Download E-books Impure Cinema: Intermedial and Intercultural Approaches to Film (Tauris World Cinema) PDF
In modern innovative movie feedback, rules of purity, essence and beginning were outdated through favorable methods to 'hybridization', 'transnationalism', 'multiculturalism' and cross-fertilizations of every kind. Impure Cinema builds in this inspiration in novel and interesting methods, because it attracts on cinema's blend of intermedial and intercultural elements as a way to bridge the divide among stories of aesthetics and tradition. movie is published the following because the position par excellence of media encounters, mutual wondering and self-dissolution into post-medium experiments. most significantly, the ebook argues, film's intermedial family can in simple terms be appropriately understood if their cultural determinants are taken under consideration. students and scholars of movie, cinéfiles and scholars of the humanities will realize right here unforeseen connections throughout many creative practices.
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Extra info for Impure Cinema: Intermedial and Intercultural Approaches to Film (Tauris World Cinema)
Le Fanu, Mark (2005). Mizoguchi and Japan. London: BFI. Nagib_Chapters. indd 38 8/22/2013 8:13:23 PM FROM IMPURITY TO HISTORICITY 39 MacCabe, Colin (2011). ‘Bazin as Modernist’, in Dudley Andrew and Hervé Joubert-Laurencin (eds), beginning Bazin. Oxford/New York: Oxford college Press, pp. 66–76. Mulvey, Laura (2011). ‘Rear-Projection and the Paradoxes of Hollywood Realism’, in Lúcia Nagib, Chris Perriam and Rajinder Dudrah (eds), Theorizing global Cinema. London/New York: I. B. Tauris, pp. 207–20. Nagib, Lúcia (2011). global Cinema and the Ethics of Realism. New York/London: Continuum. Rancière, Jacques (2006). movie Fables, translated through Emiliano Battista. Oxford: Berg. ——— (2009). The Emancipated Spectator, translated by way of Gregory Elliott. London: Verso. ——— (2010). Dissensus: On Politics and Aesthetics, edited and translated by way of Steven Corcoran. New York/London: Continuum. Sartre, Jean-Paul (2000). Existentialism and Human feelings, translated via Bernard Frechtman. manhattan: castle. Schröter, Jens (2010). ‘The Politics of Intermediality’, movie and Media stories, 2, pp. 107–24. Thompson, Kristin (1986). ‘The thought of Cinematic Excess’, in Philip Rosen (ed. ), Narrative, gear, Ideology: a movie Reader. long island: Columbia collage Press, pp. 130–42. Truffaut, François (2008). ‘A convinced Tendency of the French Cinema’, in Barry Keith provide (ed. ), Auteurs and Authorship: a movie reader. Malden/Oxford/ Victoria: Blackwell, pp. 9–18. Stam, Robert (2005). Literature via movie: Realism, Magic, and the artwork of variation. Malden/Oxford/Victoria: Blackwell. Udaka, Michishige (2010). The secrets and techniques of Noh mask. Tokyo/New York/London: Kodansha. Ungaro, Jean (2000). André Bazin: généalogies d’une théorie. Paris: L’Harmattan. Williams, Alan (1992). ‘Historical and Theoretical concerns within the Coming of Recorded Sound to the Cinema’, in Rick Altman (ed. ), Sound conception, Sound perform. New York/London: Routledge, pp. 126–38. Nagib_Chapters. indd 39 8/22/2013 8:13:23 PM Nagib_Chapters. indd forty 8/22/2013 8:13:23 PM PART II INTERTEXTUAL AND INTERCULTURAL DIALOGUES Nagib_Chapters. indd forty-one 8/22/2013 8:13:23 PM Nagib_Chapters. indd forty two 8/22/2013 8:13:23 PM Chapter three Contestations of Intercultural Collaboration: The Case of Whale Rider Virginia Pitts In conventional Ma¯ori tradition, tales belonged jointly to the wha¯nau (extended families), hapu¯ (sub-tribes) or iwi (tribes) and, in any telling of the tale, questions bobbing up approximately authenticity and responsibility have been moderated by means of elders (Lee 2005: 10). utilizing Whale Rider (Niki Caro 2003) as a case learn, this bankruptcy explores how such problems with responsibility and authenticity might be controlled throughout the integration of Indigenous1 culture and modernity within the construction strategy and the cultured development of a movie destined for international intake. according to the trouble many critics show either in acknowledging Ma¯ori participation within the making of Whale Rider and in formulating a interpreting place that services past a Western positivist orientation, fundamental examine has been undertaken that unearths a style of intercultural inventive collaboration within which dialogic negotiation by means of (and with) Indigenous humans presents an alternative choice to techniques of both cultural domination or utopian synthesis.