Publisher: Harvard University Press
Publication Year: 2011
Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. In so doing it provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin.
Publisher: University of California Press
Publication Year: 2010
Japan has done marvelous things with cinema, giving the world the likes of Kurosawa, Mizoguchi, and Ozu. But cinema did not arrive in Japan fully formed at the end of the nineteenth century, nor was it simply adopted into an ages-old culture. Aaron Gerow explores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. He focuses in particular on how one trend in criticism, the Pure Film Movement, changed not only the way films were made, but...
Publisher: Columbia University Press
Publication Year: 2008
Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century’s most important events, but also because it determined the manner in which they were received.
Publisher: University of Toronto Press
Publication Year: 2007
While the first five decades of the postwar Italian cinematic production furnished relatively little on the subject of the Shoah, recent years have witnessed a surge of Holocaust related films. This study explores the factors behind this development, and provides analyses of works devoted to Fascist anti-Semitism, and the Final Solution for Italy’s Jewish population.
Publisher: Indiana University Press
Publication Year: 2001
Edited by Pearl Bowser, Jane Gaines, and Charles Musser
Publication Year: 2010
A manifesto in favor of cinema as a privileged art of discovery, opposed to spectacle, with a history of this aesthetic idea from 1930 through Bazin to the New Wave and up to our own day.
Translated into French as Un Idée du Cinéma (2014).
Link to Publisher: