Dekorationsartikel gehören nicht zum Leistungsumfang.
Sprache:
Englisch
21,95 €*
Versandkostenfrei per Post / DHL
Lieferzeit 1-2 Wochen
Kategorien:
Beschreibung
Federico Fellini's masterpiece 8 1/2 (Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini's mirror image, and the story to reflect the making of 8 1/2 itself. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal filmmaking, and numerous directors, including Fassbinder, Truffaut, Scorsese, Bob Fosse and Bruce LaBruce, paid homage to the film and its themes of personal and creative ennui in their own work.
Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities.
Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities.
Federico Fellini's masterpiece 8 1/2 (Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini's mirror image, and the story to reflect the making of 8 1/2 itself. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal filmmaking, and numerous directors, including Fassbinder, Truffaut, Scorsese, Bob Fosse and Bruce LaBruce, paid homage to the film and its themes of personal and creative ennui in their own work.
Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities.
Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities.
Über den Autor
D. A. Miller is John F. Hotchkis Professor Emeritus and fomerly Professor of the Graduate School at the University of California, Berkeley, USA. Most recently, he was Visiting Professor at the University of Tokyo, Japan. His books include Hidden Hitchcock (2016); Jane Austen, or the Secret of Style (2003); Place for Us: Essay on the Broadway Musical (1998); Bringing Out Roland Barthes (1992); The Novel and the Police (1988); and Narrative and its Discontents (1981). He has served on the editorial boards of differences, Film Quarterly, and Novel: A Forum on Fiction. For many years, he wrote a regular column for Film Quarterly called "Second Time Around," which has provided the basis of his most recent book "Second Time Around: From Art House to DVD" (2021). In 2013, he was elected a member of the American Academy of Arts and Sciences.
Zusammenfassung
New edition published to tie in with the 30th anniversary of the BFI Film Classics series, with stunning cover artwork
Inhaltsverzeichnis
Foreword to the 2022 Edition
Prologue
1. From No One to Someone
2. From Auteur to Person
3. From Substance to Style
Finale
Acknowledgments
Notes
Credits
Details
Erscheinungsjahr: | 2022 |
---|---|
Genre: | Importe, Kunst |
Rubrik: | Kunst & Musik |
Thema: | Theater & Film |
Medium: | Taschenbuch |
Inhalt: | Kartoniert / Broschiert |
ISBN-13: | 9781839024733 |
ISBN-10: | 1839024739 |
Sprache: | Englisch |
Herstellernummer: | 565820 |
Einband: | Kartoniert / Broschiert |
Autor: | Miller, D A |
Auflage: | 2nd edition |
Hersteller: | Bloomsbury Academic |
Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
Maße: | 188 x 134 x 10 mm |
Von/Mit: | D A Miller |
Erscheinungsdatum: | 19.05.2022 |
Gewicht: | 0,202 kg |
Über den Autor
D. A. Miller is John F. Hotchkis Professor Emeritus and fomerly Professor of the Graduate School at the University of California, Berkeley, USA. Most recently, he was Visiting Professor at the University of Tokyo, Japan. His books include Hidden Hitchcock (2016); Jane Austen, or the Secret of Style (2003); Place for Us: Essay on the Broadway Musical (1998); Bringing Out Roland Barthes (1992); The Novel and the Police (1988); and Narrative and its Discontents (1981). He has served on the editorial boards of differences, Film Quarterly, and Novel: A Forum on Fiction. For many years, he wrote a regular column for Film Quarterly called "Second Time Around," which has provided the basis of his most recent book "Second Time Around: From Art House to DVD" (2021). In 2013, he was elected a member of the American Academy of Arts and Sciences.
Zusammenfassung
New edition published to tie in with the 30th anniversary of the BFI Film Classics series, with stunning cover artwork
Inhaltsverzeichnis
Foreword to the 2022 Edition
Prologue
1. From No One to Someone
2. From Auteur to Person
3. From Substance to Style
Finale
Acknowledgments
Notes
Credits
Details
Erscheinungsjahr: | 2022 |
---|---|
Genre: | Importe, Kunst |
Rubrik: | Kunst & Musik |
Thema: | Theater & Film |
Medium: | Taschenbuch |
Inhalt: | Kartoniert / Broschiert |
ISBN-13: | 9781839024733 |
ISBN-10: | 1839024739 |
Sprache: | Englisch |
Herstellernummer: | 565820 |
Einband: | Kartoniert / Broschiert |
Autor: | Miller, D A |
Auflage: | 2nd edition |
Hersteller: | Bloomsbury Academic |
Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
Maße: | 188 x 134 x 10 mm |
Von/Mit: | D A Miller |
Erscheinungsdatum: | 19.05.2022 |
Gewicht: | 0,202 kg |
Sicherheitshinweis