Les livres en français sont sur www.livres-cinema.info
Resonant Bodies in Contemporary European Art Cinema
(livre en anglais)
(0 vote)Moyenne des votes :
| 0 | vote |  = On peut s'en passer |
| 0 | vote |  = Bon livre |
| 0 | vote |  = Excellent livre |
| 0 | vote |  = Unique / une référence |
Votre vote : -
Description de l'ouvrage :
Provides the first consideration of sound and the body in contemporary European art cinema
• Offers detailed analysis of the underexplored dimension of sound in the work of some of the best-known contemporary European art film directors
• Provides a stimulating contribution to theories of cinematic spectatorship showing how sound, noise and listening can rethink all aspects of the filmic experience
• Explores the conceptualisation of cinema as a resonant body
• Considers the sonic dimensions of cinema alongside prescient current debates in European film and criticism about the body, migration and exile, as well as anthropocentrism and anthropocentric modes of representation
What does it mean to exist, in our experience of cinema, according to listening? How do sound and ‘noise’ reconfigure relations between spectators and screens, and by extension, spectators and their worlds? How do films raise questions about the ethics and politics of listening to different bodies?
Resonant Bodies in Contemporary European Art Cinema answers these questions through an analysis of films by Catherine Breillat, Gaspar Noé, Tony Gatlif, Arnaud des Pallières, Lars von Trier and Peter Strickland. These post-millennial European directors have worked with sound in ways that resist the full-definition and perfect hearing offered by Dolby technology. Instead, they have privileged ‘noise’ - sounds that take us to the limit of what we can hear - in a move that foregrounds the body on screen and constructs spectators as listening bodies.
À propos de l'auteur :
Dr Emilija Talijan is a Postdoctoral Research Fellow at St John’s College, Oxford
Revue de Presse :
This film-philosophical foray into a range of fascinating sonic problems—the aesthetics of volume, Foley as a formal restraint, violence and vibration, the nonhuman dimension of rustling—compellingly models the book’s thesis that listening is a radical mode of attention, and that deep attention is a form of thinking itself.
– Eugenie Brinkema, author of Life-Destroying Diagrams
Taking us on a thrilling journey through sound, Emilija Talijan explores what it means to become ‘all ears’ in the experience of film. With eloquence and erudition, she articulates new critical perspectives on noise and listening, making this essential reading within both film and sound studies. An altogether exquisite book.
– Sarah Cooper, King's College London
Talijan’s descriptions of the [referenced films] events and her respective application of "the philosopher’s ear" are apt to engage the mind and bend it toward a new form of engagement with cinema [...] College students would do well to engage with Talijan’s work and will feel rewarded to be exposed to her thought-provoking examination of film’s understated depth of noise and the way it resonates with(out) us. By the end of Talijan’s work, you should be all ears.– Nate Baker, Film Matters
Talijan’s monograph contributes greatly to the still overlooked study of sound in cinema.– Cáit Murphy, Studies in European Cinema
Voir le site internet de l'éditeur Edinburgh University Press
> Sur un thème proche :
Troubled Everyday (2017)
The Aesthetics of Violence and the Everyday in European Art Cinema
Beyond Auteurism (2008)
New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s
Screening Modernism (2008)
European Art Cinema, 1950-1980
Retour
