The complex stance toward modernity taken by 1920s avant-garde cinema, as exemplified by five major films.
In the 1920s, the European avant-garde embraced the cinema, experimenting with the medium in radical ways. Painters including Hans Richter and Fernand Léger as well as filmmakers belonging to such avant-garde movements as Dada and surrealism made some of the most enduring and fascinating films in the history of cinema. In The Filming of Modern Life, Malcolm Turvey examines five films from the avant-garde canon and the complex, sometimes contradictory, attitudes toward modernity they express: Rhythm 21 (Hans Richter, 1921), Ballet mécanique (Dudley Murphy and Fernand Léger, 1924), Entr'acte (Francis Picabia and René Clair, 1924), Un chien Andalou (Salvador Dalí and Luis Buñuel, 1929), and Man with a Movie Camera (Dziga Vertov, 1929). All exemplify major trends within European avant-garde cinema of the time, from abstract animation to “cinéma pur.” All five films embrace and resist, in their own ways, different aspects of modernity.
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Malcolm Turvey is Professor of Film History at Sarah Lawrence College and an editor of October. He is the author of Doubting Vision: Film and the Revelationist Tradition.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Vendeur : Lot 49 Books, Philadelphia, PA, Etats-Unis
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paperback. Etat : Very Good. 1st Ed, 2nd Print Paperback. First Paperback Edition 2013, Second Printing. 2013. MIT Press, Cambridge, MA. Very Good. Unmarked. Paperback. Bit of edge & corner wear. No rips, tears or stains. Binding solid. 9"x7". Includes B&W film stills throughout, contents page, index & bibliography. 224 pp. Malcolm Turvey's scholarly analysis examines the 1920s European avant-garde film debate over visual versus sound cinema. Essential MIT Press film theory reference for academic film studies. Ships from the USA, quickly and with care. ___________________________________________________________________________________________________ __________________________ SYNOPSIS & HISTORY: In the 1920s, as European avant-garde film was maturing, a debate arose concerning the definition of the medium itself: was film primarily a visual phenomenon, or did sound and language fulfill essential roles? Malcolm Turvey's absorbing study explores the various answers to this question, considering the aesthetic manifestos of filmmakers, philosophers, and film critics. Turvey traces the history of the debate from its origins in debates about representation in early modern philosophy to its influence on the evolution of the avant-garde film in Europe. N° de réf. du vendeur C9G-oa11125B11
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Vendeur : Coffee Cat Books, Chapel Hill, NC, Etats-Unis
paperback. Etat : Very Good. 1st Ed; 1st MIT Press. First. 2013. MIT Press, Cambridge: MA & London: UK. Very Good. Unmarked. Softcover. Clean interior with no markings. Light shelf wear to covers with no rips, tears or stains. Binding solid & square. Includes B&W photographs & illustrations throughout with index at rear. Out of print academic monograph from the October Book Series on European Avant-Garde Film. Malcolm Turvey's analysis of European avant-garde films from the 1920s explores modernism, cinema & art theory through Dada & Surrealism. A definitive MIT Press study on film modernity. Ships from the USA, quickly and with care. _____________________________________________________________________ ________________________________________________________ SYNOPSIS & HISTORY: In the 1920s, the European avant-garde embraced the cinema, experimenting with the medium in radical ways. Painters including Hans Richter and Fernand Leger as well as filmmakers belonging to such avant-garde movements as Dada and surrealism made some of the most enduring and fascinating films in the history of cinema. In The Filming of Modern Life, Malcolm Turvey examines five films from the avant-garde canon and the complex, sometimes contradictory, attitudes toward modernity they express: Rhythm 21 (Hans Richter, 1921), Ballet mecanique (Dudley Murphy and Fernand Leger, 1924), Entr'acte (Francis Picabia and Rene Clair, 1924), Un chien Andalou (Salvador Dali and Luis Bunuel, 1929), and Man with a Movie Camera (Dziga Vertov, 1929). All exemplify major trends within European avant-garde cinema of the time, from abstract animation to "cinema pur. N° de réf. du vendeur C1124VG-oa102625H8
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