Rob Latham
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781781381830
- eISBN:
- 9781781382363
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381830.003.0014
- Subject:
- Film, Television and Radio, Film
The New Wave movement involved a rising science fiction (sf) avant-garde that sought to remake a genre traditionally inclined towards technocratic scientism and conservative narrative style into a ...
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The New Wave movement involved a rising science fiction (sf) avant-garde that sought to remake a genre traditionally inclined towards technocratic scientism and conservative narrative style into a more experimental, counterculturally savvy mode of writing whose perspectives on technological modernity had a subversive critical edge. This chapter examines the imbrication of the New Wave with contemporaneous sf cinema, highlighted by Stanley Kubrick's 2001: A Space Odyssey (1968), but with a special focus on two low-budget films of the 1970s that have developed a cult reputation and had clear links, textually or tonally, with the movement: Dark Star (1974) and A Boy and His Dog (1975). These two works share not only ideological terrain but also a certain mode of cult reception with New Wave fiction, coming to constitute — along with Kubrick's sf films of the period, 2001 and A Clockwork Orange (1971) — a kind of New Wave cinematic canon.Less
The New Wave movement involved a rising science fiction (sf) avant-garde that sought to remake a genre traditionally inclined towards technocratic scientism and conservative narrative style into a more experimental, counterculturally savvy mode of writing whose perspectives on technological modernity had a subversive critical edge. This chapter examines the imbrication of the New Wave with contemporaneous sf cinema, highlighted by Stanley Kubrick's 2001: A Space Odyssey (1968), but with a special focus on two low-budget films of the 1970s that have developed a cult reputation and had clear links, textually or tonally, with the movement: Dark Star (1974) and A Boy and His Dog (1975). These two works share not only ideological terrain but also a certain mode of cult reception with New Wave fiction, coming to constitute — along with Kubrick's sf films of the period, 2001 and A Clockwork Orange (1971) — a kind of New Wave cinematic canon.
B. F. Taylor
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719069086
- eISBN:
- 9781781701218
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719069086.003.0009
- Subject:
- Film, Television and Radio, Film
The British New Wave is the name conventionally given to a series of films released between 1959 and 1963. Conventional approaches to these films place emphasis upon viewing them as a series, ...
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The British New Wave is the name conventionally given to a series of films released between 1959 and 1963. Conventional approaches to these films place emphasis upon viewing them as a series, stressing their similarities, and using these similarities to include the films in broader debates about class, gender and/or ideology. This chapter defines a new approach in relation to British New Wave and demonstrates that one can fruitfully consider the detail of these films individually and discusses British New Wave based upon the idea of difference without continually re-emphasising their similarities. The innovation of this approach is also complemented by the position its subjects occupy within the history of British cinema. As their collective title suggests, the arrival of these films was marked by a similar sense of innovation. The innovation of a film such as Room at the Top was its engagement with a contemporary British social life, and the emphasis in these new films was on the relationship between a character's leisure time and their working life.Less
The British New Wave is the name conventionally given to a series of films released between 1959 and 1963. Conventional approaches to these films place emphasis upon viewing them as a series, stressing their similarities, and using these similarities to include the films in broader debates about class, gender and/or ideology. This chapter defines a new approach in relation to British New Wave and demonstrates that one can fruitfully consider the detail of these films individually and discusses British New Wave based upon the idea of difference without continually re-emphasising their similarities. The innovation of this approach is also complemented by the position its subjects occupy within the history of British cinema. As their collective title suggests, the arrival of these films was marked by a similar sense of innovation. The innovation of a film such as Room at the Top was its engagement with a contemporary British social life, and the emphasis in these new films was on the relationship between a character's leisure time and their working life.
Caroline Eades
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617031229
- eISBN:
- 9781617031236
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031229.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter explores the relationship between the Italian neorealist and French New Wave movements, and suggests that their connection is “complex,” concocted out of similarities rather than direct ...
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This chapter explores the relationship between the Italian neorealist and French New Wave movements, and suggests that their connection is “complex,” concocted out of similarities rather than direct linkages. It asks the following question: Can we assume that the influence of neorealism on New Wave directors lies precisely in the realization that it was neither new nor realistic, at least for a younger and restless generation?Less
This chapter explores the relationship between the Italian neorealist and French New Wave movements, and suggests that their connection is “complex,” concocted out of similarities rather than direct linkages. It asks the following question: Can we assume that the influence of neorealism on New Wave directors lies precisely in the realization that it was neither new nor realistic, at least for a younger and restless generation?
Soojeong Ahn
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9789888083589
- eISBN:
- 9789882209268
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888083589.003.0004
- Subject:
- Film, Television and Radio, Film
While promoting contemporary new work from Korea, PIFF also strategically sought to bring new international attention to classic older films of the 1960s to the 1980s. Three Korean ...
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While promoting contemporary new work from Korea, PIFF also strategically sought to bring new international attention to classic older films of the 1960s to the 1980s. Three Korean retrospectives—Korea's New Wave, Kim Ki-young, and Shin Sang-Ok—as well as other Asian-focused retrospectives helped establish PIFF as an influential agent of memory. Highlighting older Asian films also reinforced other political and social interests of the festival, and helped shape its emerging relationship with the global film industry.Less
While promoting contemporary new work from Korea, PIFF also strategically sought to bring new international attention to classic older films of the 1960s to the 1980s. Three Korean retrospectives—Korea's New Wave, Kim Ki-young, and Shin Sang-Ok—as well as other Asian-focused retrospectives helped establish PIFF as an influential agent of memory. Highlighting older Asian films also reinforced other political and social interests of the festival, and helped shape its emerging relationship with the global film industry.
B. F. Taylor
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719069086
- eISBN:
- 9781781701218
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719069086.001.0001
- Subject:
- Film, Television and Radio, Film
This book offers an opportunity to reconsider the films of the British New Wave in the light of forty years of heated debate. By eschewing the usual tendency to view films such as A Kind of Loving ...
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This book offers an opportunity to reconsider the films of the British New Wave in the light of forty years of heated debate. By eschewing the usual tendency to view films such as A Kind of Loving and The Entertainer collectively and include them in broader debates about class, gender and ideology, it presents a new look at this famous cycle of British films. Refuting the long-standing view that films such as Billy Liar and Look Back in Anger are flawed and therefore indicative of an under-achieving national cinema, the book also challenges the widely held belief in the continued importance of the relationship between the British New Wave and questions of realism. Drawing upon existing sources and returning to unchallenged assumptions about British cinema, this book allows the reader to return to the films and consider them anew. In order to achieve this, the book also offers a practical demonstration of the activity of film interpretation. This is essential, because the usual tendency is to consider such a process unnecessary when it comes to writing about British films. The book demonstrates that close readings of films need not be reserved for films from other cinemas.Less
This book offers an opportunity to reconsider the films of the British New Wave in the light of forty years of heated debate. By eschewing the usual tendency to view films such as A Kind of Loving and The Entertainer collectively and include them in broader debates about class, gender and ideology, it presents a new look at this famous cycle of British films. Refuting the long-standing view that films such as Billy Liar and Look Back in Anger are flawed and therefore indicative of an under-achieving national cinema, the book also challenges the widely held belief in the continued importance of the relationship between the British New Wave and questions of realism. Drawing upon existing sources and returning to unchallenged assumptions about British cinema, this book allows the reader to return to the films and consider them anew. In order to achieve this, the book also offers a practical demonstration of the activity of film interpretation. This is essential, because the usual tendency is to consider such a process unnecessary when it comes to writing about British films. The book demonstrates that close readings of films need not be reserved for films from other cinemas.
Marion Schmid
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474410632
- eISBN:
- 9781474464741
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474410632.003.0001
- Subject:
- Film, Television and Radio, Film
The introduction contextualises the French New Wave's ambivalent relationship to the older arts with regard to cinema's wider struggle for recognition in the course of the twentieth century. ...
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The introduction contextualises the French New Wave's ambivalent relationship to the older arts with regard to cinema's wider struggle for recognition in the course of the twentieth century. Surveying the debates around medium specificity, cinematic 'purity' and 'impurity' from the classical avant-garde to the Nouvelle Vague, it addresses the French New Wave's complex discursive construction in relation to the more established arts. Reframing traditional studies of the French New Wave, it argues for an intermedial approach to illuminate this seminal movement of film history. The corpus, rationale and approach of the book are also introduced and clarified.Less
The introduction contextualises the French New Wave's ambivalent relationship to the older arts with regard to cinema's wider struggle for recognition in the course of the twentieth century. Surveying the debates around medium specificity, cinematic 'purity' and 'impurity' from the classical avant-garde to the Nouvelle Vague, it addresses the French New Wave's complex discursive construction in relation to the more established arts. Reframing traditional studies of the French New Wave, it argues for an intermedial approach to illuminate this seminal movement of film history. The corpus, rationale and approach of the book are also introduced and clarified.
Marion Schmid
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474410632
- eISBN:
- 9781474464741
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474410632.001.0001
- Subject:
- Film, Television and Radio, Film
Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's ...
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Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, AgnèsVarda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.Less
Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, AgnèsVarda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.
B. F. Taylor
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719069086
- eISBN:
- 9781781701218
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719069086.003.0016
- Subject:
- Film, Television and Radio, Film
This chapter examines Jack Clayton's 1959 Room at the Top and concentrates on the film's opening sequences in order to achieve two related objectives. It explores in detail the ideas of the arrivals ...
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This chapter examines Jack Clayton's 1959 Room at the Top and concentrates on the film's opening sequences in order to achieve two related objectives. It explores in detail the ideas of the arrivals and new beginnings that these sequences bring to attention. It also demonstrates how these two ideas also allow us to overcome the way in which existing considerations of this film have tended to place unnecessary limits upon the interest and importance of Room at the Top's miseen-scène. Room at the Top offers far more than just a linear examination of one man's desire to get ahead. The film offers the opportunity for a more circular discussion of the many (potentially) conflicting concerns that new spaces and their accompanying experiences must inevitably generate. The film articulates its principal thematic concerns through a series of introductions. In Room at the Top, matters of (personal) mobility co-exist with the problem of social paralysis.Less
This chapter examines Jack Clayton's 1959 Room at the Top and concentrates on the film's opening sequences in order to achieve two related objectives. It explores in detail the ideas of the arrivals and new beginnings that these sequences bring to attention. It also demonstrates how these two ideas also allow us to overcome the way in which existing considerations of this film have tended to place unnecessary limits upon the interest and importance of Room at the Top's miseen-scène. Room at the Top offers far more than just a linear examination of one man's desire to get ahead. The film offers the opportunity for a more circular discussion of the many (potentially) conflicting concerns that new spaces and their accompanying experiences must inevitably generate. The film articulates its principal thematic concerns through a series of introductions. In Room at the Top, matters of (personal) mobility co-exist with the problem of social paralysis.
B. F. Taylor
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719069086
- eISBN:
- 9781781701218
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719069086.003.0031
- Subject:
- Film, Television and Radio, Film
This chapter reconsiders the style and meaning of British New Wave cinema. The examination of Saturday Night and Sunday Morning, A Taste of Honey or Billy Liar, is based upon the pressing desire to ...
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This chapter reconsiders the style and meaning of British New Wave cinema. The examination of Saturday Night and Sunday Morning, A Taste of Honey or Billy Liar, is based upon the pressing desire to re-evaluate the mise-en-scène of these films. This has been achieved by applying the kind of British critical methodology, which first suggested that such an approach was unnecessary. The kind of style-based film criticism originally advocated by Movie is a useful tool for reconsidering the nature and the status of the series of films. Reconsidering the nature of each of these films is made possible by concentrating upon the details of each one and allowing a discussion of these details to develop a deeper understanding of each individual film. The implications of this are twofold. Firstly, it enables a clear demonstration that it is not the methodology that is at fault; it is just the way in which the methodology has (not) been applied. The strand of British film criticism which has developed is an impressive tool by which discussions of the British New Wave can be moved forward. The impressive nature of the methodology is further enhanced by the implications that such an approach has for other aspects of British cinema. Secondly, it is important to understand that examining the style and meaning of any individual film allows that film to have a position within any kind of broader framework.Less
This chapter reconsiders the style and meaning of British New Wave cinema. The examination of Saturday Night and Sunday Morning, A Taste of Honey or Billy Liar, is based upon the pressing desire to re-evaluate the mise-en-scène of these films. This has been achieved by applying the kind of British critical methodology, which first suggested that such an approach was unnecessary. The kind of style-based film criticism originally advocated by Movie is a useful tool for reconsidering the nature and the status of the series of films. Reconsidering the nature of each of these films is made possible by concentrating upon the details of each one and allowing a discussion of these details to develop a deeper understanding of each individual film. The implications of this are twofold. Firstly, it enables a clear demonstration that it is not the methodology that is at fault; it is just the way in which the methodology has (not) been applied. The strand of British film criticism which has developed is an impressive tool by which discussions of the British New Wave can be moved forward. The impressive nature of the methodology is further enhanced by the implications that such an approach has for other aspects of British cinema. Secondly, it is important to understand that examining the style and meaning of any individual film allows that film to have a position within any kind of broader framework.
Gwyneth Jones
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042638
- eISBN:
- 9780252051487
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042638.003.0002
- Subject:
- Literature, 20th-century and Contemporary Literature
“Experiment and Experience” covers Joanna’s first years as a reviewer for the Magazine of Fantasy and Science Fiction, under the editorship of Judith Merril, and her first post as a university ...
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“Experiment and Experience” covers Joanna’s first years as a reviewer for the Magazine of Fantasy and Science Fiction, under the editorship of Judith Merril, and her first post as a university teacher at Cornell, and discusses modernism in sf, Joanna’s role as interpreter of the British “New Worlds” writers and the American New Wave and her
response to the protest movements and cultural revolutions of the 1960s (in the psychedelic “Modernist novel by a Star Trek fan”) And Chaos Died. Essays and stories (1968-1971) examined include the important “The Wearing Out of Genre Materials,” and autobiographical short fictions that foreshadow The Female Man and illuminate And Chaos Died.Less
“Experiment and Experience” covers Joanna’s first years as a reviewer for the Magazine of Fantasy and Science Fiction, under the editorship of Judith Merril, and her first post as a university teacher at Cornell, and discusses modernism in sf, Joanna’s role as interpreter of the British “New Worlds” writers and the American New Wave and her
response to the protest movements and cultural revolutions of the 1960s (in the psychedelic “Modernist novel by a Star Trek fan”) And Chaos Died. Essays and stories (1968-1971) examined include the important “The Wearing Out of Genre Materials,” and autobiographical short fictions that foreshadow The Female Man and illuminate And Chaos Died.
Dal Yong Jin
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252039973
- eISBN:
- 9780252098147
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039973.003.0001
- Subject:
- Society and Culture, Media Studies
This chapter first discuses the rise of Korean popular culture and its dissemination in Asian countries, known as the Korean Wave, or Hallyu. It characterizes the Korean Wave into roughly two major ...
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This chapter first discuses the rise of Korean popular culture and its dissemination in Asian countries, known as the Korean Wave, or Hallyu. It characterizes the Korean Wave into roughly two major historical developments: the Hallyu 1.0 era (approximately between 1997 and 2007) and the Hallyu 2.0, New Korean Wave, era (mainly from 2008 to the present). Although these two periods share some common phenomena, they are dissimilar in their major characteristics, such as the major cultural forms exported, technological developments, fan bases, and government cultural policies. It then sets out the book's purpose, which is to explore the recent evolution of Hallyu in a socioeconomic context alongside its textual meanings. The chapter then discusses the hybridity in Korean popular culture followed by an overview of the subsequent chapters.Less
This chapter first discuses the rise of Korean popular culture and its dissemination in Asian countries, known as the Korean Wave, or Hallyu. It characterizes the Korean Wave into roughly two major historical developments: the Hallyu 1.0 era (approximately between 1997 and 2007) and the Hallyu 2.0, New Korean Wave, era (mainly from 2008 to the present). Although these two periods share some common phenomena, they are dissimilar in their major characteristics, such as the major cultural forms exported, technological developments, fan bases, and government cultural policies. It then sets out the book's purpose, which is to explore the recent evolution of Hallyu in a socioeconomic context alongside its textual meanings. The chapter then discusses the hybridity in Korean popular culture followed by an overview of the subsequent chapters.
B. F. Taylor
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719069086
- eISBN:
- 9781781701218
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719069086.003.0011
- Subject:
- Film, Television and Radio, Film
This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the ...
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This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the purposes of the piece’. Look Back in Anger is an interesting film for many reasons. It represents the beginning of Richardson's efforts to establish a new and separate position within the British film industry. The film also helped to generate a new series of critical debates about the development of a British cinematic style, or the lack of it. The film also became allied with other films trying to do similar things, such as Clayton's Room at the Top. It can best be characterised by the extremity of shot scale deployed to show the claustrophobic relationship between Alison and Jimmy, and the construction of The Entertainer demonstrates a willingness to move out from this extreme proximity. Richardson's four films from this period need to be seen as indicative of a talent being developed rather than the achievements of a director at the height of his creative ability.Less
This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the purposes of the piece’. Look Back in Anger is an interesting film for many reasons. It represents the beginning of Richardson's efforts to establish a new and separate position within the British film industry. The film also helped to generate a new series of critical debates about the development of a British cinematic style, or the lack of it. The film also became allied with other films trying to do similar things, such as Clayton's Room at the Top. It can best be characterised by the extremity of shot scale deployed to show the claustrophobic relationship between Alison and Jimmy, and the construction of The Entertainer demonstrates a willingness to move out from this extreme proximity. Richardson's four films from this period need to be seen as indicative of a talent being developed rather than the achievements of a director at the height of his creative ability.
Gina Marchetti
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028566
- eISBN:
- 9789882206991
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028566.003.0013
- Subject:
- Film, Television and Radio, Film
The redefinition of “Hong Kong” occasioned by the Handover coincided with the re-imagination of the city in other ways as well. Produced within this charged political context, Stanley Kwan's Hold You ...
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The redefinition of “Hong Kong” occasioned by the Handover coincided with the re-imagination of the city in other ways as well. Produced within this charged political context, Stanley Kwan's Hold You Tight mediates various local and global currents in queer cinema within Hong Kong screenscapes. Kwan redraws the line, yet again, between popular schlock and New Wave aesthetic experimentation. The film's New Wave auteur credentials are certainly hard to challenge. Hold You Tight won the Alfred Bauer Prize at the Berlin Film Festival as well as the Teddy award for best gay/lesbian film at the festival. Set in Hong Kong and Taipei, Kwan solidifies an important regional link between Taiwan New Cinema and Hong Kong's “Second” Wave. The film offers the distinct vision of a cinematic auteur in addition to the common aesthetic and discursive currency needed to function in the international art film circuit as well as the regional market for Chinese-language cinema.Less
The redefinition of “Hong Kong” occasioned by the Handover coincided with the re-imagination of the city in other ways as well. Produced within this charged political context, Stanley Kwan's Hold You Tight mediates various local and global currents in queer cinema within Hong Kong screenscapes. Kwan redraws the line, yet again, between popular schlock and New Wave aesthetic experimentation. The film's New Wave auteur credentials are certainly hard to challenge. Hold You Tight won the Alfred Bauer Prize at the Berlin Film Festival as well as the Teddy award for best gay/lesbian film at the festival. Set in Hong Kong and Taipei, Kwan solidifies an important regional link between Taiwan New Cinema and Hong Kong's “Second” Wave. The film offers the distinct vision of a cinematic auteur in addition to the common aesthetic and discursive currency needed to function in the international art film circuit as well as the regional market for Chinese-language cinema.
Marion Schmid
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474410632
- eISBN:
- 9781474464741
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474410632.003.0007
- Subject:
- Film, Television and Radio, Film
The conclusion sums up the findings of the book, taking stock of the role of the older arts in the New Wave'scultural legitimation. Drawing on Alain Badiou, it illuminates the New Wave's productive ...
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The conclusion sums up the findings of the book, taking stock of the role of the older arts in the New Wave'scultural legitimation. Drawing on Alain Badiou, it illuminates the New Wave's productive paradox: while positing film as art, the movement also asserted cinema's status as a popular medium better suited to reach a wide and diverse audience than the traditional arts. The conclusionfurthermore revisitsintermediality's function as both a mirroring device and a means to work through social and political issues.Less
The conclusion sums up the findings of the book, taking stock of the role of the older arts in the New Wave'scultural legitimation. Drawing on Alain Badiou, it illuminates the New Wave's productive paradox: while positing film as art, the movement also asserted cinema's status as a popular medium better suited to reach a wide and diverse audience than the traditional arts. The conclusionfurthermore revisitsintermediality's function as both a mirroring device and a means to work through social and political issues.
Gina Marchetti
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9789622098015
- eISBN:
- 9789882206601
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098015.003.0001
- Subject:
- Film, Television and Radio, Film
The Infernal Affairs trilogy provides the illusion of an epic sweep (from 1991–2003) that covers the issues of government legitimacy, global capitalist expansion, individual alienation, and the ...
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The Infernal Affairs trilogy provides the illusion of an epic sweep (from 1991–2003) that covers the issues of government legitimacy, global capitalist expansion, individual alienation, and the implosion of a system that blurs “legitimate” political authority with an underground “illegitimate” economic reality. As part of the New Hong Kong Cinema Series, this short book attempts to highlight the significance of Infernal Affairs within the context of contemporary Hong Kong cinema as well as within global film culture by examining all three films in the trilogy. This analysis of Infernal Affairs concludes with a look at the trilogy's self-reflexive allusions to the mass media and the current state of Hong Kong film culture within a global context. In particular, the Infernal Affairs and the New Wave are discussed.Less
The Infernal Affairs trilogy provides the illusion of an epic sweep (from 1991–2003) that covers the issues of government legitimacy, global capitalist expansion, individual alienation, and the implosion of a system that blurs “legitimate” political authority with an underground “illegitimate” economic reality. As part of the New Hong Kong Cinema Series, this short book attempts to highlight the significance of Infernal Affairs within the context of contemporary Hong Kong cinema as well as within global film culture by examining all three films in the trilogy. This analysis of Infernal Affairs concludes with a look at the trilogy's self-reflexive allusions to the mass media and the current state of Hong Kong film culture within a global context. In particular, the Infernal Affairs and the New Wave are discussed.
Gwyneth Jones
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042638
- eISBN:
- 9780252051487
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042638.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
Joanna Russ (1937-2011) was an outstanding writer, critic, and theorist of science fiction at a time when female writers were marginal to the genre, and very few women, perhaps only Judith Merril and ...
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Joanna Russ (1937-2011) was an outstanding writer, critic, and theorist of science fiction at a time when female writers were marginal to the genre, and very few women, perhaps only Judith Merril and Joanna herself, had significant influence on the field. In her university teaching and in her writing she championed the integration of new social models and higher literary standards into genre works. In her review columns for the Magazine of Fantasy and Science Fiction she dissected the masters of the New Wave with appreciation, wit, and incisive intelligence. Her experimental novel The Female Man (1975) is an essential seventies Feminist text, still relevant today; her groundbreaking academic articles are recognized as foundation studies in feminist and science fiction literary scholarship. Drawing on Jeanne Cortiel’s lesbian feminist appraisal of Russ, Demand My Writing (1999), Farah Mendelsohn’s essay collection On Joanna Russ (2009), and a wide range of contemporary sources, this book aims to give context to her career in the America of her times, from the Cold War domestic revival through the 1960s decade of protest and the Second Wave feminism of the 1970s and 1980s, into the twenty-first century, examining her novels, her remarkable short fiction, her critical and autobiographical works, her role in the science fiction community, and her contributions to feminist debate.Less
Joanna Russ (1937-2011) was an outstanding writer, critic, and theorist of science fiction at a time when female writers were marginal to the genre, and very few women, perhaps only Judith Merril and Joanna herself, had significant influence on the field. In her university teaching and in her writing she championed the integration of new social models and higher literary standards into genre works. In her review columns for the Magazine of Fantasy and Science Fiction she dissected the masters of the New Wave with appreciation, wit, and incisive intelligence. Her experimental novel The Female Man (1975) is an essential seventies Feminist text, still relevant today; her groundbreaking academic articles are recognized as foundation studies in feminist and science fiction literary scholarship. Drawing on Jeanne Cortiel’s lesbian feminist appraisal of Russ, Demand My Writing (1999), Farah Mendelsohn’s essay collection On Joanna Russ (2009), and a wide range of contemporary sources, this book aims to give context to her career in the America of her times, from the Cold War domestic revival through the 1960s decade of protest and the Second Wave feminism of the 1970s and 1980s, into the twenty-first century, examining her novels, her remarkable short fiction, her critical and autobiographical works, her role in the science fiction community, and her contributions to feminist debate.
Marja Warehime
- Published in print:
- 2011
- Published Online:
- July 2012
- ISBN:
- 9780719068225
- eISBN:
- 9781781703267
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719068225.001.0001
- Subject:
- Film, Television and Radio, Film
One of the most gifted directors of the post New Wave, Maurice Pialat is frequently compared to such legendary filmmakers as Jean Renoir and Robert Bresson. A quintessentially realist filmmaker, who, ...
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One of the most gifted directors of the post New Wave, Maurice Pialat is frequently compared to such legendary filmmakers as Jean Renoir and Robert Bresson. A quintessentially realist filmmaker, who, like Bresson, was trained as a painter, his particular form of realism influenced an entire generation of young filmmakers in the 1990s. This study of Pialat's cinema in English provides an introduction to a complex and difficult director, who saw himself as a marginal and marginalised filmmaker, but whose films are deeply rooted in French society and culture. Pialat was long considered the only major filmmaker to portray ‘la France profonde’, the heart of France—the people who, as he put it, ‘take the subway’. Taken as a whole, his work can be seen both as an oblique autobiography and the portrait of a fundamental institution—the family—over several generations, from the Third Republic through the end of the nineties. The power of Pialat's realism has often overshadowed his formal originality, and this study gives equal attention to formal issues, including the crucial role of montage in the elaboration of his filmic narratives. It provides a brief biographical sketch of the filmmaker, situating his work in relation to the New Wave and the popular Saturday night cinema of his childhood, as well as giving an overview of the major themes and formal preoccupations of his work. Subsequent chapters provide readings of each of Pialat's full-length films.Less
One of the most gifted directors of the post New Wave, Maurice Pialat is frequently compared to such legendary filmmakers as Jean Renoir and Robert Bresson. A quintessentially realist filmmaker, who, like Bresson, was trained as a painter, his particular form of realism influenced an entire generation of young filmmakers in the 1990s. This study of Pialat's cinema in English provides an introduction to a complex and difficult director, who saw himself as a marginal and marginalised filmmaker, but whose films are deeply rooted in French society and culture. Pialat was long considered the only major filmmaker to portray ‘la France profonde’, the heart of France—the people who, as he put it, ‘take the subway’. Taken as a whole, his work can be seen both as an oblique autobiography and the portrait of a fundamental institution—the family—over several generations, from the Third Republic through the end of the nineties. The power of Pialat's realism has often overshadowed his formal originality, and this study gives equal attention to formal issues, including the crucial role of montage in the elaboration of his filmic narratives. It provides a brief biographical sketch of the filmmaker, situating his work in relation to the New Wave and the popular Saturday night cinema of his childhood, as well as giving an overview of the major themes and formal preoccupations of his work. Subsequent chapters provide readings of each of Pialat's full-length films.
Nicholas Rombes (ed.)
- Published in print:
- 2005
- Published Online:
- September 2012
- ISBN:
- 9780748620340
- eISBN:
- 9780748671052
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748620340.001.0001
- Subject:
- Film, Television and Radio, Film
This book examines a new breed of film that is indebted to the punk spirit of experimentation, do-it-yourself ethos, and an uneasy, often defiant relationship with the mainstream. An array of ...
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This book examines a new breed of film that is indebted to the punk spirit of experimentation, do-it-yourself ethos, and an uneasy, often defiant relationship with the mainstream. An array of scholars trace and map the contours of new punk cinema, from its roots in neorealism and the French New Wave, to its flowering in the work of Lars von Trier and the Dogma 95 movement. Subsequent chapters explore the potentially democratic and even anarchic forces of digital filmmaking; the influences of hypertext and other new media; the increased role of the viewer in arranging and manipulating the chronology of a film; and the role of new punk cinema in plotting a course beyond the postmodern. The book examines a range of films, including The Blair Witch Project, Time Code, Run Lola Run, Memento, The Celebration, Gummo and Requiem for a Dream.Less
This book examines a new breed of film that is indebted to the punk spirit of experimentation, do-it-yourself ethos, and an uneasy, often defiant relationship with the mainstream. An array of scholars trace and map the contours of new punk cinema, from its roots in neorealism and the French New Wave, to its flowering in the work of Lars von Trier and the Dogma 95 movement. Subsequent chapters explore the potentially democratic and even anarchic forces of digital filmmaking; the influences of hypertext and other new media; the increased role of the viewer in arranging and manipulating the chronology of a film; and the role of new punk cinema in plotting a course beyond the postmodern. The book examines a range of films, including The Blair Witch Project, Time Code, Run Lola Run, Memento, The Celebration, Gummo and Requiem for a Dream.
Jeffrey A. Bell and Claire Colebrook (eds)
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748636082
- eISBN:
- 9780748671748
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748636082.003.0009
- Subject:
- Philosophy, History of Philosophy
This chapter considers the cinematic medium as a confederate to the impasse of history. Gilles Deleuze develops two semiotics that explore a vast taxonomy of movement-images and time-images. He ...
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This chapter considers the cinematic medium as a confederate to the impasse of history. Gilles Deleuze develops two semiotics that explore a vast taxonomy of movement-images and time-images. He provides two theses for the transformation of the movement-image to the time-image. In the transformation of the movement-image into the time-image, it is not that the movement-image is replaced, rather it is as if it has been overcome, becoming a ‘first dimension’. Deleuze's images and signs of the cinema are ahistorical. It is mentioned that the movement-image is time as Chronos, the time-image is time as Aion. The reason why there are no films of the Japanese New Wave that investigate the A-bombing of Hiroshima and Nagasaki is then dealt. It is apparent that the movement-image presents no simple, single form of history. The beauty of the time-image is reflected by a beauty of the movement-image.Less
This chapter considers the cinematic medium as a confederate to the impasse of history. Gilles Deleuze develops two semiotics that explore a vast taxonomy of movement-images and time-images. He provides two theses for the transformation of the movement-image to the time-image. In the transformation of the movement-image into the time-image, it is not that the movement-image is replaced, rather it is as if it has been overcome, becoming a ‘first dimension’. Deleuze's images and signs of the cinema are ahistorical. It is mentioned that the movement-image is time as Chronos, the time-image is time as Aion. The reason why there are no films of the Japanese New Wave that investigate the A-bombing of Hiroshima and Nagasaki is then dealt. It is apparent that the movement-image presents no simple, single form of history. The beauty of the time-image is reflected by a beauty of the movement-image.
Kelley Conway
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039720
- eISBN:
- 9780252097829
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039720.003.0001
- Subject:
- Film, Television and Radio, Film
This chapter highlights Agnès Varda's place in New Wave cinema history. It illustrates how Varda's ever-shifting profile has evolved from avant-garde precursor to the “grandmother” of the New Wave. ...
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This chapter highlights Agnès Varda's place in New Wave cinema history. It illustrates how Varda's ever-shifting profile has evolved from avant-garde precursor to the “grandmother” of the New Wave. Yet what remains consistent here is her commitment to storytelling that foregrounds isolated people in distinctive settings in both documentary and fiction films. Varda's ongoing journey reveals an artist who needs to create, who is in motion and incapable of ceasing, making do with whatever resources are available to her (including harnessing that creativity toward visual arts and installation when funds for filmmaking were scarce), remaining eminently pragmatic even when attacking new challenges.Less
This chapter highlights Agnès Varda's place in New Wave cinema history. It illustrates how Varda's ever-shifting profile has evolved from avant-garde precursor to the “grandmother” of the New Wave. Yet what remains consistent here is her commitment to storytelling that foregrounds isolated people in distinctive settings in both documentary and fiction films. Varda's ongoing journey reveals an artist who needs to create, who is in motion and incapable of ceasing, making do with whatever resources are available to her (including harnessing that creativity toward visual arts and installation when funds for filmmaking were scarce), remaining eminently pragmatic even when attacking new challenges.