Download Impure Cinema: Intermedial and Intercultural Approaches to by Lúcia Nagib, Anne Jerslev PDF

By Lúcia Nagib, Anne Jerslev

André Bazin's recognized article, 'Pour un cinéma impur: défense de l'adaptation', was once first translated into English easily as 'In Defence of combined Cinema', most likely to prevent any uncomfortable sexual or racial resonances the note 'impure' may have. Impure Cinema is going again to Bazin's unique name accurately for its safeguard of impurity, utilising it at the one hand to cinema's interbreeding with different arts and at the different to its skill to exhibit and advertise cultural variety.

In modern revolutionary movie feedback, principles of purity, essence and beginning were outdated by means of favorable methods to 'hybridization', 'transnationalism', 'multiculturalism' and cross-fertilizations of all types.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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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.

1. Paris: Seghers. Marks, Laura U. (2000). Intercultural Cinema, Embodiment, and the Senses. Durham/London: Duke University Press. Naficy, Hamid (2001). An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton: Princeton University Press. Orr, John (2000). ‘Introduction’, in Orr and Olga Taxidou (eds). Post-War Cinema and Modernity: A Film Reader. Edinburgh: Edinburgh University Press. indd xxx 8/23/2013 5:15:22 PM INTRODUCTION xxxi Rajewsky, Irina O. (2010). ). Media Borders, Multimodality and Intermediality.

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.

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