By Lúcia Nagib, Anne Jerslev
In modern revolutionary movie feedback, principles of purity, essence and beginning were outdated by means of favorable methods to 'hybridization', 'transnationalism', 'multiculturalism' and cross-fertilizations of all types. Impure Cinema builds in this notion in novel and interesting methods, because it attracts on cinema's blend of intermedial and intercultural facets as a way to bridge the divide among reports of aesthetics and tradition. movie is printed the following because the position par excellence of media encounters, mutual wondering and self-dissolution into post-medium experiments. most significantly, the booklet argues, film's intermedial family can in simple terms be adequately understood if their cultural determinants are taken into consideration. students and scholars of movie, cinéfiles and scholars of the humanities will become aware of right here unforeseen connections throughout many inventive practices.
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Extra resources for Impure Cinema: Intermedial and Intercultural Approaches to Film
Indd 12 8/22/2013 8:13:22 PM FROM IMPURITY TO HISTORICITY 13 Bazin’s provocation against the purists, for he effectively locates the avantgarde of post-war French cinema in literary adaptation. But note also that in Bazin’s conception, this is a transitory fact; the history of cinema will certainly be subject to future shifts and different registers of innovation. 13 Overall, then, impurity entails a conception of the inevitable historicity of cinema and its specificities, on the levels of subject, object and mediating technologies, as well as their interrelationships.
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Peinture et cinéma: décadrages. Paris: Cahiers du cinéma. Brecht, Bertolt (2000). ‘The Verfremdungseffekt in the Other Arts’, in Bertolt Brecht on Film and Radio, edited and translated by Marc Silberman. London: Methuen, p. 10. Canudo, Ricciotto (1988). ). French Film Theory and Criticism, vol. 1: 1907–1939. Princeton: Princeton University Press, pp. 58–65. Dalle Vacche, Angela (1996). Cinema and Painting: How Art Is Used in Film. Austin: University of Texas Press. Eisenstein, Sergei (1969). The Film Sense, translated and edited by Jay Leyda.