The Personal Camera

Subjective Cinema and the Essay Film (livre en anglais)

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de Laura Rascaroli

Type: Etudes
Sujet: Théorie
Mots Clés: subjectivité, film-essai, film d'art et essai
Année d'édition: 2009
Editeur: Wallflower Press
Collection: Nonfictions
Langue: anglais

Taille du livre

Format

Broché • 224 pages
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 formsthe diary, the travelogue, the notebook and the self-portraitis 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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