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The Animist Imagination in East Asian Cinema
Whispering winds, speeding trains, wandering balloons, and swirling snowflakes—these are the living entities that humans find themselves enmeshed with in their ecological co-flourishing in contemporary East Asian cinema. Pao-chen Tang theorizes and analyzes this animist imagination—a new mode of filmmaking that delves into both the definition of the cinematic medium and how to live with the nonhuman. Moving images are animate beings and the animism of cinema further compels an eye-opening vision to examine East Asian history and ecological anxieties of our times. The shamanic protagonists of the animist imagination transform the worldly and medial figurations onscreen into thought experiments on human-nonhuman relationality, modelling for the viewers anti-anthropocentric forms of existence and action. The book distills this form of agency through a systematic analysis of narrative structures, stylistic devices, and cultural implications in a stunning demonstration of a world viewed and enacted otherwise.
The Cultural Trauma of Decolonization
This volume is first consistent effort to systematically analyze the features and consequences of colonial repatriation in comparative terms, examining the trajectories of returnees in six former colonial countries (Belgium, France, Italy, Japan, the Netherlands, and Portugal). Each contributor examines these cases through a shared cultural sociology frame, unifying the historical and sociological analyses carried out in the collection. More particularly, the book strengthens and improves one of the most important and popular current streams of cultural sociology, that of collective trauma. Using a comparative perspective to study the trajectories of similarly traumatized groups in different countries allows for not only a thick description of the return processes, but also a thick explanation of the mechanisms and factors shaping them. Learning from these various cases of colonial returnees, the authors have been able to develop a new theoretical framework that may help cultural sociologists to explain why seemingly similar claims of collective trauma and victimhood garner respect and recognition in certain contexts, but fail in others.
Italian Locations
Fascism and the Second World War left Italy indelibly changed, and cinema was arguably the art that most rigorously confronted the devastated nation. In this examination of four Italian filmmakers, Noa Steimatsky brilliantly maps their forceful negotiation of Italy’s identity and posits that the cinematic forms they employ constitute an imaginary reinhabiting of Italy-one that is inextricably linked with the political, physical, and symbolic predicament of reconstruction. A dynamic intersection of pictorial and photographic, architectural and literary discourses inform Steimatsky’s revisionist interrogation of exemplary works from the 1940s to the mid–1960s. From the earliest documenta...
A Companion to Literature and Film
A Companion to Literature in Film provides state-of-the-art research on world literature, film, and the complex theoretical relationship between them. 25 essays by international experts cover the most important topics in the study of literature and film adaptations. Covers a wide variety of topics, including cultural, thematic, theoretical, and genre issues Discusses film adaptations from the birth of cinema to the present day Explores a diverse range of titles and genres, including film noir, biblical epics, and Italian and Chinese cinema
The Shape of Motion
In The Shape of Motion: Cinema and the Aesthetics of Movement, author Jordan Schonig provides a new way of theorizing cinematic motion by examining cinema's "motion forms" structures, patterns, or shapes of movement unique to the moving image. From the wild and unpredictable motion of flickering leaves and swirling dust that captivated early spectators, to the pulsing abstractions that emerge from rapid lateral tracking shots, to the bleeding pixel-formations caused by the glitches of digital video compression, each motion form opens up the aesthetics of movement to film theoretical inquiry. By pairing close analyses of onscreen movement in narrative and experimental films with concepts from Maurice Merleau-Ponty, Henri Bergson, and Immanuel Kant, Schonig rethinks longstanding assumptions within film studies, such as indexical accounts of photographic images and analogies between the camera and the human eye. Arguing against the intuition that cinema reproduces our natural perception of motion, The Shape of Motion shows how cinema's motion forms do not merely transpose the movements of the world in front of the camera, they transform them.
The Face on Film
The human face was said to be rediscovered with the advent of motion pictures, in which it is often viewed as expressive locus, as figure, and even as essence of the cinema. But how has the modern, technological, mass-circulating art revealed the face in ways that are also distinct from any other medium? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration--these are among the cultural precedents informing our experience in the movie theatre. Yet the moving image also offers radical new confrontations with ...
Film, Art, New Media: Museum Without Walls?
In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric. Well aware that the twentieth century stands out as the only period in history with its own photographic film record for posterity, Angela Dalle Vacche has convened international scholars at The Sterling and Francine Clark Art Institute, and asked them to rethink the history and theory of the cinema as a new model for the museum of the future. By exploring the art historical tropes of face and landscape, and key areas of film studies such as early cinema, Soviet film theory, documentary, the avant-garde and the newly-born genre of the ...
The Moving Image
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Deterritorialisations ...
In recent years, landscape has become increasingly recognised as a topic of central importance to a wide variety of disciplines. To a large degree this recognition has been based upon an expanding appreciation of the political aspects of landscape, its ideological character and effects. Landscapes and Politics is an innovative cross-disciplinary volume of new writing which brings together, in a strategic and productive encounter, a broad variety of critical work currently being done in this field. With 28 papers and five photo essays. Landscapes and Politics presents material by scholars and practitioners from anthropology, archaeology, architecture, art history, cultural studies, English and American literature, film studies, fine art, geography, history, landscape architecture, philosophy, political science, and religious studies. As an important marker of current methodologies, research and practice across these different disciplinary areas Landscapes and Politics is an invaluable resource. It will be of interest to all those concerned with current discourses and debates on landscape and its representation.
