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Książki na temat „Cinema verite”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 3 marca 2023

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1

Merali, Shaheen, red. Cinema Verite Redux. Bangalore, India: Gallery Sumukha and Vadehra Art Gallery, 2010.

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2

Robert Drew and the development of cinema verite in America. Carbondale: Southern Illinois University Press, 1992.

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3

Cinema Verite: Iran International Documentary Film Festival i Markaz-i Gustarish-i Sīnimā-yi Mustanad va Tajribī, red. Ḥaqīqat dar qāb-i mustanad: Majmūʻah-i maqālāt darbārah-i sīnimā-yi mustanad. Tihrān: Markaz-i Gustarish-i Sīnimā-yi Mustanad va Tajribī, 2008.

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Italy) Convegno internazionale di studi cinematografici (12th 2008 Rome. Immagini dal mondo: Cinema, rappresentazione, verità. Roma: Fondazione ente dello spettacolo, 2008.

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Madrignani, Carlo A. Verità e visioni: Poesia, pittura, cinema, politica. Pisa: Edizioni ETS, 2013.

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6

La sfida della verità: Il cinema di Francesco Rosi. Firenze: Aida, 2005.

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7

Cinema e ceci: Romanzo verità sul mondo dello spettacolo. Pavona di Albano Laziale (Roma): Iacobelli, 2010.

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8

Luigi Nono e il cinema: "un'arte di lotta e fedele alla verità". Lucca: Libreria musicale italiana, 2017.

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9

Scaringi, Francesco. Verità e cinema d'inchiesta: I film su Benito Mussolini, Salvatore Giuliano, Enrico Mattei, Aldo Moro e le stragi. Lucca: Tralerighe libri, 2021.

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10

Mortenson, Denis. Cinema Verite. PublishAmerica, 2003.

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11

Hurley, J. Hayes. Cinema Verite in Hong Kong. Lulu Press, Inc., 2017.

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12

O'Connell, P. J. Robert Drew and the Development of Cinema Verite in America. Southern Illinois University Press, 2010.

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13

O'Connell, P. J. Robert Drew and the Development of Cinema Verite in America. Southern Illinois University Press, 2010.

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14

Margulies, Ivone. In Person. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.001.0001.

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In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure’s protean temporality and revisionist capabilities, and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-Holocaust testimonial cinemas. The book contextualizes Zavattini’s proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France, and the reception of psychodrama in France (Chronicle of a Summer and The Human Pyramid) in the late 1950s. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star’s iconography is checked by her corporeal limits (Sophia: Her Own Story and the docudrama Torero!). In Person traces a shift from the exemplary and transformative ethos of 1950s reenactment toward the unredemptive stance of contemporary reenactment films such as Lanzmann’s Shoah, Zhang Yuan’s Sons, and Andrea Tonacci’s Hills of Chaos. It defines continuities between verité testimony (Chronicle and Moi un Noir) and later parajuridical films such as The Karski Report and Rithy Panh’s S21: The Khmer Rouge Killing Machine, suggesting the power of co-presence and in-person actualization for an ethics of viewership.

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15

Berliner, Todd. The Hollywood Aesthetic. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0001.

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Chapter 1 explains Hollywood’s general principles for creating aesthetic pleasure for mass audiences. The chapter introduces the book’s two main theses: (1) Hollywood cinema targets an area, between boredom and confusion, that is optimally pleasing for mass audiences. It seeks to offer enough cognitive challenge to sustain aesthetic interest but not so much that it would jeopardize a film’s hedonic value or cause average spectators to give up the search for understanding. (2) Many of the Hollywood films that offer exhilarating aesthetic experiences beyond a single encounter and over extended periods operate near the boundaries of classicism, veering into areas of novelty and complexity that more typical Hollywood films avoid; however, they do so without sacrificing a mass audience’s ability to cope with the challenge. Such films take risks, and exhilarated pleasure results when they seem on the verge of overburdening or displeasing spectators in some bold and extraordinary way.

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16

McGlazer, Ramsey. Old Schools. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286591.001.0001.

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This book marks out a modernist counter-tradition. The book proceeds from an anachronism common to Italian- and English-language literature and cinema: a fascination with outmoded, paradigmatically pre-modern educational forms that persists long after they are displaced in modernizing, reform-minded pedagogical theories. Old Schools shows that these old-school teaching techniques organize key works by Walter Pater, Giovanni Pascoli, James Joyce, Pier Paolo Pasolini, and Glauber Rocha. All of these figures oppose ideologies of progress by returning to and creatively reimagining the Latin class long since left behind by progressive educators. Across the political spectrum, advocates of progressive education, from Jean-Jacques Rousseau to John Dewey and Giovanni Gentile, had targeted Latin in particular. The dead language—taught through time-tested techniques including memorization, recitation, copying out, and other forms of repetition and recall—needed to be updated or eliminated, reformers argued, so that students could breathe free and become modern, achieving a break with convention and constraint. By contrast, the works that Old Schools considers valorize instruction’s outmoded techniques, even at their most cumbersome and conventional. Like the Latin class to which they return, these works produce constraints that feel limiting but that, by virtue of that very limitation, invite valuable resistance. As they turn grammar drills into verse and repetitious lectures into voiceovers, they find unlikely resources for creativity and critique in the very practices that progressive reformers sought to clear away.

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