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Cinema by design : Art nouveau, modernism, & film history / Fischer, Lucy New York: Columbia University Press, 2017.
Author: Fischer, Lucy Place: New YorkPublisher: Columbia University PressPubDate: 2017PhysDes: xvi, 265 pages, 16 unnumbered pages of plates ; 24 cm.Subject: MODERNISM AND THE CINEMA ; MOVEMENTS AND STYLES IN FILM HISTORY ; FILM HISTORY ; RACIAL ISSUES AND THE CINEMA ; ARCHITECTURE AND THE CINEMA ; ART AND THE CINEMA Summary: Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical "trick films" of the Spanish director Segundo de Chomon; the elite dress and decor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-sc ne of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risque works of Oscar Wilde and Aubrey Beardsley.Notes: Includes bibliographical references and index.ISBN: 9780231175036Contents: Introduction
Art Nouveau and the age of attractions
Art nouveau and American film of the 1920s: prestige, class, fantasy, and the exotic
Architecture and the city: Barcelona, Gaudi´, and the cinematic imaginary
Art nouveau, chambers of horror, and "the Jew in the text"
Art nouveau, patrimony, and the art world
Epilogue: the 1960s and the Art nouveau revival.
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Imitation of life : Douglas Sirk, director / Lucy Fischer, editor New Brunswick: Rutgers University Press, 1991.
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Shot/countershot : film tradition and women's cinema / Lucy Fischer Basingstoke: Macmillan Education, 1989.
Call No: 451-02 FISAuthor: Fischer, Lucy Place: BasingstokePublisher: Macmillan EducationPubDate: 1989PhysDes: xii, 348 p. : ill. ; 22 cmSubject: FEMINISM AND THE CINEMA ; WOMEN, FILMS MADE BY ; ROMANTIC FILMS ; MUSICALS ; HOMOSEXUALITY IN FILMS ; MYTH AND THE CINEMA ; DOUBLES IN FILMS ; TWINS IN FILMS ; ROSE, KATHY ; GORRIS, MARLEEN ; FLICKORNA (SW, Mai Zetterling, 1968) ; TAKE OFF (US, Gunvor Nelson, 1973) ; MITTEN INS HERZ (GW, Doris Dorrie, 1983) ; RECITAL (?, Stephanie Beroes, 1978) ; DANCE, GIRL, DANCE (US, Dorothy Arzner, 1940) ; COBRA WOMAN (US, Robert Siodmak, 1943) ; ANNEES 80, LES (FR/BE/SZ, Chantal Akerman, 1983) ; STOLEN LIFE, A (UK, Paul Czinner, 1939) ; DARK MIRROR, THE (US, Robert Siodmak, 1946) ; BAD SISTER, THE (UK, Laura Mulvey & Peter Wollen, 1983) ; LADY FROM SHANGHAI, THE (US, Orson Welles, 1948) ; RIDDLES OF THE SPHINX (UK, Laura Mulvey & Peter Wollen, 1977) ; DAMES (US, Ray Enright, 1934) ; STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982) ; PERSONA (SW, Ingmar Bergman, 1966) ; LETTER FROM AN UNKNOWN WOMAN (US, Max Ophuls, 1948) ; SCHWESTERN, ODER DIE BALANCE DES GLUCKS (GW, Margarethe von Trotta, 1979) ; RICH AND FAMOUS (US, George Cukor, 1981) ; GIRLFRIENDS (US, Claudia Weill, 1978) ; SOTTO...SOTTO...STRAPAZZATO DA ANOMALA PASSIONE (IT, Lina Wertmuller, 1984) ; LIANNA (US, John Sayles, 1983) ; VIOLETTE NOZIERE (FR/CN, Claude Chabrol, 1978) ; MAN WHO ENVIED WOMEN, THE (US, Yvonne Rainer, 1985) Notes: Cinema films. Women directors (BNB/PRECIS); Cinema films. - Feminist viewpoints (BNB/PRECIS); Includes bibliographical references and indexISBN: 0333480600 (cased) : ¦30.00; 0333480619 (pbk.) : ¦8.95LON: bnb33348060; 6147621
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Sunrise : a song of two humans / Lucy Fischer London: BFI Publishing, 1998.
Call No: 79SUN FISAuthor: Fischer, Lucy Place: LondonPublisher: BFI PublishingPubDate: 1998PhysDes: 79 p. : ill. ; 20 cmSeries: BFI film classicsSubject: SUNRISE (US, Friedrich Wilhelm Murnau, 1927) Summary: For Nestor Almendros, Sunrise is 'a dialectical movie'. Similarly, for Tony Rayns, its 'meaning springs largely from [its] oppositions'. For Dorothy Jones, it 'communicate[s] by establishing significant contrasts'. While these critical views highlight the film's antitheses (a trope that Berman associates with modernity), they stress separation at the expense of continuity (or 'disunity' at the expense of 'unity'). Rather than embrace fixed divisions, Sunrise is a text marked by fluid boundaries - junctions that trace the subtle connection between entities rather than their clear demarcation. It is this complex mode of 'border crossing' (this world of 'Both/And' - not 'Either/Or' [Berman]) that makes the film so poignant, resonant, fascinating and modernNotes: Includes bibliographical references (p. 77-79)ISBN: 0851706681 (pbk.) : $10.95LON: 14106263
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