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Pop Cinema
Sous la direction de Glyn Davis et Tom Day
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Description de l'ouvrage:
Examines how the tropes of Pop Art are expressed in film
• First book to explore Pop thematics and aesthetics in relation to the moving image
• Adopts a global perspective on Pop cinema, examining work by artists from (amongst other countries) Japan, Colombia, Brazil, and Poland
• Moves beyond the Pop canon to interrogate critically neglected works and lesser-known artists
Pop Cinema is the first book devoted to moving image works which engage with the central thematics and aesthetics of Pop Art. The essays in the collection focus in on the core concerns of Pop as a widespread and ideologically complex art movement, and examine the ways in which artists in various global locations have used forms of film practice outside of the mainstream to explore those preoccupations.
The book’s contributors also identify the ways in which dominant Pop aesthetics – flat planes of bold colour, mechanical forms of repetition, appropriation of materials from popular culture sources – were adopted, reworked, or abandoned by such filmmakers.
At root, the book asks three basic questions: what shapes might a Pop form of cinema take, what materials would it engage with, and what might it have to say?
À propos des auteurs :
Glyn Davis is Professor of Film Studies at the University of St Andrews. He is the author of Queer as Folk (2007) and the co-editor of Queer TV (2008).Tom Day is Executive Director of the New American Cinema Group/The Film-Makers’ Cooperative in New York City.
Revue de Presse:
Lively, informed, and incisive, the essays in this collection make crucial contributions on the history, theory, and global range of what has been called "pop cinema," a label that has been used all too often with little grounding or rigor. Glyn Davis and Tom Day’s edited volume offers the first book-length, in-depth treatment of the topic. As it decisively expands our understanding of pop art, of 1960s and 1970s experimental cinema, and of the symbiotic rapport between both, this volume is poised to become a key reference in all future discussions of these topics.– Juan A. Suárez, author of Experimental Film and Queer Materiality
This is a fascinating and valuable collection, filled with brilliant essays on individual films and filmmakers who, in their various and surprising combinations of mainstream and underground, expand our sense of what "Pop cinema" was and is. It is a vital contribution to ongoing work in film studies, in queer theory and on Pop itself.– Professor Jonathan Flatley, Department of English, University of Chicago
Voir le site internet de l'éditeur Edinburgh University Press
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Expanded Cinema and Postwar Art
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