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The End of the Other

Lúcia Nagib

Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures (CFAC) at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34, 2002), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (Edusp, 1995), Around the Japanese Nouvelle Vague (Editora da Unicamp, 1993) and Werner Herzog: Film as Reality (Estação-Liberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Master Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990). Author affiliation details are correct at time of print publication.

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World Cinema and the Ethics of Realism

Continuum, 2011

Book chapter

...If truths exist, they are certainly indifferent to differences.Running and cinema intersect at key moments in film history. At the birth of the Nouvelle Vague, at the height of Cinema Novo, in the first Inuit feature film, at the emergence...

The Realm of the Senses, The Ethical Imperative And the Politics of Pleasure

Lúcia Nagib

Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures (CFAC) at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34, 2002), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (Edusp, 1995), Around the Japanese Nouvelle Vague (Editora da Unicamp, 1993) and Werner Herzog: Film as Reality (Estação-Liberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Master Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990). Author affiliation details are correct at time of print publication.

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World Cinema and the Ethics of Realism

Continuum, 2011

Book chapter

...As he recounts in his article ‘On Trial for Obscenity’, Nagisa Oshima was once asked, by someone he defines as ‘an extremely obnoxious German youth’, why he made films. The answer he gave off the top of his head was: ‘To find out what kind...

Hara and Kobayashi’s ‘Private Documentaries’

Lúcia Nagib

Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures (CFAC) at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34, 2002), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (Edusp, 1995), Around the Japanese Nouvelle Vague (Editora da Unicamp, 1993) and Werner Herzog: Film as Reality (Estação-Liberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Master Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990). Author affiliation details are correct at time of print publication.

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World Cinema and the Ethics of Realism

Continuum, 2011

Book chapter

...I would like to thank Alex King for making available the recording of the Q&A with Kazuo Hara and Sachiko Kobayashi, led by me, at the Leeds International Film Festival, on 10 November 2007. My thanks also go to Mika Ko who acted...

Conceptual Realism in Land in Trance and I Am Cuba

Lúcia Nagib

Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures (CFAC) at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34, 2002), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (Edusp, 1995), Around the Japanese Nouvelle Vague (Editora da Unicamp, 1993) and Werner Herzog: Film as Reality (Estação-Liberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Master Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990). Author affiliation details are correct at time of print publication.

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World Cinema and the Ethics of Realism

Continuum, 2011

Book chapter

...In this chapter, I will look at two political films, Land in Trance (Terra em transe, Glauber Rocha, 1967) and I Am Cuba (Soy Cuba/Ya Kuba, Mikhail Kalatozov, 1964), which address the subject of revolution – a failed revolution...

The Work of Art in Progress: An Analysis of Delicate Crime

Lúcia Nagib

Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures (CFAC) at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34, 2002), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (Edusp, 1995), Around the Japanese Nouvelle Vague (Editora da Unicamp, 1993) and Werner Herzog: Film as Reality (Estação-Liberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Master Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990). Author affiliation details are correct at time of print publication.

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World Cinema and the Ethics of Realism

Continuum, 2011

Book chapter

...Beto Brant (b. 1964) is undisputedly one of the most creative contemporary filmmakers in Brazil. International audiences will probably be more familiar with names such as Fernando Meirelles (b. 1955) and Walter Salles (b. 1956...

The Self-Performing Auteur: Ethics in João César Monteiro

Lúcia Nagib

Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures (CFAC) at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34, 2002), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (Edusp, 1995), Around the Japanese Nouvelle Vague (Editora da Unicamp, 1993) and Werner Herzog: Film as Reality (Estação-Liberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Master Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990). Author affiliation details are correct at time of print publication.

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World Cinema and the Ethics of Realism

Continuum, 2011

Book chapter

...… he was incessantly looking for a diamond in the mud. He held it in his fingers, at each film. He dropped it and looked for it again, desperately, in his next film.It seems appropriate to conclude this book by focusing on the Portuguese...

The Immaterial Difference: Werner Herzog Revisited

Lúcia Nagib

Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures (CFAC) at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34, 2002), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (Edusp, 1995), Around the Japanese Nouvelle Vague (Editora da Unicamp, 1993) and Werner Herzog: Film as Reality (Estação-Liberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Master Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990). Author affiliation details are correct at time of print publication.

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World Cinema and the Ethics of Realism

Continuum, 2011

Book chapter

...From close-up, no one is normal.This chapter will examine the work of Werner Herzog, a fascinating instance of physical filmmaking that differs considerably – at least in principle – from the ones analysed in Chapter 1. In these,...

Introduction

Lúcia Nagib

Lúcia Nagib is Professor of Film and Director of the Centre for Film Aesthetics and Cultures (CFAC) at the University of Reading. Her research has focused, among other subjects, on polycentric approaches to world cinema, new waves and new cinemas, cinematic realism and intermediality. She is the author of World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), The Brazilian Film Revival: Interviews with 90 Filmmakers of the 90s (Editora 34, 2002), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (Edusp, 1995), Around the Japanese Nouvelle Vague (Editora da Unicamp, 1993) and Werner Herzog: Film as Reality (Estação-Liberdade, 1991). She is the editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, 2013), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Master Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990). Author affiliation details are correct at time of print publication.

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World Cinema and the Ethics of Realism

Continuum, 2011

Book chapter

...This book proposes to address world cinema through an ethics of realism. The juxtaposition of the terms ‘world cinema’, ‘ethics’ and ‘realism’ creates a tension which asks for the redefinition of all of them.As regards world cinema, my...

Traces of Snuff: Black Markets, Fan Subcultures, and Underground Horror in the 1990s

Johnny Walker

Johnny Walker is a Lecturer in Media at Northumbria University, UK. His writing on horror and exploitation cinema can be read in journals such as Horror Studies, the Journal of British Cinema and Television, and in his forthcoming books Contemporary British Horror Cinema: Industry, Genre and Society (2015) and Snuff: Real Death and Screen Media (Bloomsbury, 2015). Author affiliation details are correct at time of print publication.

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Snuff : Real Death and Screen Media

Bloomsbury Academic, 2016

Book chapter

...This chapter seeks to explore the centrality, and significance, of underground horror films to fan cultures in the 1990s, demonstrating how a swelling interest in gory paracinemaJeffrey Sconce, “ ‘Trashing’ the Academy: Taste, Excess...

Cinema As Snuff: From Precinema to Shadow of the Vampire

Snuff : Real Death and Screen Media

Bloomsbury Academic, 2016

Book chapter

...A theatrical audience gives me life … this … thing only takes it from me.GRETA SCHROEDER, SHADOW OF THE VAMPIREUnder scrutiny, “snuff”—in the sense of a film that whether for profit or for art’s sake, depicts real deathAlthough snuff...