The Cinema of Poetry

Includes bibliographical references (pages 257-270) and index.

The Cinema of Poetry

Author: P. Adams Sitney

Publisher: Oxford University Press, USA

ISBN: 0199337039

Page: 276

View: 187

Includes bibliographical references (pages 257-270) and index.

A Cinema of Poetry

The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, ...

A Cinema of Poetry

Author: Joseph Luzzi

Publisher: JHU Press

ISBN: 142141984X

Page: 232

View: 490

A Cinema of Poetry brings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer. Joseph Luzzi considers the relation between film and literature, especially the cinematic adaptation of literary sources and, more generally, the fields of rhetoric, media studies, and modern Italian culture. The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's study is the first to show how Italian filmmakers address such crucial aesthetic issues as the nature of the chorus, the relation between symbol and allegory, the literary prehistory of montage, and the place of poetry in cinematic expression—what Pasolini called the "cinema of poetry." While Luzzi establishes how certain qualities of film—its link with technological processes, capacity for mass distribution, synthetic virtues (and vices) as the so-called total art—have reshaped centuries-long debates, A Cinema of Poetry also explores what is specific to the Italian art film and, more broadly, Italian cinematic history. In other words, what makes this version of the art film recognizably "Italian"? "A thought-provoking and well-written investigation of the role of history and realism in Italian cinema and the role played by the centuries-long tradition of poetry (or more precisely, poesis) in this quest."— H-Italy "Ambitious, inventive, learned... A Cinema of Poetry... brilliantly analyzes the art in the art film by showing how Italian cinema uses a chorus or expresses itself through allegory... This impressively intelligent re-description of the tradition surely takes its place alongside other necessary histories of Italian cinema."— Choice Joseph Luzzi is a professor of comparative literature at Bard College. He is the author of Romantic Europe and the Ghost of Italy, which received the MLA’s Scaglione Prize for Italian Studies; My Two Italies, a New York Times Book Review Editors' Choice; and In a Dark Wood: What Dante Taught Me about Grief, Healing, and the Mysteries of Love.

Tarkovsky

This is the first book about Andrey Tarkovsky by a leading Soviet critic to be translated into English. Maya Turovskaya was one of the first to hail Tarkovsky's originality when she was Ivan's Childhood in 1962.

Tarkovsky

Author: Maĭi︠a︡ Iosifovna Turovskai︠a︡

Publisher:

ISBN: 9780571147090

Page: 177

View: 733

Attempting to convey the cultural milieu from which Tarkovsky comes, the author of this book, a Russian film critic, had personally known Tarkovsky since the very beginning of his career. She has had access to the archives of Mosfilm Studios where the early drafts and notes on his films are kept.

We Saw the Light

By the mid-1960s, New American poets and Underground filmmakers had established a vibrant community in which they collaborated to produce a profusion of poetry/film hybrids.

We Saw the Light

Author: Daniel Kane

Publisher:

ISBN: 9781587297885

Page: 270

View: 918

By the mid-1960s, New American poets and Underground filmmakers had established a vibrant community. Allen Ginsberg, John Ashbery, Robert Duncan, Robert Creeley, and Frank O'Hara joined Kenneth Anger, Stan Brakhage, Robert Frank, Alfred Leslie, and Andy Warhol to hang out, make films, read poems, fight censorship, end racism, and shut down the Vietnam War. Their personal, political, and artistic collaborations led them to rethink the moving picture and the lyric, resulting in an extraordinary profusion of poetry/film hybrids. Drawing on unpublished correspondences and personal interviews with key figures in the innovative poetry and film communities, Daniel Kane's stunningly erudite and accessible work not only provides a fresh look at avant-garde poetry and film but also encourages readers to rethink the artistic scenes of the 1960s and today. We Saw the Light will reframe the very way we talk about how film influences poetry and force us to think anew about the radical ways in which art is created and in turn influences subsequent work.

Cinepoetry

The episteme of cinema, the book demonstates, reached the very core of its supposedly highbrow rival, while at the same time modern poetry cultivated the technocultural savvy that is found today in slams, e-poetry, and poetic-digital ...

Cinepoetry

Author: Christophe Wall-Romana

Publisher: Oxford University Press

ISBN: 0823245497

Page: 480

View: 443

The book examines how 19th- and 20th-century French-speaking poets have used cinema for cross-medium writing experiments, especially in the aftermath of the two world wars, thereby altering modernist literary imagination.

Poetic Acts New Media

The movies are weird — you actually have to think about them when you watch
them." — Britney Spears, at the Sundance Film Festival, 2003 Britney Spears'
above quote at the 2003 Sundance film festival, which dismisses any poetic art-
form ...

Poetic Acts   New Media

Author: Tom O'Connor

Publisher: University Press of America

ISBN: 9780761836308

Page: 174

View: 948

Poetic Acts & New Media advances the fields of literary and new media studies by clarifying boundaries between competing genres and media through the creation of a new artistic genre, "media poetry." This aesthetic mode of expression/becoming seeks to transform mass culture (our codes of communication) by self-consciously acknowledging how textual, audio, and/or visual signs are constructed according to their simulation and not their representation. This study draws heavily upon literary media theories that intersect with Gilles Deleuze's philosophy of 'Sense' as a simulated power of sensory transformations. Media poetry becomes a complex power of 'Sense' by blending conventional mass-media codes with poetic simulations that provide alternative forms of creating meaning. Poetic Acts & New Media specifically examines the works of several poets that exemplify this multi-sensory approach to printed-text poetry, especially: - Langston Hughes - Tony Medina - David Wojahn - John Kinsella - David Trinidad. It also analyzes several contemporary films that embody the multi-modal logic of media poetry: - David Lynch's Mullholland Drive - Cameron Crowe's Vanilla Sky - Spike Jonze's Being John Malkovich. In addition, this study interprets two influential primetime TV shows as exemplars of media poetry: Twin Peaks and Buffy the Vampire Slayer. All media poetry, regardless of genre or medium, allows readers/viewers to envision "reality production" as a rewriteable and poetic enterprise that can productively remediate any transparent abstraction or common-sense realism.

Heretical Empiricism

This is an expanded edition of Pier Paolo Pasolini's long out-of-print Heretical Empiricism. It includes a new Introduction by Ben Lawton that discusses the relevance of the book on the 30th anniversary of the author's death.

Heretical Empiricism

Author: Pier Paolo Pasolini

Publisher: New Academia Publishing/ The Spring

ISBN: 9780976704225

Page: 320

View: 136

This is an expanded edition of Pier Paolo Pasolini's long out-of-print Heretical Empiricism. It includes a new Introduction by Ben Lawton that discusses the relevance of the book on the 30th anniversary of the author's death. It also features the first approved translation of "Repu- diation of the 'Trilogy of Life'," one of Pasolini's most con- troversial final essays.While Pasolini is best known in the U.S. as a revolutionary film director, in Italy he was even better known as poet, novelist, playwright, political gadfly, and scholar of the semiotics of film. "New Academic Publishing should be commended for making this expanded version of Pier Paolo Pasolini's Hermetic Empiricism once again available to the English-speaking public, especially in the light of the fact that the important essay, "Repudiation of the Trilology of Life," has been added to its contents. Thirty years after Pasolini's violent death on 2 November 1975, the appearance of this excellent translation and edition of his major writings on Italian film, literature, and language is most welcome. No figure has emerged in Italy since the writer/director's death that has aroused such passionate opinions from all sides of the political and cultural spectrum. The translations by Ben Lawton and Louise Barnett render Pasolini's sometimes complex prose accurately with ample explanatory notes to guide the reader without a firm grasp of the original essays in Italian. This book represents an important work to have in every library devoted to cultural criticism, cinema, and literary theory." -- Peter Bondanella, Distinguished Professor of Comparative Literature and Italian, Indiana University "One of the greatest cultural figures of postwar Europe, Pier Paolo Pasolini (1922-1975), who is already widely known as a revolutionary filmmaker, was an equally important writer and poet. Pasolini's numerous works are published in some 50 volumes, which include poetry, novels, critical and theoretical essays, verse tragedies, screenplays, political journalism, and translations. With this successful and complete translation of Empirismo eretico (a collection of Pasolini's interventions on language, literature, and film written between 1964 and 1971), editors Barnett and Lawton have made a wide sample of Pasolini's most significant theoretical work available to the English-speaking reader. Essays on the screenplay, on the commercial and the art cinema, and on film semiotics make the collection of special interest to American film scholars and students. This volume is further enriched by an excellent introduction, carefully edited notes, a useful biographical glossary, and a thorough index. Given the contemporary interest in studying film, together with other cultural forms, within a broad social and historical context, Pasolini's "extravagantly interdisciplinary" writings beckon as a promising source of insight. A potentially seminal text that could contribute to the further evolution of interdisciplinary humanistic studies, Heretical Empiricism is highly recommended for university and college libraries." -- J. Welle, University of Notre Dame, CHOICE (1989)

La Dolce Morte

CHAPTER NINE The Giallo as Cinema of Poetry In chapter 8 I discussed the set
piece in giallo cinema and referred to the sex, violence, and gore as being “
poetic." In this chapter I want to consider a variety of other formal cinematic
aspects of ...

La Dolce Morte

Author: Mikel J. Koven

Publisher: Scarecrow Press

ISBN: 0810858703

Page: 195

View: 293

With the exception of die-hard aficionados of European or Italian horror cinema, most people may not have heard of giallo cinema or have seen many films in this subgenre of horror. Most academic film studies tend to ignore horror cinema in general and the giallo specifically. Critics often deride these films, which reveal more about the reviewers' own prejudices than any problem with the works themselves. As a counter to such biases, Mikel J. Koven argues for an alternative approach to studying these films, by approaching them as vernacular cinema—distinct from "popular cinema." According to Koven, to look at a film from a vernacular perspective removes the assumptions about what constitutes a "good" film and how a particular film is in some way "artistic." In La Dolce Morte: Vernacular Cinema and the Italian Giallo Film, Koven explores the history and evolution of this aspect of cinema, and places these films within the context of Italian popular filmmaking. He addresses various themes, motifs, and tropes in these films: their use of space, the murders, the role of the detective, the identity of the killer, issues of belief, excess, and the set-piece. In addition to being the first academic study of the giallo film in English, this book surveys more than fifty films of this subgenre. In addition to filmmakers like Mario Bava and Dario Argento, Koven also looks at the films of Lucio Fulci, Sergio Martino, Pupi Avati, Umberto Lenzi, and others. In all, the works of twenty-five different filmmakers are considered in this book. Also explored are the inter-relationships between these films: how one influences others, how certain filmmakers take ideas and build off of them, and how those ideas are further transformed by other filmmakers. Koven also explores the impact of the giallo on the later North American slasher genre.

The Selected Poetry of Pier Paolo Pasolini

Half a dozen of these books have been excerpted and published in English over the years, but even if one were to read all of those, the wide range of poetic styles and subjects that occupied Pasolini during his lifetime would still elude ...

The Selected Poetry of Pier Paolo Pasolini

Author: Pier Paolo Pasolini

Publisher: University of Chicago Press

ISBN: 022612116X

Page: 456

View: 995

Most people outside Italy know Pier Paolo Pasolini for his films, many of which began as literary works—Arabian Nights, The Gospel According to Matthew, The Decameron, and The Canterbury Tales among them. What most people are not aware of is that he was primarily a poet, publishing nineteen books of poems during his lifetime, as well as a visual artist, novelist, playwright, and journalist. Half a dozen of these books have been excerpted and published in English over the years, but even if one were to read all of those, the wide range of poetic styles and subjects that occupied Pasolini during his lifetime would still elude the English-language reader. For the first time, Anglophones will now be able to discover the many facets of this singular poet. Avoiding the tactics of the slim, idiosyncratic, and aesthetically or politically motivated volumes currently available in English, Stephen Sartarelli has chosen poems from every period of Pasolini’s poetic oeuvre. In doing so, he gives English-language readers a more complete picture of the poet, whose verse ranged from short lyrics to longer poems and extended sequences, and whose themes ran not only to the moral, spiritual, and social spheres but also to the aesthetic and sexual, for which he is most known in the United States today. This volume shows how central poetry was to Pasolini, no matter what else he was doing in his creative life, and how poetry informed all of his work from the visual arts to his political essays to his films. Pier Paolo Pasolini was “a poet of the cinema,” as James Ivory says in the book’s foreword, who “left a trove of words on paper that can live on as the fast-deteriorating images he created on celluloid cannot.” This generous selection of poems will be welcomed by poetry lovers and film buffs alike and will be an event in American letters.

The Cinema of Terrence Malick

Of course, the notion of a character's search is not at all unusual in cinema, or
any art form, but the manner of Malick's ... John Madden, in his short book The
Poetry of Cinema, lists a range of elements which he believes apply to poetic
cinema ...

The Cinema of Terrence Malick

Author: Hannah Patterson

Publisher: Columbia University Press

ISBN: 0231850115

Page: 224

View: 900

With 2005's acclaimed and controversial The New World, one of cinema's most enigmatic filmmakers returned to the screen with only his fourth feature film in a career spanning thirty years. While Terrence Malick's work has always divided opinion, his poetic, transcendent filmic language has unquestionably redefined modern cinema, and with a new feature scheduled for 2008, contemporary cinema is finally catching up with his vision. This updated second edition of The Cinema of Terrence Malick: Poetic Visions of America charts the continuing growth of Malick's oeuvre, exploring identity, place, and existence in his films. Featuring two new original essays on his latest career landmark and extensive analysis of The Thin Red Line-Malick's haunting screen treatment of World War II-this is an essential study of a visionary poet of American cinema.

Movies and Methods

Moreover there is no reason why the auteur theory should not be applied to the
English cinema, which is still utterly ... CINEMA. OF. POETRY. PIER PAOLO
PASOLINI Pasolini 's position leads in a very different direction from that ofMetz 's
 ...

Movies and Methods

Author: Bill Nichols

Publisher: Univ of California Press

ISBN: 9780520031517

Page: 640

View: 768

Fifty theoretical essays by distinctively original and influential film critics and filmmakers are grouped in categories having to do with general considerations, structuralism-semiology, political factors, genre, feminism, auteur theory, and mise-en-scene

Cinema and Counter History

His emphasis on an excess of vision is enhanced through the opportunities
afforded by the union of cinema and digital media, furthering his commitment to a
cinema of poetry that has marked his work. The poetic potential of digital effects
in ...

Cinema and Counter History

Author: Marcia Landy

Publisher: Indiana University Press

ISBN: 0253016193

Page: 312

View: 461

Despite claims about the end of history and the death of cinema, visual media continue to contribute to our understanding of history and history-making. In this book, Marcia Landy argues that rethinking history and memory must take into account shifting conceptions of visual and aural technologies. With the assistance of thinkers such as Gilles Deleuze and Félix Guattari, Cinema and Counter-History examines writings and films that challenge prevailing notions of history in order to explore the philosophic, aesthetic, and political stakes of activating the past. Marshaling evidence across European, African, and Asian cinema, Landy engages in a counter-historical project that calls into question the certainty of visual representations and unmoors notions of a history firmly anchored in truth.

Antonioni

" 'The richly detailed texture of Arrowsmith's informed and allusive essays is an apt response to the films of Antonioni and a compelling invitation to reconsider the director's astonishing oeuvre.

Antonioni

Author: William Arrowsmith

Publisher: Oxford University Press, USA

ISBN:

Page: 195

View: 275

In his analysis of a scene in La notte, for instance, Arrowsmith proposes how the composition of shots expresses the meaning. Noting how the actress portraying a nymphomaniac is framed next to expanses of wall, Arrowsmith writes, "What the nymphomaniac wants to shut out is any knowledge of the blank immensity ... that we see exteriorized as she stands against the absolutely clinical white blankness of the wall, her own emptiness projected as the emptiness around her, threatening her."

Reviewing Orpheus

Dealing primarily with the Orphic cinema of Jean Cocteau and the theme of Orpheus in his life and in his art, this volume reveals Cocteau's relevance to current aesthetic and critical discussion.

Reviewing Orpheus

Author: Cornelia A. Tsakiridou

Publisher: Bucknell University Press

ISBN: 9780838753798

Page: 147

View: 524

Dealing primarily with the Orphic cinema of Jean Cocteau and the theme of Orpheus in his life and in his art, this volume reveals Cocteau's relevance to current aesthetic and critical discussion. It also reveals the complexity and elusiveness of an artist who idealized classicism, embraced modernist forms, and anticipated postmodernist dilemmas without losing sight of his own creative identity and of art's unique ability to inform and enhance human life. Postmodernism's dedication to the rehabilitation of "lesser" artists and its revision of modernist history have not affected Cocteau studies even in areas of self-evident relevance like sexuality, myth, and gender. In the very few instances where these subjects have been addressed, the focus has been mainly on Cocteau's cinema, and no attempt has been made to link his cinematography to his theater, his poetry, and the many autobiographical and critical texts that reflect on his aesthetics and sensibility. The essays in this volume take the first steps in this direction with topics that include illusion, magic, and reality in the theater and film of Cocteau; the narcissistic character of his Orphism; the phenomenology of Cocteau video in hyperreal contexts; the psychoanalysis of his textual and visual language; his deconstruction of the Orphic myth; the baroque and neobaroque nature of his cinematograph; and the influence on his aesthetics and rhetoric of Italian quattrocento painting and theory. Among the works considered are, in film, The Blood of a Poet, Orpheus, The Testament of Orpheus, Beauty and the Beast, and The Eternal Return; in theater, The Wedding on the Eiffel Tower and Knights of the Round Table; in diaries and other texts, Diary of an Unknown, Letters to His Mother, the 1946 poem Crucifixion, and the 1943 essay "The Myth of El Greco."

Film Worlds

Others, on the relatively more artistically centered or experimental end of
narrative cinema (in this sense), may do something like the reverse. Indeed, the
second half of Pasolini's “'Cinema of Poetry'” is devoted to contrasting what he
terms a ...

Film Worlds

Author: Daniel Yacavone

Publisher: Columbia University Press

ISBN: 0231538359

Page: 352

View: 924

Film Worlds unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and "storyworlds" on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, Film Worlds extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film.

Post War Modernist Cinema and Philosophy

the meeting ground of a cinema of experiment and a cinema of narration and
realist intelligibility, the 'cinema of poetry' performs work that is not performed by
the films of those working insidethe 'Secret Diamond'. The latter, itwould seem, ...

Post War Modernist Cinema and Philosophy

Author: H. Ford

Publisher: Springer

ISBN: 1137283521

Page: 284

View: 463

A unique study of four major post-war European films by four key 'auteurs', which argues that these films exemplify film modernism at the peak of its philosophical reflection and aesthetic experimentation.

Unraveling French Cinema

Cinema. and/as. Poetry. L'Atalante's. Apples. as. Poems. “It is the essence of
poetry that liberates us from the reality of the accepted and firmly established
world, in which we believe we are living, to open up to us the multiform relations
of other ...

Unraveling French Cinema

Author: T. Jefferson Kline

Publisher: John Wiley & Sons

ISBN: 1444315544

Page: 232

View: 560

Unraveling French Cinema provides a much needed introductionto the complexities of French film for students, cineastes, and themovie-loving public. Looks at the differences between French and American nationalcinema Explores how French directors shape their films around twopotentially divergent goals: the narration of a story and anelaboration of some theory about film itself. Demystifies the "difficulty" of French cinema, allowing theAmerican movie-goer to enjoy films that are too often perplexing ata first viewing. Offers extended analyses of classic, New Wave, and contemporaryFrench films—including L'Atalante, Adele H.,The Rules of the Game, and Cache.

Maya Deren and the American Avant Garde

Includes the Complete Text of An Anagram of Ideas on Art, Form, and Film Maya
Deren Bill Nichols ... Deren spoke for a cinema of poetry and a poetics of cinema
, representing an approach to experience as distinguished from that of the ...

Maya Deren and the American Avant Garde

Author: Bill Nichols

Publisher: Univ of California Press

ISBN: 9780520227323

Page: 331

View: 207

Regarded as one of the founders of the postwar American independent cinema, Maya Deren was a poet, photographer, ethnographer and filmaker. These essays examine Deren's writings, films, and legacy from a variety of perspectives.