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.’

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

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.

Cinema and classical texts : Apollo's new light

Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.

/pdf/telling-memories-al-nakba-in-palestinian-exilic-narratives-4lg0btdffa.pdf

Telling memories. Al-Nakba in Palestinian Exilic Narratives

accurate representation of his characters’ social idiolect explains Rohmer’s success in finding his public once a year. His characters, a wave of ever-young individuals, constitute an archive of types from one particular social stratum: bourgeois, liberal professionals, artists and intellectuals who are united in being talkative. As they conjecture they reveal a set of values and ideas. A minor but curious absence, that of a filmmaker, in Rohmer’s extensive roster of professionals suggests there may be something to my inquiry on the role of cinema, or more precisely of documentary images in Rohmer’s work. The unprecedented use of newsreel footage in Rohmer’s Triple Agent (2004) leads us to ask whether the inclusion of archival documents of the politically charged 1930s signals a departure for a director who markedly shuns selfreflexivity and who is thought to keep politics at bay. Although Rohmer’s adaptations have incorporated a wide range of artificial materials, including visual and audio references ranging from paintings and plays to cardboard trees, film footage has been conspicuously absent. In Triple Agent, momentous political news and change blast intermittently throughout in stark contrast to this chamber-like espionage drama, the interplay between the archive and theater bringing to the fore ontological issues that have always preoccupied Rohmer, namely, the status of the real and of documentary in cinema. Documents and artifacts have a time-capsule role in Rohmer’s second-degree realism. Cinema, as an instrument of witnessing, preservation, and archiving is inseparable from Rohmer’s attraction to history. He reconstitutes “what would have been produced if cinema existed,” 2 ostensibly compensating for the lack of photographic record of a given time as he does, for instance, when he filters the Paris of the French Revolution through eighteenth-century landscape painting in The Lady and the Duke.

https://muse.jhu.edu/journals/lesprit_createur/v051/51.3.margulies.pdf

Rohmer's Triple Agent: Theatricality, Archive and the 1930s

Early in his career, Eric Rohmer’s contributions to Arts, Cahiers du cinema, and other cinema journals displayed the enormous range of his interests and served as a testament to his perspicacity and wisdom in assessing the interest and value of the films he critiqued. He wrote with equal acumen about Japanese cinema, the American Western, Italian realism, and, for example, Ingmar Bergman’s early films and Jean Renoir’s later ones. It is interesting to measure his immediate reactions to these films with the place they have come to occupy in the cinematic pantheon and to realize how prophetic were the great majority of his judgments.

Practicing What He Preaches? Continuities and Discontinuities in Rohmer’s Early Film Criticism and His Conte d’automne

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.

Jean Narboni

Papers

The taste for beauty

Le goût de la beauté