Cinematic urbanism : a history of the modern from reel to real / Nezar Al Sayyad
New York : London: Routledge, 2006.
Call No: 756.1-25 SAY Author: Sayyad, Nezar Al Source: UK/US Place: New York : London Publisher: Routledge PubDate: 2006 PhysDes: xiii, 256 p. : ill. ; 25 cm Subject: MODERNISM AND THE CINEMA; ARCHITECTURE AND THE CINEMA; ARCHITECTURE IN FILMS; ART AND THE CINEMA; CITIES IN FILMS; HISTORY OF CINEMA; POSTMODERNISM AND THE CINEMA; THEORY; ANNIE HALL (US, Woody Allen, 1977); BERLIN: SYMPHONY OF A GREAT CITY (G, Walter Ruttman, 1927); BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); BLADE RUNNER (US, Ridley Scott, 1982); BLADE RUNNER: THE DIRECTOR'S CUT (US, Ridley Scott, 1982); BLADE RUNNER: THE FINAL CUT (US, Ridley Scott, 1982); BRAZIL (UK, Terry Gilliam, 1985); CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); NUOVO CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); DO THE RIGHT THING (US, Spike Lee, 1989); END OF VIOLENCE, THE (US/FR, Wim Wenders, 1997); FALLING DOWN (US, Joel Schumacher, 1993); IT'S A WONDERFUL LIFE (US, Frank Capra, 1946); MANHATTAN (US, Wody Allan, 1979); METROPOLIS (GG, Fritz Lang, 1927); METROPOLIS (G, Fritz Lang, 1926); MODERN TIMES (US, Charles Chaplin, 1936); MON ONCLE (FR/IT, Jacques Tati, 1958); MY BEAUTIFUL LAUNDRETTE (UK, Stephen Frears, 1985); PLAYTIME (FR, Jacques Tati, 1967); PLEASANTVILLE (US, Gary Ross, 1998); REAR WINDOW (US, Alfred Hitchcock, 1954); SLIVER (US, Phillip Noyce, 1993); TAXI DRIVER (US, Martin Scorsese, 1976); TRUMAN SHOW, THE (US, Peter Weir, 1998) Summary: "Cinematic Urbanism presents an urban history of modernity and postmodernity through the lens of cinema while arguing that urbanism cannot be understood outside the space of the celluloid city." "Nezar AlSayyad traces the dissolution of the boundary between real and reel through time and space via a series of films that represent different modernities. He contrasts the 'rational' European city of early twentieth-century industrial modernity as portrayed by Berlin: Symphony of a Big City (1927) with its American counterpart in Modern Times (1936). He illustrates the different forms of small town life and an urbanizing modernity across the Atlantic as exemplified by Cinema Paradiso (1989) and It's a Wonderful Life (1946). Using Metropolis (1927) and Brazil (1985), he shows how utopian ideals harbour within them their dystopian realities, while Jacques Tati's nostalgia for tradition in Mon Oncle (1958) and Playtime (1967) reveals a cynical modernity and a rebelling against its idealism." "AlSayyad argues that the postmodern city of Blade Runner (1982) and Falling Down (1993) illustrates some of the urban outcomes of a globalizing economy.
Turning to spectacle and surveillance, he examines Rear Window (1954), Sliver (1993), and The End of Violence (1997) as a voyeuristic modernity. To understand the city experienced by individuals of different social backgrounds, he takes Manhattan (1979), Annie Hall (1977), and Taxi Driver (1976), while Do the Right Thing (1989) and My Beautiful Laundrette (1985) are used to explore a modernity of race and ethnicity. Finally, he uses Pleasantville (1998) and The Truman Show (1998) to unpack the hyperreality of exurban postmodernity and to demonstrate how today the real and the reel have become mutually constitutive." "By considering how the real city and the reel city reference each other in an act of mutual representation and definition, this book advances the discussion on cinematic space and theories of the city."--BOOK BLURB. Notes: Formerly CIP; Includes bibliographical references and index ISBN: 0415700493 Contents: -- about the author -- preface -- Introduction : the cinematic city and the quest for the modern -- 1. Industrial modernity : the flaneur and the tramp in the early twentieth century city -- 2. Urbanizing modernity : the traditional cinematic small town -- 3. Orwellian modernity : utopia/dystopia and the city of the future past -- 4. Cynical modernity, or the modernity of cynicism -- 5. From postmodern condition to cinematic city -- 6. Voyeuristic modernity : the lens, the screen and the city -- 7. The modernity of the sophisticate and the misfit : the city through different eyes -- 8. An alternative modernity : race, ethnicity and the urban experience -- 9. Exurban postmodernity : utopia, simulacra and hyper-reality -- epilogue -- illustration credits and sources -- selected bibliography -- index -- More info
Great Italian films / Jerry Vermilye
Secaucus, N.J.: Carol Pub. Group, 1994.
Call No: 71(45) VER Author: Vermilye, Jerry Place: Secaucus, N.J. Publisher: Carol Pub. Group PubDate: 1994 PhysDes: 254 p. : ill. ; 28 cm Subject: ITALY; RISO AMARO (IT, Guiseppe de Santis, 1949); BELLISSIMA (IT, Luchino Visconti, 1951); AIDA (IT, Clemente Fracassi, 1953); SENSO (IT, Luchino Visconti, 1954); STRADA, LA (IT, Federico Fellini, 1954); GRIDO, IL (US/IT, Michelangelo Antonioni, 1957); NOTTI DI CABIRIA, LE (IT, Federico Fellini, 1957); KAPO (IT/FR/YU, Gillo Pontecorvo, 1960); DOLCE VITA, LA (FR/IT, Federico Fellini, 1960); AVVENTURA, L' (IT/FR, Michelangelo Antonioni, 1960); ROCCO E I SUOI FRATELLI (IT/FR, Luchino Visconti, 1960); CIOCIARIA, LA (IT/FR, Vittorio De Sica, 1960); ECLISSE, L' (FR/IT, Michelangelo Antonioni, 1962); [OTTO E MEZZO]8 1/2 (IT, Federico Fellini, 1963); BATTAGLIA DI ALGERI (IT/AE, Gillo Pontecorvo, 1966); ROMEO AND JULIET (UK/IT, Franco Zeffirelli, 1968); CADUTA DEGLI DEI, LA (IT/GW, Luchino Visconti, 1969); C`ERA UNA VOLTA IL WEST (IT/FR, Sergio Leone, 1968); FELLINI-SATYRICON (IT/FR, Federico Fellini, 1969); CONFORMISTA, IL (IT/FR, Bernardo Bertolucci, 1970); MORTE A VENEZIA (IT/FR, Luchino Visconti, 1971); AMARCORD (IT/FR, Frederico Fellini, 1973); PANE E CIOCCOLATA (IT, Franco Brusati, 1974); PASQUALINO SETTEBELLEZZE (IT, Lina Wertmuller, 1976); INNOCENTE, L` (IT/FR, Luchino Visconti, 1976); PADRE PADRONE (IT, Paolo Taviani & Vittorio Taviani, 1977); ALBERO DEGLI ZOCCOLI, L' (IT, Ermanno Olmi, 1978); GINGER E FRED (IT/FR/GW, Federico Fellini, 1986); GINGER AND FRED (IT/FR/GW, Federico Fellini, 1986); OTELLO (IT, Franco Zeffirelli, 1986); LAST EMPEROR, THE (UK/CC, Bernardo Bertolucci, 1987); NUOVO CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); ROMA CITTA APERTA (IT, Roberto Rossellini, 1945); FABIOLA (IT, Alessandro Blasetti, 1947); ROMA ORE 11 (IT, Giuseppe De Santis, 1951); AMICI PER LA PELLE (IT, Franco Rossi, 1955); FATICHE DI ERCOLE, LE (IT, Pietro Francisci, 1957); SOLITI IGNOTI, I (IT, Mario Monicelli, 1958); BUONO, IL BRUTTO, IL CATTIVO, IL (IT, Sergio Leone, 1966); QUEIMADA! (IT/FR, Gillo Pontecorvo, 1970); GIARDINO DEI FINZI-CONTINI, IL (IT, Vittorio De Sica, 1970); TOSCA [TV] (IT, 1992); STANNO TUTTI BENE (IT/FR, Guiseppe Tornatore, 1990) Notes: "A Citadel Press book." ISBN: 0806514809 (pbk.) : $17.95 LON: 93045771; 10646564 More info
The new European cinema : redrawing the map / Rosalind Galt
New York: Columbia University Press, 2006.
Call No: 71(4) "198-199" GAL Author: Galt, Rosalind Source: US Place: New York Publisher: Columbia University Press PubDate: 2006 PhysDes: viii, 296 p. : ill., maps ; 24 cm Series: Film and culture Subject: EUROPEAN COUNTRIES; WORLD WAR II FILMS; COLD WAR AND THE CINEMA; GENRES; LANDSCAPES IN FILMS; REALISM IN FILMS; ART CINEMA; UNITED KINGDOM; NEOREALISM; REED, CAROL; WILDER, BILLY; BENJAMIN, WALTER; TORNATORE, GIUSEPPE; SALVATORES, GABRIELE; KUSTURICA, EMIR; TRIER, LARS VON; MEDITERRANEO (IT, Gabriele Salvatores, 1991); AFFAIRE DE FEMMES, UNE (FR, Claude Chabrol, 1988); NUOVO CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); POSTINO, IL (IT/FR/BE, Michael Radford, 1994); MEDITERRANEO (IT, Gabriele Salvatores, 1991); UNDERGROUND (FR/GG/HU, Emir Kusturica, 1995); EUROPA (DK/FR/GG, Lars Von Trier, 1991); FOREIGN AFFAIR, A (US, Billy Wilder, 1948); THIRD MAN, THE (UK, Carol Reed, 1949) Summary: The new European cinema offers a compelling response to the changing cultural shapes of Europe, charting political, aesthetic, and historical developments through innovative readings of some of the most popular and influential European films of the 1990s [taken from back cover] Notes: Formerly CIP
Includes bibliographical references (p. -277) and index
Filmography: p. -284 ISBN: 0231137176 Contents: 1. Mapping European cinema in the 1990s -- 2. The dialectic of landscape in Italian popular melodrama -- 3. A conspiracy of cartographers? -- 4. Yugoslavia's impossible spaces -- 5. Back-projecting Germany -- 6. Toward a theory of European space More info
title clippings file
NUOVO CINEMA PARADISO : (IT/FR, Giuseppe Tornatore, 1988)
Religion and film : cinema and the re-creation of the world / S. Brent Plate
Chichester, U.K.: Columbia University Press, 2017.
Call No: 45:2 PLA Author: Plate, S. Brent Edition: second Place: New York; Chichester, U.K. Publisher: Columbia University Press PubDate: 2017 PhysDes: xviii,207 p. : illus. ; 23cm Subject: RELIGION AND THE CINEMA; PURPLE ROSE OF CAIRO, THE (US, Woody Allen, 1985); TIDELAND (CN/UK, Terry Gilliam, 2005); BIG FISH (US, Tim Burton, 2003); MATRIX, THE (US, Larry Wachowski & Andy Wachowski, 1999); PASSION OF THE CHRIST, THE (US, Mel Gibson, 2004); BLUE VELVET (US, David Lynch, 1986); CHOCOLAT (US, Lasse Hallstrom, 2000); ANTONIA'S LINE (NE/BE/UK, Marleen Gorris, 1995)
ANTONIA; ANTONIA (NE/BE/UK, Marleen Gorris, 1995); CINEMA PARADISO (IT/FR, Giuseppe Tornatore, 1988); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BARAKA (US, Ron Fricke, 1992); MONSTERS, INC. (U S, Peter Docter & David Silverman, 2001); KIKI'S DELIVERY SERVICE (JA, Hayao Miyazaki, 1989); METROPOLIS (G, Fritz Lang, 1926); ACT OF SEEING WITH ONE'S OWN EYES, THE (US, Stan Brakhage, 1971); BEN HUR (US, William Wyler, 1959); KING OF KINGS (US, Nicholas Ray, 1961); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); STRAIGHT STORY, THE (US/FR/UK, David Lynch, 1999) Summary: Religion and cinema share a capacity for world making, ritualizing, mythologizing, and creating sacred time and space. Through cinematography, mise-en-scène, editing, and other production activities, film takes the world “out there” and refashions it. Religion achieves similar ends by setting apart particular objects and periods of time, telling stories, and gathering people together for communal actions and concentrated focus. The result of both cinema and religious practice is a re-created world: a world of fantasy, a world of ideology, a world we long to live in, or a world we wish to avoid at all costs.
Religion and Film introduces readers to both religious studies and film studies by focusing on the formal similarities between cinema and religious practices and on the ways they each re-create the world. Explorations of film show how the cinematic experience relies on similar aesthetic devices on which religious rituals have long relied: sight, sound, the taste of food, the body, and communal experience. Meanwhile, a deeper understanding of the aesthetic nature of religious rituals can alter our understanding of film production. Utilizing terminology and theoretical insights from the study of religion as well as the study of film, Religion and Film shows that by paying attention to the ways films are constructed, we can shed new light on the ways religious myths and rituals are constructed and vice versa.
This thoroughly revised and expanded new edition is designed to appeal to the needs of courses in religion as well as film departments. In addition to two new chapters, this edition has been restructured into three distinct sections that offer students and instructors theories and methods for thinking about cinema in ways that more fully connect film studies with religious studies. -- publisher's web site ISBN: 978023117650 Donation: Senses of Cinema Contents: List of Illustrations
Preface to the Second Edition
Preface to the First Edition
Introduction: Worldmaking On-Screen and at the Altar
Part I. Before the Show: Pulling the Curtain on the Wizard
1. Audio-Visual Mythologizing
2. Ritualizing Film in Space and Time
3. Sacred and Cinematic Spaces: Cities and Pilgrimages
Part II. During the Show: Attractions and Distractions
4. Religious Cinematics: Body, Screen, and Death
5. The Face, the Close-Up, and Ethics
Part III. After the Show: Re-Created Realities
6. The Footprints of Film: Cinematic After-Images in Sacred Time and Space
Index ID2: 283 More info