6)
The Spectacle of Court Society
96(7)
3 "Me? Uh, Nothing!" The French New Wave, Politics, and History
103(56)
Hussar Thought
105(9)
A Cinema "That Has Nothing to Say"
114(4)
Heroes of the New Wave and Militants of Disarray
118(10)
Politicization via Malraux
128(4)
An Intrinsically Political Cinema: Filming Life with Style
132(8)
The Algerian War: The Intimate Drama of the New Wave
140(9)
Torture: The Limit Experience of the New Wave
149(2)
A Political Janus-Face
151(8)
4 Peter Watkins, Live from History The Films, Style, and Method of Cinema's Special Correspondent
159(48)
Making War Through Making Films
162(9)
The Time of Filmed Reportage
171(5)
The Trials and Tribulations of an Exiled Filmmaker
176(7)
The Deathblow as a Stylistic Form
183(6)
Edvard Munch, or How to Resist the Passage of Time
189(3)
The Watkins Way: History in Common
192(9)
The Besieged Citadel and the Martyr Figure
201(2)
The Alter-Filmmaker
203(4)
5 The Theory of Sparks A History in Images, According to Jean-Luc Godard
207(40)
Taking Art Out of the Museum and Projecting It into History
212(10)
From Langlois to Godard: A Historical Passage Through Images
222(6)
From The Voices of Silence to Histoire(s) du cinema, or, The Fraternity of Metaphors
228(7)
The Historiographical Virtue of Histoire(s) du cinema
235(6)
Can Histoire(s) Redeem History?
241(6)
6 Demodern Aesthetics Filming the End of Communism
247(58)
A Demodern Collapse
248(6)
Andrei Tarkovsky's Stalker: Communism Put to the Test of the Zone
254(14)
Alexei Guerman's Khrustalyov, My Car! Communism at the Bottom of History's Closet
268(8)
Aleksandr Sokurov's Russian Ark: Communism Sapped by Nostalgia
276(11)
Emir Kusturica's Underground: Into the Bowels of Communism
287(12)
A Few Images for "Those Who Are Lost"
299(6)
7 America Unraveled Master Fictions in Contemporary Hollywood Cinema
305(50)
Revealing Resurgences: Under the Whip of Catwoman
306(6)
End-of-the-World Films
312(10)
"Very Bad Films": Inside the Laboratory of Bad-Taste Films
322(10)
Tim Burton, America's Primitive
332(13)
American Cinema Put to the Test of 9/11
345(10)
Conclusion All Histories Are Possible 355(8)
Notes 363(20)
Acknowledgments 383(2)
Index 385
Antoine de Baecque is a historian and film critic and professor of cinema studies at the University of Paris X Nanterre. His books in English include Truffaut: A Biography; The Body Politic: Corporeal Metaphor in Revolutionary France, 1770-1800; Glory and Terror; and A History of Democracy in Europe. He has served as culture editor for the newspaper Liberation and as editor in chief of Cahiers du cinema. Ninon Vinsonneau teaches American culture and cinema at Ecole Centrale Paris. Jonathan Magidoff teaches history at Sciences Po Paris.