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The Berlin School and its global contexts : a transnational art cinema / edited by Marco Abel and Jaimey Fisher Detroit: Wayne State University Press, 2018.
Call No: 71(430) BERAuthor: Abel, Marco ; Fisher, Jaimey Edition: 2018Place: DetroitPublisher: Wayne State University PressPubDate: 2018PhysDes: viii, 356 pages : illustrated ; 23 cmSeries: Contemporary Approaches to Film and Media SeriesSubject: BERLIN SCHOOL ; ABEL, MARCO ; ADE, MAREN ; WEERASETHAKUL, APICHATPONG ; ARSLAN, THOMAS ; GRISEBACH, VALESKA ; HAUSNER, JESSICA ; HOCHHAUSLER, CHRISTOPH ; KIAROSTAMI, ABBAS ; KOHLER, ULRICH ; PETZOLD, CHRISTIAN ; TARR, BELA Summary: The Berlin School and Its Global Contexts: A Transnational Art-Cinema came about in light of the Museum of Modern Art (MOMA)’s 2013 major exhibition of works by contemporary German directors associated with the so-called Berlin School, perhaps Germany’s most important contemporary filmmaking movement. Christoph Hochhäusler, the movement’s keenest spokesperson, stated that "the Berlin School, despite what the label suggests, is not a specifically German phenomenon. All over the world there are filmmakers exploring related terrain." In response to this "transnational turn," editors Marco Abel and Jaimey Fisher have assembled a group of scholars who examine global trends and works associated with the Berlin School.
The goal of the collection is to understand the Berlin School as a fundamental part of the series of new wave films around the globe, especially those from the traditional margins of world cinema. For example, Michael Sicinski and Lutz Koepnick explore the relation of the Berlin School to cinema of Southeast Asia, including Apichatpong Weerasethakul and Tsai Ming-liang; Ira Jaffe and Roger Cook take a look at Middle Eastern film, with Nuri Bilge Ceylan and Abbas Kiarostami, respectively. The volume, however, also includes essays engaging with North American filmmakers like Kelly Reichardt and Derek Cianfrance as well as European auteurs like Antonioni, Tarr, Porumboiu, McQueen, and the Dardennes. Bringing German cinema into dialogue with this series of global cinemas emphasizes how the Berlin School manifests—whether aesthetically or thematically, politically or historically—a balancing of national particularity with global flows of various sorts. Abel and Fisher posit that since the vast majority of the films are available with English subtitles (and at times also in other languages) and recent publications on the subject have established critical momentum, this exciting filmmaking movement will continue to branch out into new directions and include new voices.
The Berlin School and Its Global Contexts folds German-language cinema back into conversations with international as well as transnational cinema. This volume will be of great interest to scholars of German and global cinema. -- publisher's web siteISBN: 9780814342008
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Cinematic encounters 2 : portraits and polemics / Jonathan Rosenbaum Urbana, Chicago, and Springfield: University of Illinois Press, 2019.
Call No: 670 ROSAuthor: Rosenbaum, Jonathan Edition: 2019Place: Urbana, Chicago, and SpringfieldPublisher: University of Illinois PressPubDate: 2019PhysDes: 312 pages ; 23cmSubject: DIRECTORS ; AKERMAN, CHANTAL ; BROOKS, JAMES L. ; BUNUEL, LUIS ; DEMY, JACQUES ; DREYER, CARL TH. ; GIANVITO, JOHN ; JARMUSCH, JIM ; LEWIS, JERRY ; LINKLATER, RICHARD ; MADDIN, GUY ; MAY, ELAINE ; OLIVEIRA, MANOEL DE ; OLMI, ERMANNO ; YASUJIRO OZU ; POTTER, SALLY ; RAPPAPORT, MARK ; RESNAIS, ALAIN ; RIVETTE, JACQUES ; TARR, BELA ; MING-LIANG, TSAI ; WELLES, ORSON Summary: Eschewing the idea of film reviewer-as-solitary-expert, Jonathan Rosenbaum continues to advance his belief that a critic's ideal role is to mediate and facilitate our public discussion of cinema. Portraits and Polemics presents debate as an important form of cinematic encounter whether one argues with filmmakers themselves, on behalf of their work, or with one's self.
Rosenbaum takes on filmmakers like Chantal Akerman, Richard Linklater, Manoel De Oliveira, Mark Rappaport, Elaine May, and Béla Tarr. He also engages, implicitly and explicitly, with other writers, arguing with Pauline Kael—and Wikipedia—over Jacques Demy, with the Hollywood Reporter and Variety reviewers of Jarmusch’s The Limits of Control, with David Thomson about James L. Brooks, and with many American and English film critics about misrepresented figures from Jerry Lewis to Yasujiro Ozu to Orson Welles. Throughout, Rosenbaum mines insights, pursues pet notions, and invites readers to join the fray. -- publisher's web siteISBN: 9780252084386Contents: Introduction: In Defense of Polemical Criticism -- 1. Chantal Akerman -- 2. James L. Brooks -- 3. Luis Buñuel -- 4. Pedro Costa -- 5. André Delvaux -- 6. Jacques Demy -- 7. Carl Dreyer -- 8. John Gianvito -- 9. Jim Jarmusch -- 10. Jia Zhangke -- 11. Jerry Lewis -- 12. Richard Linklater -- 13. Guy Maddin -- 14. Elaine May -- 15. Manoel de Oliveira -- 16. Ermanno Olmi -- 17. Yasujiro Ozu -- 18. Sally Potter -- 19. Mark Rappaport -- 20. Alain Resnais -- 21. Jacques Rivette -- 22. Béla Tarr -- 23. Tsai Ming-liang -- 24. Orson Welles – Index.
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Placing movies : the practice of film criticism / Jonathan Rosenbaum Berkeley: University of California Press, 1995.
Call No: 67(081) PLAAuthor: Rosenbaum, Jonathan Place: BerkeleyPublisher: University of California PressPubDate: 1995PhysDes: ix, 337 p. ; 24 cmSubject: CRITICISM ; GODARD, JEAN-LUC ; BARTHES, ROLAND ; CASSAVETES, JOHN ; TATI, JACQUES ; WELLES, ORSON ; RESNAIS, ALAIN ; RUIZ, RAUL ; ALLEN, WOODY ; ANTONIONI, MICHELANGELO ; FARBER, MANNY ; TARR, BELA ; RIVETTE, JACQUES ; GERTRUD (DK, Carl Th. Dreyer, 1964) ; OHAYO (JA, Ozu Yasujiro, 1959) ; MANCHURIAN CANDIDATE, THE (US, John Frankenheimer, 1962) ; OTHELLO (MR, Orson Welles, 1951) ; MELO (FR, Alain Resnais, 1986) ; HARDLY WORKING (US, Jerry Lewis, 1980) ; AMOR DE PERDICAO (PO, Manoel de Oliveira, 1979) ; BIRD (US, Clint Eastwood, 1988) ; WHITE DOG (US, Samuel Fuller, 1982) ; JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (BE, Chantal Akerman, 1975) ; SPEAKING DIRECTLY: SOME AMERICAN NOTES (US, Jon Jost, 1974) ; RAMEAU'S NEPHEW BY DIDEROT (THANX TO DENNIS YOUNG) BY WILMA SCHOEN (CN, Michael Snow, 1974) ; MOSES UND ARON (GW/FR/IT, Jean-Marie Straub & Daniele Huillet, 1975) ; DEEP COVER (US, Bill Duke, 1992) ; PANAMA DECEPTION, THE (US, Barbara Trent, 1992) ; SAGA OF ANATAHAN, THE (JA, Josef von Sternberg, 1953) ; BARTON FINK (US, Joel Cohen, 1991) ; ATALANTE, L' (FR, Jean Vigo, 1934) ; GENTLEMEN PREFER BLONDES (US, Howard Hawks, 1953) ; KING LEAR (US/SZ, Jean-Luc Godard, 1987) ; RAIDERS OF THE LOST ARK (US, Steven Spielberg, 1981) Notes: Includes bibliographical references (p. 315-321) and indexISBN: 0520086325 (alk. paper); 0520086333 (pbk. : alk. paper)LON: 93042954; 10612641ID2: 291
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Slow cinema / edited by Tiago de Luca and Nuno Barradas Jorge Edinburgh: Edinburgh University Press, 2016.
Call No: 631.11 SLOAuthor: de Luca, Tiago ; Jorge, Nuno Barradas Edition: 2016Place: EdinburghPublisher: Edinburgh University PressPubDate: 2016PhysDes: xx, 332 pages ; illustrated : 24 cmSubject: TIME IN FILMS ; DREYER, CARL TH. ; STRAUB, JEAN-MARIE ; HUILLET, DANIELE ; MING-LIANG, TSAI ; WEERASETHAKUL, APICHATPONG ; KIAROSTAMI, ABBAS ; TARR, BELA ; BENNING, JAMES ; WARHOL, ANDY ; SNOW, MICHAEL ; CONRAD, TONY ; INNOCENCE (FR, Lucile Hadzihalilovic, 2004) ; MEEK'S CUTOFF (US, Kelly Reichardt, 2011) ; JAPON (MX/GG/NE/SP, Carlos Reygadas, 2002) Summary: In the context of a frantic world that celebrates instantaneity and speed, a number of cinemas steeped in contemplation, silence and duration have garnered significant critical attention in recent years, thus resonating with a larger sociocultural movement whose aim is to rescue extended temporal structures from the accelerated tempo of late-capitalism. Although not part of a structured film movement, directors such as Carlos Reygadas, Tsai Ming-liang, Béla Tarr, Pedro Costa and Kelly Reichardt have been largely subsumed under the term ‘slow cinema’. But what exactly is slow cinema? Is it a strictly recent phenomenon or an overarching cinematic tradition? And how exactly do slow cinemas interrelate on an aesthetic, technical and political level?
Deploying the concept of slowness as an umbrella category under which filmmakers and traditions from different historical and geographical backgrounds can fruitfully converge, this innovative collection of essays interrogates and expands the frameworks that have generally informed slow cinema debates. Repositioning the term in a broader theoretical space, the book combines an array of fine-grained studies that will provide valuable insight into the notion of slowness in the cinema, while mapping out past and contemporary slow films across the globe. -- publisher's web siteISBN: 9780748696048Contents: Table Of Contents -- Illustrations -- Foreword / Julian Stringer -- Introduction: From Slow Cinema to Slow Cinemas / Tiago De Luca & Nuno Barradas Jorge -- Part I: Historicising Slow Cinema -- 1: The Politics of Slowness and the Traps of Modernity / Lúcia Nagib -- 2: The Slow Pulse of the Era: Carl Th. Dreyer’s Film Style / C. Claire Thomson -- 3: The First Durational Cinema and the Real of Time / Michael Walsh -- 4: ‘The Attitude of Smoking and Observing’: Slow Film and Politics in the Cinema Of Jean-Marie Straub and Danièle Huillet / Martin Brady -- Part II: Contextualising Slow Cinema -- 5: Temporal Aesthetics of Drifting: Tsai Ming-Liang and a Cinema of Slowness / Song Hwee Lim -- 6: Stills and Stillness in Apichatpong Weerasethakul’s Cinema / Glyn Davis -- 7: Melancholia: The Long, Slow Cinema of Lav Diaz / William Brown -- 8: Exhausted Drift: Austerity, Dispossession and the Politics of Slow in Kelly Reichardt’s Meek’s Cutoff / Elena Gorfinkel -- 9: If These Walls Could Speak: From Slowness to Stillness in the Cinema of Jia Zhangke / Cecília Mello -- Part III: Slow Cinema And Labour -- 10: Wastrels of Time: Slow Cinema’s Labouring Body, The Political Spectator, and the Queer / Karl Schoonover -- 11: Living Daily, Working Slowly: Pedro Costa’s in Vanda’s Room / Nuno Barradas Jorge -- 12: Working/Slow: Cinematic Style as Labour in Wang Bing’s Tie Xi Qu: West Of The Tracks / Patrick Brian Smith -- 13: ‘Slow Sounds’: Duration, Audition and Labour in Liu Jiayin’s Oxhide and Oxhide II / Philippa Lovatt -- Part IV: Slow Cinema and the Nonhuman -- 14: It’s About Time: Slow Aesthetics in Experimental Ecocinema and Nature Cam Videos / Stephanie Lam -- 15: Natural Views: Animals, Contingency and Death in Carlos Reygadas’s Japón and Lisandro Alonso’s Los Muertos / Tiago de Luca -- 16: The Sleeping Spectator: Nonhuman Aesthetics in Abbas Kiarostami’s Five: Dedicated to Ozu / Justin Remes -- Part V: The Ethics and Politics of Slowness -- 17: Béla Tarr: The Poetics and the Politics of Fiction / Jacques Rancière -- 18: Ethics of the Landscape Shot: A.K.A Serial Killer and James Benning's Portraits of Criminals / Julian Ross -- 19: Slow Cinema and the Ethics of Duration / Asbjørn Grønstad -- Part VI: Beyond ‘Slow Cinema’ -- 20: Performing Evolution: Immersion / Unfolding and Lucile Hadžihalilovic’s Innocence / Matilda Mroz -- 21: The Slow Road to Europe: The Politics and Aesthetics of Stalled Mobility in Hermakono and Morgen / Michael Gott -- 22: Crystallising the Past: Slow Heritage Cinema / Rob Stone and Paul Cooke
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personality microfilm collection
TARR, BELA
Call No: PERSONALITY CLIPPINGS FILE; PERSONALITY MICROFILM COLLECTIONPhysDes: ClippingsSubject: TARR, BELA ID2: 64
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