This book is at once a detailed study of a range of individual filmmakers and a study of the modernism in which they are situated. It consists of fifty categories arranged in alphabetical order, among which are allegory, bricolage, classicism, contradiction, desire, destructuring and writing. Each category, though autonomous, interacts, intersects and juxtaposes with the others, entering into a dialogue with them and in so doing creates connections, illuminations, associations and rhymes which may not have arisen in a more conventional framework.
The author refers to particular films and directors that raise questions related to modernism, and, inevitably, thereby to classicism. Jean-Luc Godard's work is at the centre of the book, though it spreads out, evokes and echoes other filmmakers and their work, including the films of Michelangelo Antonioni, Bernardo Bertolucci, John Ford, Howard Hawks, Alfred Hitchcock, Jo?o C?sar Monteiro, Pier Paolo Pasolini and Orson Welles. This innovative and eloquently written text book will be an essential resource for all film students.
Introduction Allegory Ambulation Archive Arrangements Authorship Bodies Bricolage Characters Classicism Colour Contradiction Desire Destructuring Drama Duplication Elsewhere Film Noir Frame History Images Immediacy Inertia Insufficiency Investigations 1 Investigations 2 Language Levels Masquerade Melodrama Minimalism Mise en sc?ne Modernity Montage 1 Montage 2 Museum Myth Narrative Networks Nowhere Pop Portraiture Randomness Realism Realities Reproduction Returns Theatre Time Truth Vertigo Voyages Writing Bibliography Index
Sam Rohdie was Professor of Cinema Studies at the University of Central Florida
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