KOVACS SCREENING MODERNISM PDF

In the s cinema found itself in a distinguished cultural position within Western culture, with filmmakers able to consider themselves the eminent representatives of contemporary Western culture. Educational and cultural reforms in were hailed by a generation whose members had been raised with the awareness of an existing cinematic tradition. The members of this generation of the s and s were born together with sound cinema, and they regarded silent cinema as their own cultural and artistic tradition rather than as an outdated form of mass entertainment. Even politics became involved with cinema. And also the fact that there are too many selfdesigned candidates for the elite.

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Return to Book Page. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema. Get A Copy. Paperback , pages. More Details Original Title. Other Editions 5. Friend Reviews. To see what your friends thought of this book, please sign up.

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Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Dec 03, Jimmy rated it it was amazing Shelves: film. Artistic categories can be important; they help people, as art spectators, define certain stylistic and thematic sensibilities. At other times they are empty jargon. That said; European Modernism, sure, that's fine by me, it's not that hyperbolic or ridiculous. Cinematic Modernism, starting with Resnais, Antonioni, Bergman, Godard, etc, is basically my favorite period of film.

Mainly made throughout the interval of time listed in the book's subtitle, this was quite possibly the most innovative and revolutionary period of film history. The way that narratives would be approached after the late fifties would never be the same. I'm particularly referring here to Resnais' Hiroshima Mon Amour ; a formal masterpiece, one that is integral to both the existence of this book, as well as the filmmakers referenced in it who were unquestionably influenced by Resnais, oh, and Antonioni's L'avventura.

Alas, a review of something like Screening Modernism would really just consist of a laundry list of art-house directors. So I'll spare you all that insufferable list, and all of the obscure alienating references, and just say that this is an essential film book. It's dense, erudite, and thoroughly engaging. That is of course, if you've actually seen the films that Kovacs talks about. My suggestion; get a library card, put all of the titles listed in the index on hold, watch them, and read bits and pieces of this book throughout that period of time.

View all 38 comments. Apr 28, Tiah Keever rated it liked it Shelves: studied-in-college. I figured if it was assigned in the first p there needs to be another option besides currently reading or read-something that falls in between them, like have read parts of, or will finish reading one day. I figured if it was assigned in the first place I may as well read it.

At times it gets a bit dull, but other times its quite entertaining, as long as your into things like European art cinema, mais oui.

I'll finish it at some later date, but currently novels are getting in my way. And by novels I mean War and Peace, which unlike this book can't just be skipped around all willy nilly well, you could, but that would be a hindrance to you, the reader. This book leans toward the nerdy side of things meaning if you like ot push your glasses up and start blabbing about modernism in art, specifically cinema, you will probably enjoy it.

If you wear contacts I don't know what to tell you. If you have perfect vision you probably haven't read enough or watched enough movies in the dark, so you're not reading this book anyhow.

Jun 08, Meraj Dhir rated it really liked it Shelves: film-studies. He defines conventions of narration and style that define these diverse art cinema genres with elucidating analyses of filmmakers such Fellini, Bergman, Antonioni and Bela Tarr.

The first part of the book contains some great historiography refining our sense of the multiple meanings of the terms "modernity" and "modernism" --something film scholars often confuse and is a much needed analyses of the various nuances of the term "modernism". I would have liked a bit more formal analysis but as it is the book is a true tour de force of film history and analysis and after reading it twice I can't recommend it highly enough.

Perfect collection of writing about cinema history. Movements, directors, critics etc Halil İldeniz rated it liked it Dec 11, Katya rated it really liked it Jul 23, Ian rated it really liked it Jun 23, John rated it really liked it Mar 21, Billy rated it it was amazing Feb 19, Tanner rated it liked it Mar 04, Rob Same rated it it was amazing Apr 13, Jeremy Estabrooks rated it liked it Apr 01, Kay Honda rated it it was amazing Aug 15, Jane rated it liked it Mar 31, Mark rated it really liked it Jun 08, Lucia rated it really liked it Feb 19, Tom rated it it was amazing Jul 23, Rick Sieber rated it really liked it Dec 10, Ilse van der Spoel rated it liked it Sep 10, Elise rated it really liked it Jun 18, Ema San rated it it was amazing May 17, Daniel rated it liked it Jan 26, Patrik Pajer rated it really liked it Dec 01, Sedef rated it it was amazing Mar 15, Jamie rated it really liked it Mar 29, There are no discussion topics on this book yet.

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AR 350-51 PDF

Screening Modernism: European Art Cinema, 1950-1980

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Screening Modernism

Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Casting fresh light on the renowned productions of auteurs such as Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, "Screening Modernism" is the first comprehensive study of European art cinema's postwar heyday. Spanning from the s to the s, Andras Balint Kovacs' encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art.

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