Modernist Montage: The Obscurity of Vision in Cinema and LiteratureColumbia University Press, 1990 - 250 Seiten Tracing the history of modernism in cinema, this study provides readings of a range of classic films made between 1925 and 1980 by such filmmakers as Carl Dreyer, Ingmar Bergman and Robert Bresson. It argues that the act of vision and visual experience are problematized in literary modernism. |
Inhalt
in Surrealist Cinema | 17 |
Image and Title | 38 |
Dreyers | 53 |
Bressons Figures | 81 |
Blanchots | 101 |
Persona as an Allegory | 125 |
Olsons Genealogy | 164 |
Cinematic Epiphanies | 188 |
Landows Wit | 211 |
Notes | 227 |
Bibliography | 239 |
| 247 | |
Häufige Begriffe und Wortgruppen
allegory allusion Alma ambiguous Anémic cinéma artistic audience Autobiography Autobiography of Alice avant-garde Bergman Blanchot Brakhage Brakhage's Bresson called camera movement chapter Charles Olson cinema Claudia closeup countershot death Desnos Dovzhenko dramatic Dreyer Eisenstein Elisabet encounter episode erotic essay face fantasy fictional figure film film's filmmaker filmmaker's final frame Frenhofer Gertrud Gertrude Stein Inger interpretation intertitle Jeanne Johannes Judith L'Etoile Landow language literary look Marriage Broker Joke Maurice Blanchot meaning metaphor Michel Minotaur modern modernist montage Mouchette narrative narrator novel Olson opening Ordet parable Persona phrase Pickpocket play poem poet poetic poetry primal scene psychoanalysis ptyx récit representation Robert Bresson Robert Desnos role Rrose Sélavy screen script sequence sexual shot shot-countershot sound speech Stan Brakhage Stein Stéphane Mallarmé story suggests theological theory Toklas trope turn Vertov viewer vision visual voulu Wide Angle Saxon woman words writing wrote Zvenigora