Nicholas Ruddick
- Published in print:
- 2014
- Published Online:
- September 2015
- ISBN:
- 9781781381205
- eISBN:
- 9781781382141
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381205.003.0004
- Subject:
- Literature, European Literature
This chapter discusses Solaris and its three film adaptations by Boris Nirenburg (1968), Andrei Tarkovsky (1972), and Steven Soderbergh (2002). Flawed as they are in different ways, each casts light ...
More
This chapter discusses Solaris and its three film adaptations by Boris Nirenburg (1968), Andrei Tarkovsky (1972), and Steven Soderbergh (2002). Flawed as they are in different ways, each casts light on Stanislaw Lem’s original as well as on one another, illuminating the fact that a successful adaptation from a single-track medium like a novel to a multi-track medium like a film often requires major changes regardless of authorial intentions.Less
This chapter discusses Solaris and its three film adaptations by Boris Nirenburg (1968), Andrei Tarkovsky (1972), and Steven Soderbergh (2002). Flawed as they are in different ways, each casts light on Stanislaw Lem’s original as well as on one another, illuminating the fact that a successful adaptation from a single-track medium like a novel to a multi-track medium like a film often requires major changes regardless of authorial intentions.
András Bálint Kovács
- Published in print:
- 2008
- Published Online:
- February 2013
- ISBN:
- 9780226451633
- eISBN:
- 9780226451664
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226451664.003.0021
- Subject:
- Literature, Film, Media, and Cultural Studies
It is not easy to make a distinction in the 1970s between films belonging to political modernism's mythical trend and those already transcending the modernist paradigm. It is easier to see the ...
More
It is not easy to make a distinction in the 1970s between films belonging to political modernism's mythical trend and those already transcending the modernist paradigm. It is easier to see the difference between the two categories through films that are distant enough in time from one another, but political modernism in the mid-1970s was just the transitional period where many elements of the postmodern were already present. This is true especially in some films of new cinema in Germany, including Rainer Werner Fassbinder's Angst Eats the Soul and Werner Herzog's Heart of Glass. Two basic principles of modernism are homogeneity of style and a sense of “objective reality,” both of which are closely related with the central role attributed to the “auteur.” This chapter examines the disappearance of the auteur in European modern cinema, including Andrei Tarkovsky's Andrei Rublev and films made by Jean-Luc Godard and Federico Fellini. It also discusses Tarkovsky's use of serial composition in Andrei Rublev and the disappearance of nothingness in films such as Peter Greenaway's The Draughtsman's Contract (1982).Less
It is not easy to make a distinction in the 1970s between films belonging to political modernism's mythical trend and those already transcending the modernist paradigm. It is easier to see the difference between the two categories through films that are distant enough in time from one another, but political modernism in the mid-1970s was just the transitional period where many elements of the postmodern were already present. This is true especially in some films of new cinema in Germany, including Rainer Werner Fassbinder's Angst Eats the Soul and Werner Herzog's Heart of Glass. Two basic principles of modernism are homogeneity of style and a sense of “objective reality,” both of which are closely related with the central role attributed to the “auteur.” This chapter examines the disappearance of the auteur in European modern cinema, including Andrei Tarkovsky's Andrei Rublev and films made by Jean-Luc Godard and Federico Fellini. It also discusses Tarkovsky's use of serial composition in Andrei Rublev and the disappearance of nothingness in films such as Peter Greenaway's The Draughtsman's Contract (1982).
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0004
- Subject:
- Film, Television and Radio, Film
The director’s relationship to his actors, and how that collaboration works within the framework of self-projection. Attention is paid to personal relationships between actors and directors ...
More
The director’s relationship to his actors, and how that collaboration works within the framework of self-projection. Attention is paid to personal relationships between actors and directors (familial, sexual, hostile), with a special focus on the striking frequency with which art cinema authors employ their mothers as actors in their films. This section works toward a new theory of film acting.Less
The director’s relationship to his actors, and how that collaboration works within the framework of self-projection. Attention is paid to personal relationships between actors and directors (familial, sexual, hostile), with a special focus on the striking frequency with which art cinema authors employ their mothers as actors in their films. This section works toward a new theory of film acting.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.001.0001
- Subject:
- Film, Television and Radio, Film
This book is formed as a response to the question of whether narrative films can perform as autobiographies. This is a subject that has been treated only in a couple of essays as a theoretical field ...
More
This book is formed as a response to the question of whether narrative films can perform as autobiographies. This is a subject that has been treated only in a couple of essays as a theoretical field of its own. And the answer to the question is both no and yes. First, if we are to consider a non-documentary film as an autobiographical project of some kind, the idea of a cinematic author must be firmly in place for both the filmmaker and the spectator. So my study concentrates on the work of major authors in the art cinema tradition, directors who plant autobiographical traces in their films, engaging art cinema practices in order both to create a strong self-image (a “brand” of cinema) and also to meditate on the problematic nature of modern selfhood and self-representation. I am attempting to recuperate auteurism from its post-structural opponents, arguing that it provides a kind of self-deconstructing position for filmmakers: that is, they knowingly use the concept of authorship to forward their own work and visions while also revealing the collaborative nature of cinema. My study shows the way in which both actors and cinematic apparatus intrude in or take over the process of self-representation, complicating the ideas of authorship and selfhood. I propose to replace “autobiography” the term “self-projection,” which I offer as cinema’s answer to earlier strategies of self-representation, a strategy that makes full use of cinema’s ontology to lay bare a new ontology of selfhood.Less
This book is formed as a response to the question of whether narrative films can perform as autobiographies. This is a subject that has been treated only in a couple of essays as a theoretical field of its own. And the answer to the question is both no and yes. First, if we are to consider a non-documentary film as an autobiographical project of some kind, the idea of a cinematic author must be firmly in place for both the filmmaker and the spectator. So my study concentrates on the work of major authors in the art cinema tradition, directors who plant autobiographical traces in their films, engaging art cinema practices in order both to create a strong self-image (a “brand” of cinema) and also to meditate on the problematic nature of modern selfhood and self-representation. I am attempting to recuperate auteurism from its post-structural opponents, arguing that it provides a kind of self-deconstructing position for filmmakers: that is, they knowingly use the concept of authorship to forward their own work and visions while also revealing the collaborative nature of cinema. My study shows the way in which both actors and cinematic apparatus intrude in or take over the process of self-representation, complicating the ideas of authorship and selfhood. I propose to replace “autobiography” the term “self-projection,” which I offer as cinema’s answer to earlier strategies of self-representation, a strategy that makes full use of cinema’s ontology to lay bare a new ontology of selfhood.
András Bálint Kovács
- Published in print:
- 2008
- Published Online:
- February 2013
- ISBN:
- 9780226451633
- eISBN:
- 9780226451664
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226451664.003.0019
- Subject:
- Literature, Film, Media, and Cultural Studies
The year 1966 was an important year in the history of modern cinema because it represents simultaneously a summit and a turning point. It was a summit because many of the most important films of ...
More
The year 1966 was an important year in the history of modern cinema because it represents simultaneously a summit and a turning point. It was a summit because many of the most important films of modernism appeared in the period 1965–1966, and a turning point because many new trends or new periods started after this year. All the important filmmaking countries made their modernist turn by 1965, or at least attempts were made in this direction, such as in the case of West Germany. The second wave of modernist directors making their debuts before 1963 were already through their second films, while the first wave of modern directors were already regarded as “classical” masters. The filmmaker-auteur had achieved total autonomy over the film, and yet he remained alone. It was just this feeling of loneliness that provided the productive force to push on. The loneliness of the filmmaker-auteur appears as the central topic in three major films produced in 1966 by three great modern auteurs: Ingmar Bergman's Persona, Andrei Tarkovsky's Andrei Rublev, and Michelangelo Antonioni's Blow-Up.Less
The year 1966 was an important year in the history of modern cinema because it represents simultaneously a summit and a turning point. It was a summit because many of the most important films of modernism appeared in the period 1965–1966, and a turning point because many new trends or new periods started after this year. All the important filmmaking countries made their modernist turn by 1965, or at least attempts were made in this direction, such as in the case of West Germany. The second wave of modernist directors making their debuts before 1963 were already through their second films, while the first wave of modern directors were already regarded as “classical” masters. The filmmaker-auteur had achieved total autonomy over the film, and yet he remained alone. It was just this feeling of loneliness that provided the productive force to push on. The loneliness of the filmmaker-auteur appears as the central topic in three major films produced in 1966 by three great modern auteurs: Ingmar Bergman's Persona, Andrei Tarkovsky's Andrei Rublev, and Michelangelo Antonioni's Blow-Up.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0003
- Subject:
- Film, Television and Radio, Film
Examination of directorial self-representation in two related genres: documentaries on the making of films and narrative films about directing, in which the director plays a fictional film director. ...
More
Examination of directorial self-representation in two related genres: documentaries on the making of films and narrative films about directing, in which the director plays a fictional film director. Discussion of how these practices figure into the larger notion of self-projection, with the director performing self-consciously as author or artist.Less
Examination of directorial self-representation in two related genres: documentaries on the making of films and narrative films about directing, in which the director plays a fictional film director. Discussion of how these practices figure into the larger notion of self-projection, with the director performing self-consciously as author or artist.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0001
- Subject:
- Film, Television and Radio, Film
A look at the historical and theoretical underpinnings of art cinema, examining how viewers are conditioned to recognize an author’s presence in fictional cinematic narrative. Discussion of ...
More
A look at the historical and theoretical underpinnings of art cinema, examining how viewers are conditioned to recognize an author’s presence in fictional cinematic narrative. Discussion of autobiographical impulses in fictional films by the directors of this study, introduction of the term “self-projection.” Brief discussion of cinematic self-projection and gender.Less
A look at the historical and theoretical underpinnings of art cinema, examining how viewers are conditioned to recognize an author’s presence in fictional cinematic narrative. Discussion of autobiographical impulses in fictional films by the directors of this study, introduction of the term “self-projection.” Brief discussion of cinematic self-projection and gender.
Peter J. Schmelz
- Published in print:
- 2019
- Published Online:
- June 2019
- ISBN:
- 9780190653712
- eISBN:
- 9780190653750
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190653712.003.0006
- Subject:
- Music, History, Western
Using its final movement, Postludio, as an anchor, the book’s final chapter discusses the Soviet reception of Alfred Schnittke’s Concerto Grosso no. 1. It focuses on the comparisons the music evoked ...
More
Using its final movement, Postludio, as an anchor, the book’s final chapter discusses the Soviet reception of Alfred Schnittke’s Concerto Grosso no. 1. It focuses on the comparisons the music evoked with Andrei Tarkovsky’s 1979 film Stalker and the 1986 postapocalyptic Soviet film Letters from a Dead Man (Pisʹma mertvogo cheloveka, dir. Konstantin Lopushansky). The chapter also traces Schnittke’s life and works into the 1980s and 1990s, with emphasis on his later compositions that continued the trail marked by the Concerto Grosso no. 1, particularly the sequence of six concerti grossi he wrote until the end of his life. The chapter concludes by examining the reception of Schnittke’s Concerto Grosso no. 1 in the recent past, when it was allied with the Holocaust, zombies, and the macabre.Less
Using its final movement, Postludio, as an anchor, the book’s final chapter discusses the Soviet reception of Alfred Schnittke’s Concerto Grosso no. 1. It focuses on the comparisons the music evoked with Andrei Tarkovsky’s 1979 film Stalker and the 1986 postapocalyptic Soviet film Letters from a Dead Man (Pisʹma mertvogo cheloveka, dir. Konstantin Lopushansky). The chapter also traces Schnittke’s life and works into the 1980s and 1990s, with emphasis on his later compositions that continued the trail marked by the Concerto Grosso no. 1, particularly the sequence of six concerti grossi he wrote until the end of his life. The chapter concludes by examining the reception of Schnittke’s Concerto Grosso no. 1 in the recent past, when it was allied with the Holocaust, zombies, and the macabre.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0005
- Subject:
- Film, Television and Radio, Film
Here the appearance of various attributes of the cinematic apparatus (projector, screen, photographic film frames) are linked to various parts of the filmmaker’s body and sensory apparatus, making ...
More
Here the appearance of various attributes of the cinematic apparatus (projector, screen, photographic film frames) are linked to various parts of the filmmaker’s body and sensory apparatus, making the point, as early filmmakers do, that cinema creates a new kind of body (partly organic, partly technological) and thus a new way to conceive selfhood.Less
Here the appearance of various attributes of the cinematic apparatus (projector, screen, photographic film frames) are linked to various parts of the filmmaker’s body and sensory apparatus, making the point, as early filmmakers do, that cinema creates a new kind of body (partly organic, partly technological) and thus a new way to conceive selfhood.
Richard I. Suchenski
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780190274108
- eISBN:
- 9780190274139
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190274108.003.0006
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century Literature and Modernism
The filmmakers discussed in earlier chapters attempted to construct long-form works whose phenomenological intensity was tied to their status as integral temporal experiences that could open up new ...
More
The filmmakers discussed in earlier chapters attempted to construct long-form works whose phenomenological intensity was tied to their status as integral temporal experiences that could open up new affective possibilities for the spectator. The mode of viewing required by these works contrasts starkly with the mobile spectatorship engendered by contemporary multimedia projects that attempt to apply the principles of the Gesamtkunstwerk within a multiroom gallery setting. It also differs significantly from the type of intermittent viewing engendered by more recent long-form works, which, made entirely with inexpensive digital equipment, are no longer conceived as continuous units and are instead intended to be viewed in pieces, with the audience members encouraged to come and go as they please. What is most important for the filmmakers studied in this book is a conception of art as mystery, as spiritual elevation, as something that, like a cathedral, could “protect time.”Less
The filmmakers discussed in earlier chapters attempted to construct long-form works whose phenomenological intensity was tied to their status as integral temporal experiences that could open up new affective possibilities for the spectator. The mode of viewing required by these works contrasts starkly with the mobile spectatorship engendered by contemporary multimedia projects that attempt to apply the principles of the Gesamtkunstwerk within a multiroom gallery setting. It also differs significantly from the type of intermittent viewing engendered by more recent long-form works, which, made entirely with inexpensive digital equipment, are no longer conceived as continuous units and are instead intended to be viewed in pieces, with the audience members encouraged to come and go as they please. What is most important for the filmmakers studied in this book is a conception of art as mystery, as spiritual elevation, as something that, like a cathedral, could “protect time.”
Peter J. Schmelz
- Published in print:
- 2019
- Published Online:
- June 2019
- ISBN:
- 9780190653712
- eISBN:
- 9780190653750
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190653712.001.0001
- Subject:
- Music, History, Western
This book provides for the first time an accessible, comprehensive study of Alfred Schnittke’s Concerto Grosso no. 1 (1977). One of Schnittke’s best-known and most compelling works, the Concerto ...
More
This book provides for the first time an accessible, comprehensive study of Alfred Schnittke’s Concerto Grosso no. 1 (1977). One of Schnittke’s best-known and most compelling works, the Concerto Grosso no. 1 sounds the surface of late Soviet life, resonating as well with contemporary compositional currents around the world. This innovative monograph builds on existing publications about the Concerto Grosso no. 1 in English, Russian, and German, augmenting and complicating them. It adds new information from underused primary sources, including Schnittke’s unpublished correspondence and his many published interviews. It also engages further with his sketches for the Concerto Grosso no. 1 and contemporary Soviet musical criticism. The result is a more objective, historical appraisal of this rich, multifaceted composition.
The Concerto Grosso no. 1 provided a utopian model of the contemporary soundscape. It was a decisive point in Schnittke’s development of the approach he called polystylism, which aimed to contain in a single composition the wide range of contemporary musical styles, including jazz, pop, rock, and serial music. Thanks to it and his other similar compositions, Schnittke became one of the most-performed and most-recorded living composers at the end of the twentieth century. The novel structure of this book engages the Concerto Grosso no. 1 conceptually, historically, musically, and phenomenologically: the six movements of the composition frame the six chapters. The present volume thus provides a holistic accounting of Schnittke’s Concerto Grosso no. 1, its influences, and its impact on subsequent music making in the Soviet Union and worldwide.Less
This book provides for the first time an accessible, comprehensive study of Alfred Schnittke’s Concerto Grosso no. 1 (1977). One of Schnittke’s best-known and most compelling works, the Concerto Grosso no. 1 sounds the surface of late Soviet life, resonating as well with contemporary compositional currents around the world. This innovative monograph builds on existing publications about the Concerto Grosso no. 1 in English, Russian, and German, augmenting and complicating them. It adds new information from underused primary sources, including Schnittke’s unpublished correspondence and his many published interviews. It also engages further with his sketches for the Concerto Grosso no. 1 and contemporary Soviet musical criticism. The result is a more objective, historical appraisal of this rich, multifaceted composition.
The Concerto Grosso no. 1 provided a utopian model of the contemporary soundscape. It was a decisive point in Schnittke’s development of the approach he called polystylism, which aimed to contain in a single composition the wide range of contemporary musical styles, including jazz, pop, rock, and serial music. Thanks to it and his other similar compositions, Schnittke became one of the most-performed and most-recorded living composers at the end of the twentieth century. The novel structure of this book engages the Concerto Grosso no. 1 conceptually, historically, musically, and phenomenologically: the six movements of the composition frame the six chapters. The present volume thus provides a holistic accounting of Schnittke’s Concerto Grosso no. 1, its influences, and its impact on subsequent music making in the Soviet Union and worldwide.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0006
- Subject:
- Film, Television and Radio, Film
A brief conclusion that goes back over the major points of the study’s discussions and thinks about the implications of digital filmmaking. In the end, the imagined relationship between the spectator ...
More
A brief conclusion that goes back over the major points of the study’s discussions and thinks about the implications of digital filmmaking. In the end, the imagined relationship between the spectator and the director is brought to the fore as the most significant moment in self-projection.Less
A brief conclusion that goes back over the major points of the study’s discussions and thinks about the implications of digital filmmaking. In the end, the imagined relationship between the spectator and the director is brought to the fore as the most significant moment in self-projection.
Linda Haverty Rugg
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816691234
- eISBN:
- 9781452949505
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691234.003.0002
- Subject:
- Film, Television and Radio, Film
Analysis of the appearance of cinematic authors within their own fictional narratives and how this relates to self-projection. Theories of embodied spectatorship related to a discussion of embodied ...
More
Analysis of the appearance of cinematic authors within their own fictional narratives and how this relates to self-projection. Theories of embodied spectatorship related to a discussion of embodied authorship. Particular focus on Woody Allen and self-caricature, François Truffaut’s roles, Ingmar Bergman’s voice, Pedro Almodóvar’s interest in gendered embodiment.Less
Analysis of the appearance of cinematic authors within their own fictional narratives and how this relates to self-projection. Theories of embodied spectatorship related to a discussion of embodied authorship. Particular focus on Woody Allen and self-caricature, François Truffaut’s roles, Ingmar Bergman’s voice, Pedro Almodóvar’s interest in gendered embodiment.
