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  • Modernity and Modernism
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Modernism/postmodernism and origin/intertextual play in adaptation theory

Gordon E. Slethaug

Gordon E. Slethaug is a professor at the University of Waterloo, Canada, where he teaches English Language and Literature and researches contemporary American literature and film, globalization and communications, and international education. He is also honorary professor in Arts at the University of Hong Kong, China, and has recently been visiting professor of English Studies at the University of Southern Denmark. Author affiliation details are correct at time of print publication.

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Adaptation Theory and Criticism : Postmodern Literature and Cinema in the USA

Bloomsbury Academic, 2014

Book

...Modernism: High culture, poetic genius, and influence In “Tradition and the Individual Talent,” T. S. Eliot set out to discover what creates a literary mind and a community of critics. He found the answer in what he called the “historical...

The World Heard

Kyle Stevens

Kyle Stevens

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The Thought of Stanley Cavell and Cinema : Turning Anew to the Ontology of Film a Half-Century after The World Viewed

Bloomsbury Academic, 2020

Book

...THE WORLD VIEWED: Reflections on the Ontology of Film. The world viewed. The title seems so clear. And when followed by the subtitle the implication is plain: this is a book that will ask what film is and that will answer in terms of vision...

Melos, Drama, Melodrama: From Demy to Sirk to Antonioni

Paul Coates

Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003). Author affiliation details are correct at time of print publication.

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Cinema and Colour : The Saturated Image

British Film Institute, 2010

Book

...Introduction In the first chapter of this book I mentioned the relationship between colour’s licence to roam free and the practices of both modernism and fantasy. In each case, the elements of which the film is composed may be peeled...

Stanley Kubrick’s Prototypes: The Author as World-Maker

Thomas Elsaesser

Thomas Elsaesser is Emeritus Professor at the University of Amsterdam, The Netherlands, and since 2013 Visiting Professor at Columbia University. European Cinema and Continental Philosophy further develops Elsaesser’s approach to national and auteur cinema begun with Fassbinder’s Germany: History Identity Subject (1996), continued with European Cinema – Face to Face with Hollywood (2005) and given a theoretical turn in Film Theory: An Introduction through the Senses (2010). Author affiliation details are correct at time of print publication.

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After Kubrick : A Filmmaker’s Legacy

Bloomsbury Academic, 2020

Book

...A version of this chapter originally appeared in Kinematograph 20 2004 under the title “Evolutionary Imagineer.” It has been updated and edited for the needs of this collection.Kubrick is like the black slab in 2001: a force of supernatural...

Accident (2000)

Directed by

 Joseph Losey

Written by

Harold Pinter

Screenplay

Image
...The House. Night. Summer. Long shot. The camera is still, looking at the house from outside the gate, up the short curved drive, across the circular gravel court. In a meadow behind the house, dim shapes of animals. The camera moves slowly...

Spatial Computerisation and Film Language

Lev Manovich

Lev Manovich

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New Screen Media : Cinema/Art/Narrative

British Film Institute, 2002

Book

...This text is adapted from my book, The Language of New Media. Cambridge: MIT Press, 2001. Introduction How does computerisation affect our very concept of moving images? Does it offer new possibilities for film language? Does it lead...

Introduction: Vernacular Posthumanism and VFX

Drew Ayers

Drew Ayers is Assistant Professor of Theatre and Film at Eastern Washington University, USA. His research focuses on visual culture, digital technology, visual effects, cinema, and nonhuman theory, and he has previously been published in Animation, Configurations, Film Criticism, and several edited anthologies. Ayers also serves as a board member and programmer for the Spokane International Film Festival. Author affiliation details are correct at time of print publication.

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Spectacular Posthumanism : The Digital Vernacular of Visual Effects

Bloomsbury Academic, 2019

Book

...It might seem an idiosyncratic—if not downright odd—choice to begin a book with the title Spectacular Posthumanism: The Digital Vernacular of Visual Effects with an examination of a little-seen documentary that was not produced with digital...

The Moment of Colour: Colour, Modernism and Abstraction

Paul Coates

Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003). Author affiliation details are correct at time of print publication.

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Cinema and Colour : The Saturated Image

British Film Institute, 2010

Book

...The Moment of Colour: The Fin De SiÈcle Any mythology seeking a pre-eminent ‘moment’ of colour’s liberation would have to take very seriously the candidacy of the fin de siècle. The preoccupation with colour may be most obvious in two...

Off the Rails: Animating Train Journeys

Birgitta Hosea

Birgitta Hosea

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Animated Landscapes : History, Form and Function

Bloomsbury Academic, 2015

Book

...In 2012 the average resident of the UK spent 361 hours travelling a total of 6,691 miles. Of this travel, 11 per cent was done by public transport.Department for Transport, National Travel Survey: 2012 (UK Government, 2013). During...

The Tenderness of Scissors in Haircut (No. 1)

Roy Grundmann

Roy Grundmann

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Warhol in Ten Takes

British Film Institute, 2013

Book

...This essay focuses on Andy Warhol’s 1963 film Haircut (No. 1), which depicts a languid, homoerotic haircutting ‘party’ between four men in a Lower East Side apartment. In a sense, the setting of this film is bohemia itself – a unique set...