A Modeist Cinema:Film Art from 1914 to 1941
by: Scott W. Klein (Editor),Michael Valdez Moses(Editor)
Publisher: OUP USA
Publication Date: 2 Feb. 2022
Language: English
Print Length: 332 pages
ISBN-10: 0199379459
ISBN-13: 9780199379453
Book Description
In A Modeist Cinema, sixteen distinguished scholars in the field of the New Modeist Studies explore the interrelationships among modeism, cinema, and modeity. Focusing on several culturally influential films from Europe, America, and Asia produced between 1914 and 1941, this collection of essays contends that cinema was always a modeist enterprise. Examining the dialectical relationship between a modeist cinema and modeity itself, these essays reveal how the movies represented and altered our notions and practices of mode life, as well as how the so-called crises of modeity shaped the evolution of filmmaking. Attending to the technical achievements and formal qualities of the works of several prominent directors – Giovanni Pastrone, D. W. Griffith, Sergei Eisenstein, Fritz Lang, Alfred Hitchcock, F. W. Muau, Carl Theodore Dreyer, Dziga Vertov, Luis Buñuel, Yasujiro Ozu, John Ford, Jean Renoir, Charlie Chaplin, Leni Riefenstahl, and Orson Welles – these essays investigate several interrelated topics:how a modeist cinema represented and intervened in the political and social struggles of the era; the ambivalent relationship between cinema and the other modeist arts; the controversial interconnection between mode technology and the new art of filmmaking; the significance of representing the mobile human body in a new medium; the gendered history of modeity; and the transformative effects of cinema on mode conceptions of temporality, spatial relations, and political geography.
In A Modeist Cinema, sixteen distinguished scholars in the field of the New Modeist Studies explore the interrelationships among modeism, cinema, and modeity. Focusing on several culturally influential films from Europe, America, and Asia produced between 1914 and 1941, this collection of essays contends that cinema was always a modeist enterprise. Examining the dialectical relationship between a modeist cinema and modeity itself, these essays reveal how the movies represented and altered our notions and practices of mode life, as well as how the so-called crises of modeity shaped the evolution of filmmaking. Attending to the technical achievements and formal qualities of the works of several prominent directors – Giovanni Pastrone, D. W. Griffith, Sergei Eisenstein, Fritz Lang, Alfred Hitchcock, F. W. Muau, Carl Theodore Dreyer, Dziga Vertov, Luis Buñuel, Yasujiro Ozu, John Ford, Jean Renoir, Charlie Chaplin, Leni Riefenstahl, and Orson Welles – these essays investigate several interrelated topics:how a modeist cinema represented and intervened in the political and social struggles of the era; the ambivalent relationship between cinema and the other modeist arts; the controversial interconnection between mode technology and the new art of filmmaking; the significance of representing the mobile human body in a new medium; the gendered history of modeity; and the transformative effects of cinema on mode conceptions of temporality, spatial relations, and political geography.
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