Joshua Foa Dienstag
- Published in print:
- 2016
- Published Online:
- October 2016
- ISBN:
- 9780190600181
- eISBN:
- 9780190600211
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190600181.003.0014
- Subject:
- Political Science, Political Theory, Comparative Politics
This chapter argues that von Trier’s response to the problem of evil and his cinematic style have evolved along with his views on representation. Once committed to the rejection of all cinematic ...
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This chapter argues that von Trier’s response to the problem of evil and his cinematic style have evolved along with his views on representation. Once committed to the rejection of all cinematic illusion, his later films make use of it—not because he has changed his mind about the dangers of illusion, but because he has come to view an unnatural perspective as something necessary in order to reveal an evil to which we are ordinarily blind. This later style is herein referred to as “pessimistic realism.” In this light, the chapter focuses on two films in particular: Europa (1991) and Melancholia (2011). Both of these films grapple with the question of evil and the difficulty of seeing or representing it.Less
This chapter argues that von Trier’s response to the problem of evil and his cinematic style have evolved along with his views on representation. Once committed to the rejection of all cinematic illusion, his later films make use of it—not because he has changed his mind about the dangers of illusion, but because he has come to view an unnatural perspective as something necessary in order to reveal an evil to which we are ordinarily blind. This later style is herein referred to as “pessimistic realism.” In this light, the chapter focuses on two films in particular: Europa (1991) and Melancholia (2011). Both of these films grapple with the question of evil and the difficulty of seeing or representing it.
Suzanne Buchan
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816646586
- eISBN:
- 9781452945903
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816646586.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter discusses the research and studio processes from where the Quay Brothers’ films were conceived. Quay Brothers used a kind of research that lets them reinvent visual compositions derived ...
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This chapter discusses the research and studio processes from where the Quay Brothers’ films were conceived. Quay Brothers used a kind of research that lets them reinvent visual compositions derived from cinematic origins in order to create an authentic cinematic style. Some cinematic origins include the physical and tangible objects, such as objets trouves or old objects, faded fabrics, and Marcel Duchamp’s artworks which reflect history. The reflected history of these objects is used to structure each and every part of the films of the Quay Brothers; for instance, in their creation of the film Street of Crocodiles. Critics described the film as a realm composed of objects, puppets, and miniatures that move within an uncertain collaged space. The Quay Brothers used Bruno Schulz’s writings to present time as another factor, affecting the manipulation of their films’ collaged spaces.Less
This chapter discusses the research and studio processes from where the Quay Brothers’ films were conceived. Quay Brothers used a kind of research that lets them reinvent visual compositions derived from cinematic origins in order to create an authentic cinematic style. Some cinematic origins include the physical and tangible objects, such as objets trouves or old objects, faded fabrics, and Marcel Duchamp’s artworks which reflect history. The reflected history of these objects is used to structure each and every part of the films of the Quay Brothers; for instance, in their creation of the film Street of Crocodiles. Critics described the film as a realm composed of objects, puppets, and miniatures that move within an uncertain collaged space. The Quay Brothers used Bruno Schulz’s writings to present time as another factor, affecting the manipulation of their films’ collaged spaces.
Malek Khouri
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789774163548
- eISBN:
- 9781617970153
- Item type:
- book
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774163548.001.0001
- Subject:
- Society and Culture, Middle Eastern Studies
This book presents an up-to-date study on Youssef Chahine's work. The methodological approach of the book, and more precisely the discussion of the theme of Arab national unity from a post-colonial ...
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This book presents an up-to-date study on Youssef Chahine's work. The methodological approach of the book, and more precisely the discussion of the theme of Arab national unity from a post-colonial point of view, emphasizes the ideological underpinnings of this Egyptian director's themes as well as his esthetics. The book focuses on the interaction between Chahine's personal and political preoccupations, his eclectic cinematic style, and his devotion to connecting with a wide audience of filmgoers.Less
This book presents an up-to-date study on Youssef Chahine's work. The methodological approach of the book, and more precisely the discussion of the theme of Arab national unity from a post-colonial point of view, emphasizes the ideological underpinnings of this Egyptian director's themes as well as his esthetics. The book focuses on the interaction between Chahine's personal and political preoccupations, his eclectic cinematic style, and his devotion to connecting with a wide audience of filmgoers.
Aaron Michael Kerner and Jonathan L. Knapp
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474402903
- eISBN:
- 9781474422000
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474402903.003.0007
- Subject:
- Film, Television and Radio, Film
The end of the book posits that recent trends towards the extreme do not constitute a cinematic style as such, but rather an international explosion of stylized cinema. There is, however, a genuine ...
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The end of the book posits that recent trends towards the extreme do not constitute a cinematic style as such, but rather an international explosion of stylized cinema. There is, however, a genuine risk that such an endeavour might encourage spectators to lose sight of the unique cultural context from which it comes, in favour of a trendy cinematic lingua franca. In the Asian context in particular the London-based DVD label Tartan distributed a line of Asian films under the banner of “Asia Extreme.” While Extreme Cinema acknowledges that this is a perilous tightrope, what the book finally wants to call attention to is the expansive nature of extreme cinema that can be found in nearly every corner of our global media culture.Less
The end of the book posits that recent trends towards the extreme do not constitute a cinematic style as such, but rather an international explosion of stylized cinema. There is, however, a genuine risk that such an endeavour might encourage spectators to lose sight of the unique cultural context from which it comes, in favour of a trendy cinematic lingua franca. In the Asian context in particular the London-based DVD label Tartan distributed a line of Asian films under the banner of “Asia Extreme.” While Extreme Cinema acknowledges that this is a perilous tightrope, what the book finally wants to call attention to is the expansive nature of extreme cinema that can be found in nearly every corner of our global media culture.
