Description
Book SynopsisThis book is at once a detailed study of a range of individual filmmakers and a study of the modernism in which they are situated. It consists of fifty categories arranged in alphabetical order, among which are allegory, bricolage, classicism, contradiction, desire, destructuring and writing. Each category, though autonomous, interacts, intersects and juxtaposes with the others, entering into a dialogue with them and in so doing creates connections, illuminations, associations and rhymes which may not have arisen in a more conventional framework.
The author refers to particular films and directors that raise questions related to modernism, and, inevitably, thereby to classicism. Jean-Luc Godard’s work is at the centre of the book, though it spreads out, evokes and echoes other filmmakers and their work, including the films of Michelangelo Antonioni, Bernardo Bertolucci, John Ford, Howard Hawks, Alfred Hitchcock, João César Monteiro, Pier Paolo Pasolini and Orson Welles. This innovative and eloquently written text book will be an essential resource for all film students.
Table of ContentsIntroduction
Allegory
Ambulation
Archive
Arrangements
Authorship
Bodies
Bricolage
Characters
Classicism
Colour
Contradiction
Desire
Destructuring
Drama
Duplication
Elsewhere
Film Noir
Frame
History
Images
Immediacy
Inertia
Insufficiency
Investigations 1
Investigations 2
Language
Levels
Masquerade
Melodrama
Minimalism
Mise en scène
Modernity
Montage 1
Montage 2
Museum
Myth
Narrative
Networks
Nowhere
Pop
Portraiture
Randomness
Realism
Realities
Reproduction
Returns
Theatre
Time
Truth
Vertigo
Voyages
Writing
Bibliography
Index
