Eric Rohmer

Bio: Eric Rohmer is an academic researcher. The author has contributed to research in topics: Painting & Movie theater. The author has an hindex of 5, co-authored 18 publications receiving 97 citations.

Hitchcock, the first forty-four films

Abstract: Sir Alfred Hitchcock (1899-1980) - his name, his profile and his lugubrious voice - became a trademark for the psychological thrillers and suspense movies he pioneered to become the master of the macabre This study analyzes, in chronological order, the 44 films he made between 1922 and 1956, including "Blackmail" (1929), "The Thirty-Nine Steps" (1935), "The Lady Vanishes" (1938), "Dial M for Murder" (1954) and 40 other Hitchcock classics

The taste for beauty

Abstract: Foreword to French Edition 1. The Critical Years - Interview with Eric Rohmer Jean Narboni Part I. The Classical Age of Cinema Cinema: 2. The art of space 3. For a talking cinema 4. The romance is gone 5. Reflections on color 6. The classical age of cinema 7. Such vanity is painting 8. Isou or Things As They Are? Of three films and of a certain school Of taste and colors The taste for Beauty Letter to a critic - Concerning my moral tales 9. Film and the three levels of discourse? Part II. For an unpure cinema Andre Bazin's 'Summa': 10. Lesson of a failure - Moby Dick John Houston 11. Explanation of a vet - South Pacific Joshua Logan Faith and mountains - Les Etoiles de Midi Marchel Ichac 12. The photogenics of sport Alfred Hitchcock: 13. Vertigo IV. Jean Renoir 14. The American Renoir Elena and Her Man (Venus and the Apes) 15. Renoir's youth 16. The Little Theater of Jean Renoir 17. Filmgraphy of Rohmer films Index.

Perceval le Gallois

Abstract: Le jeune Perceval reve de devenir chevalier. Il quitte le château de sa mere, et se rend a la cour du roi Arthur. Il apprend le maniement des armes, venge la reine d'une offense et decide de retourner chez lui. Sur son chemin surgit un bien etrange château ou il est invite a demeurer. Rohmer adapte Chretien de Troyes et retrouve le jeune Luchini six ans apres "Le Genou de Claire".

The Mass Production of the Senses: Classical Cinema as Vernacular Modernism *

Abstract: In this chapter, I wish to reassess the juncture of cinema and modernism, and I will do so by moving from the example of early Soviet cinema to a seemingly less likely case, that of the classical Hollywood film. My inquiry is inspired by two complementary sets of questions: one pertaining to what cinema studies can contribute to our understanding of modernism and modernity; the other aimed at whether and how the perspective of modernist aesthetics may help us to elucidate and reframe the history and theory of cinema. The juncture of cinema and modernism has been explored in a number of ways, ranging from research on early cinema’s interrelations with the industrial-technological modernity of the late nineteenth century, through an emphasis on the international art cinemas of both interwar and new wave periods, to speculations on the cinema’s implication in the distinction between the modern and the postmodern. My focus here is more squarely on mid-twentieth-century modernity, roughly from the 1920s through the 1950s—the modernity of mass production, mass consumption, and mass annihilation—and the contemporaneity of a particular kind of cinema, mainstream Hollywood, with what has variously been labeled ‘high’ or ‘hegemonic modernism.’

Eingeschlossene Räume : das Motiv der Box im Film

Abstract: Von Georges Melies uber Alfred Hitchcock bis hin zu David Lynch - das Motiv der Box taucht in der Filmgeschichte immer wieder auf. Dabei konfrontiert es die BetrachterInnen mit einem medialen Paradox: Die Box ist sichtbar und umschliest zugleich einen Raum, der verborgen bleibt. Als Motiv birgt jede Box eine eigene Geschichte, die sich im Laufe des Films entfaltet. Damit ermoglicht sie eine kritische Perspektive auf das, was scheinbar selbsterklarend vor unseren Augen liegt. Ausgehend von konkreten Filmanalysen untersucht Nepomuk Zettl raumliche Einschlusse im Film auf ihre narrativen, asthetischen und epistemologischen Dimensionen und legt damit die erste Studie zu diesem omniprasenten, aber bislang ubersehenen Motiv vor.

Boundaries and Structure in Love Relations

Abstract: M Y WORK WITH PATIENTS PRESENTING BORDERLINE personality organization, particularly those with narcissistic personality structure, suggested that a patient's capacity to fall in love and to establish lasting love relationships had important diagnostic and prognostic implications (1 974a, 1974b). In exploring these findings, I concluded that the capacity to fall and to remain in love reflected the successful completion of two developmental stages: In the first stage, the early capacity for sensuous stimulation of erotogenic zones is integrated with the later capacity for establishing a total object relation. In the second stage, full genital enjoyment incorporates early body-surface eroticism in the context of a total object relation, including a complementary sexual identification. The first stage requires, in essence, that primitive dissociation or lack of integration of the self and of object representations be overcome in the context of establishing ego identity and the capacity for object relations in depth. The second stage requires the successful overcoming of oedipal conflicts and the related unconscious prohibitions against a full sexual relation.

Ovid on Screen: A Montage of Attractions

Abstract: This book presents the first systematic appreciation of Ovid's extensive influence on, and affinity with, modern visual culture. Some topics are directly related to Ovid; others exhibit features, characters, or themes analogous to those in his works. The book demonstrates the wide-ranging ramifications that Ovidian archetypes, especially from the Metamorphoses, have provoked in a modern artistic medium that did not exist in Ovid's time. It ranges from the earliest days of film history (Georges Melies's discovery of screen metamorphosis) and theory (Gabriele D'Annunzio's fascination with the metamorphosis of Daphne; Sergei Eisenstein's concept of film sense) through silent films, classic sound films, commercial cinema, art-house and independent films to modernism and the C.G.I. era. Films by well-known directors, including Ingmar Bergman, Walerian Borowczyk, Jean Cocteau, Alfred Hitchcock, Stanley Kubrick, Fritz Lang, Max Ophuls, Alain Resnais, and various others, are analyzed in detail.

Cinema and classical texts : Apollo's new light

Abstract: List of illustrations Acknowledgments Introduction: the god of light and the cinema eye 1. A certain tendency in classical philology 2. Divine epiphanies: Apollo and the Muses 3. The complexities of Oedipus 4. Patriotism and war: 'Sweet and fitting it is to die for one's country' 5. Helen of Troy: marriage and adultery according to Hollywood 6. Women in love Epilogues: 'Bright shines the light' Bibliography Index.