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The Personal Camera

Subjective Cinema and the Essay Film

de Laura Rascaroli

Type
Studies
Sujet
Theory
Mots Clés
subjectivity, essay films, art films
Année d'édition
2009
Editeur
Wallflower Press
Collection
Nonfictions
Langue
anglais
Taille d'un livre de poche 11x18cmTaille relative de ce livreTaille d'un grand livre (29x22cm)
Taille du livre
Format
Paperback • 224 pages
6 x 9 inches (15 x 23 cm)
ISBN
978-1-906660-12-3
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Description de l'ouvrage:
The Personal Camera is an exploration of an elusive but more and more compelling field: essayistic cinema. The essay film, together with its cognate forms—the diary, the travelogue, the notebook and the self-portrait—is cinema in the first person. It is a cinema of thought, of investigation and self-reflection, in which the filmmaker, instead of withdrawing behind the camera, comes out into the open, to say 'I', to take responsibility, and to address and engage with the spectator within a shared space of embodied subjectivity. Authorial, experimental and radical, essayistic cinema belongs within the lineage of avant-garde and political filmmaking and responds above all to the need we feel today for more contingent, autobiographical, private forms of expression. This study provides a unique insight into an intricate but fascinating field, by engaging with the work of directors such as Jean-Luc Godard, Chris Marker, Harun Farocki, Pier Paolo Pasolini, Alexander Sokurov, Michelangelo Antonioni, Derek Jarman, Federico Fellini, Wim Wenders, Jonas Mekas and Agnés Varda.

À propos de l'auteur :
Laura Rascaroli is senior lecturer in film studies at University College Cork, Ireland. She is the author, in collaboration with Ewa Mazierska, of From Moscow to Madrid: Postmodern Cities, European Cinema (2003), The Cinema of Nanni Moretti: Dreams and Diaries (2004), and Crossing New Europe: Postmodern Travel and the European Road Movie (2006).

Revue de Presse:
Comprehensive, insightful, richly detailed, and passionately argued... Essential. Choice

Rascaroli's text is one of impressive intellectual rigor and of utter importance to the study of an ever-changing form – subjective cinema – and of filmmaking at large. Daniele Rugo, Scope

Voir le site internet de l'éditeur Wallflower Press

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