Chantal Akerman (French Film Directors Series)

Chantal Akerman is widely acclaimed as one of the most original and important directors working in Europe today. A towering figure in women's and feminist film-making, she has produced a diverse and intensely personal body of work ranging from minimalist portraits of the everyday to exuberant romantic comedies, and from documentaries and musicals to installation art. This book traces the director's career at the crossroads between experimental and mainstream cinema, contextualising her work within the American avant-garde of the 1970s, European anti-naturalism, feminism and the post-modern aesthetics. While offering an in-depth analysis of her multi-faceted film style, it also stresses the social and ethical dimension of her work, especially as regards her representation of marginal groups and her exploration of exilic and diasporic identities. Particular attention is given to the inscription of the Holocaust and of Jewish memory in her films.

Humor & Entertainment

Schmid, Marion

Movies

Manchester University Press

Film established itself as an artistic form of expression at the same time that Proust started work on his masterpiece, A la recherche du temps perdu. If Proust apparently took little interest in what he described as a poor avatar of reductive, mimetic representation, the resonances between his own radical reworking of writing styles and the novelistic forms, and cinema as the art of time are undeniable. Proust at the Movies is the first study in English to consider these rich interconnections. Its introductory chapter charts the missed encounter between Proust and the cinema and addresses the problems inherent in adapting his novel to the screen. The following chapters examine the various cinematic responses to A la recherche du temps perdu attempted to date: Luchino Visconti and Joseph Losey's failed attempts at adapting the whole of the novel in the 1970s, Volker SchlÃ¶ndorff's Un Amour de Swann (1984), Raoul Ruiz's Le Temps retrouvé (1999), Chantal Akerman's La Prisonnière in La Captive (2000), and Fabio Carpi's Quartetto Basileus (1982) and Le Intermittenze del cuore (2003). The last chapter tracks the echoes of Proust's writing in the work of various directors, from Abel Grace to Jean-Luc Godard. The approach is multidisciplinary, combining literary criticism with film theory and elements of philosophy of art. Special attention is given to the modernist legacy in literature and film with its distinctive aesthetic and narrative features. An outline of the history and recent evolution of contemporary art cinema thus emerges: a cinema where the themes at the heart of Proust's work - memory, time, perception - are ceaselessly explored.

Proust at the Movies (Studies in European Cultural Transition)

Beugnet, Martine

Routledge

Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh Studies in Film and Intermediality)

Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, Agnès Varda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.

Edinburgh University Press

Review\nMarion Schmid challenges familiar paradigms and provides a dazzling account of New Wave cinema’s engagement with a broad spectrum of culture―literature, theatre, painting, architecture, and photography. Her insightful re-readings of New Wave films and period criticism, deftly combined with contemporary concepts of intermediality, enable us to view this corpus afresh. -- Professor Rebecca DeRoo, Rochester Institute of Technology\nCasting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave’s relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the ‘impure’, intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, Agnès Varda and Chris Marker, but also lesser-known directors, notably the ‘secret child of the New Wave’, Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice. 
Key Features: 
A wide-ranging study which explores the complex, often ambiguous ways in which the New Wave engages with the other arts in both its discursive construction and cinematic practice\nAffords a new prism for understanding New Wave filmmaking and its legacy through comprehensive analysis of the ways in which the New Wave aesthetic was shaped through intermedial dialogue and medium rivalry\nReassesses one of the most acclaimed movements in film history drawing on cutting-edge theory in the prominent field of intermediality studies\nOffers an inclusive, heterogeneous view of the New Wave through inclusion of lesser-known directors such as Guy Gilles, Jean-Daniel Pollet and Jacques Demy alongside renowned Nouvelle Vague filmmakers\nFrom the Inside Flap\nEdinburgh Studies in Film and IntermedialitySeries Editors: Martine Beugnet and Kriss RavettoFounding Editor: John OrrA series of cutting-edge scholarly research monographs covering core aspects of film studies. The series internationally respected authors contribute analytical and often controversial volumes, offering a critical intervention into their subject.Marion Schmid challenges familiar paradigms and provides a dazzling account of New Wave cinemas engagement with a broad spectrum of culture: literature, theatre, painting, architecture and photography. Her insightful re-readings of New Wave films and period criticism, deftly combined with contemporary concepts of intermediality, enable us to view this corpus afresh.Rebecca DeRoo, Rochester Institute of TechnologyCasting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Waves relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the impure, intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, Agnès Varda and Chris Marker, but also lesser-known directors, notably the secret child of the New Wave, Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.Marion Schmid is Professor of French Literature and Film at the Universi

Chantal Akerman is widely acclaimed as one of cinema’s boldest visionaries. A towering figure in women’s and feminist film-making, she produced a diverse and intensely personal body of work ranging from minimalist portraits of the everyday to exuberant romantic comedies, and from documentaries and musicals to installation art. This book traces the director’s career at the crossroads between experimental and mainstream cinema, contextualising her work within the American avant-garde of the 1970s, European anti-naturalism, feminism and the post-modern aesthetics. While offering an in-depth analysis of her multi-faceted film style, it also stresses the social and ethical dimension of her work, especially as regards her representation of marginal groups and her exploration of exilic and diasporic identities. Particular attention is given to the inscription of the Holocaust and of Jewish memory in her films.

Rainer Werner Fassbiner left behind a literary and cinematic legacy which holds a unique place in the history of European film and in the culture of the twentieth century. It evolved as the expression of an era, between 1966 and 1982, in a country which was then another Germany and which no longer exists.

Chaos as Usual: Conversations About Rainer Werner Fassbinder (Applause Books)

Applause

Austria in picture (German Edition)

Reference

Foreign Language Study & Reference

Helmut Schmid

See the best price to sell, buy, or rent books by Schmid, Marion. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Schmid, Marion

See the best price to sell, buy, or rent books by Schmid, Marion. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Chantal Akerman (French Film Directors Series)

Proust at the Movies (Studies in European Cultural Transition)

Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh Studies in Film and Intermediality)

Intermedial Dialogues: The French New Wave and the Other Arts (Edinburgh Studies in Film and Intermediality)

Chantal Akerman (French Film Directors Series)

Chaos as Usual: Conversations About Rainer Werner Fassbinder (Applause Books)

Austria in picture (German Edition)