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Just before World War II, French cinema reached a high point that has been dubbed the style of "poetic realism." Working with unforgettable actors like Jean Gabin and Arletty, directors such as Renoir, Carné, Gremillon, Duvivier, and Chenal routinely captured the prizes for best film at every festival and in every country, and their accomplishments led to general agreement that the French were the first to give maturity to the sound cinema. Here the distinguished film scholar Dudley Andrew examines the motivations and consequences of these remarkable films by looking at the cultural web in…mehr
Just before World War II, French cinema reached a high point that has been dubbed the style of "poetic realism." Working with unforgettable actors like Jean Gabin and Arletty, directors such as Renoir, Carné, Gremillon, Duvivier, and Chenal routinely captured the prizes for best film at every festival and in every country, and their accomplishments led to general agreement that the French were the first to give maturity to the sound cinema. Here the distinguished film scholar Dudley Andrew examines the motivations and consequences of these remarkable films by looking at the cultural web in which they were made.
Beyond giving a rich view of the life and worth of cinema in France, Andrew contributes substantially to our knowledge of how films are dealt with in history. Where earlier studies have treated the masterpieces of this era either in themselves or as part of the vision of their creators, and where certain recent scholars have reacted to this by dissolving the masterpieces back into the system of entertainment that made them possible, Andrew stresses the dialogue of culture and cinema. In his view, the films open questions that take us into the culture, while our understanding of the culture gives energy, direction, and consequence to our reading of the films. The book demonstrates the value of this hermeneutic approach for one set of texts and one period, but it should very much interest film theorists and film historians of all sorts.
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Autorenporträt
Dudley Andrew is Professor of Film Studies at the University of Iowa and the author of numerous works on film theory and the history of film, including Film in the Aura of Art (Princeton).
Inhaltsangabe
Preface Acknowledgments Ch. 1 Introduction: A Compass in the Mist of Poetic Realism 2 Ch. 2 Impressionism and Surrealism: The Origins of an Optique 24 Ch. 3 Adolescents in an Adolescent Industry 52 Ch. 4 French Cinema and the Sonic Boom 88 Ch. 5 Theatrical Models for French Films 114 Ch. 6 The Literary and Artistic Sources of Poetic Realism 148 Ch. 7 Demands of Realism 194 Ch. 8 Figures of the Poetic 232 Ch. 9 Jean Renoir: Adaptation, Institution, Auteur 274 Ch. 10 The Myth of Poetic Realism 318 Ch. 11 Epilogue: Le Temps des cerises and the Fruit of Regret 334 Appendix: Chronology of French Films Mentioned 351 Notes 359 Bibliography 391 Index of Film Titles 397 General Index 401
Preface Acknowledgments Ch. 1 Introduction: A Compass in the Mist of Poetic Realism 2 Ch. 2 Impressionism and Surrealism: The Origins of an Optique 24 Ch. 3 Adolescents in an Adolescent Industry 52 Ch. 4 French Cinema and the Sonic Boom 88 Ch. 5 Theatrical Models for French Films 114 Ch. 6 The Literary and Artistic Sources of Poetic Realism 148 Ch. 7 Demands of Realism 194 Ch. 8 Figures of the Poetic 232 Ch. 9 Jean Renoir: Adaptation, Institution, Auteur 274 Ch. 10 The Myth of Poetic Realism 318 Ch. 11 Epilogue: Le Temps des cerises and the Fruit of Regret 334 Appendix: Chronology of French Films Mentioned 351 Notes 359 Bibliography 391 Index of Film Titles 397 General Index 401
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