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  1. Art cinema and India's forgotten futures
    film and history in the Postcolony
    Autor*in: Majumdar, Rochona
    Erschienen: [2021]; © 2021
    Verlag:  Columbia University Press, New York, NY

    The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term "art film" and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines... mehr

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    Ostbayerische Technische Hochschule Amberg-Weiden / Hochschulbibliothek Amberg
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    uneingeschränkte Fernleihe, Kopie und Ausleihe

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    TH-AB - Technische Hochschule Aschaffenburg, Hochschulbibliothek
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    Technische Hochschule Augsburg
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    Universitätsbibliothek Bamberg
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    Hochschule Coburg, Zentralbibliothek
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    uneingeschränkte Fernleihe, Kopie und Ausleihe

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    Hochschule Kempten, Hochschulbibliothek
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    uneingeschränkte Fernleihe, Kopie und Ausleihe

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    Hochschule Landshut, Hochschule für Angewandte Wissenschaften, Bibliothek
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    uneingeschränkte Fernleihe, Kopie und Ausleihe

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    Bayerische Staatsbibliothek
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    uneingeschränkte Fernleihe, Kopie und Ausleihe

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    Universitätsbibliothek Passau
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    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term "art film" and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines key works of Indian art cinema to demonstrate how film emerged as a mode of doing history and that, in so doing, it anticipated some of the most influential insights of postcolonial thought.Majumdar details how filmmakers as well as a host of film societies and publications sought to foster a new cinematic culture for the new nation, fueled by enthusiasm for a future of progress and development. Good films would help make good citizens: art cinema would not only earn global prestige but also shape discerning individuals capable of exercising aesthetic and political judgment. During the 1960s, however, Satyajit Ray, Mrinal Sen, and Ritwik Ghatak-the leading figures of Indian art cinema-became disillusioned with the belief that film was integral to national development. Instead, Majumdar contends, their works captured the unresolvable contradictions of the postcolonial present, which pointed toward possible, yet unrealized futures.Analyzing the films of Ray, Sen, and Ghatak, and working through previously unexplored archives of film society publications, Majumdar offers a radical reinterpretation of Indian film history. Art Cinema and India's Forgotten Futures offers sweeping new insights into film's relationship with the postcolonial condition and its role in decolonial imaginations of the future.

     
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    Volltext (URL des Erstveröffentlichers)
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9780231553902
    Weitere Identifier:
    RVK Klassifikation: AP 44965 ; AP 59465
    Schlagworte: PERFORMING ARTS / Film & Video / History & Criticism; Motion picture producers and directors; Motion pictures; New wave films; Postcolonialism in motion pictures; Postkolonialismus; Nouvelle vague
    Umfang: 1 Online-Ressource (307 Seiten), Illustrationen
  2. Masculine singular
    French new wave cinema
    Autor*in: Sellier, Geneviève
    Erschienen: 2008
    Verlag:  Duke University Press, Durham

    Masculine Singular is an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the... mehr

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    Universitätsbibliothek Leipzig
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    keine Fernleihe

    Standort:
    Hochschulbibliothek Friedensau
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    Online-Ressource
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    keine Fernleihe

     

    Masculine Singular is an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema's formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they "wrote" in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema. Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers' focus on gender relations, Sellier reflects on the careers of New Wave's iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier's thorough exploration of early New Wave cinema culminates in her contention that its principal legacy--the triumph of a certain kind of cinephilic discourse and of an "auteur theory" recognizing the director as artist--came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema's modernity was accompanied by an association of creativity with masculinity.

     
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    Quelle: Verbundkataloge
    Beteiligt: Ross, Kristin (ÜbersetzerIn)
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9780822388975
    RVK Klassifikation: AP 44935 ; AP 45400 ; AP 45700 ; AP 53970 ; AP 59735
    Schlagworte: New wave films; Motion pictures; Motion pictures; New wave films
    Umfang: 1 Online-Ressource (vi, 269 Seiten)
    Bemerkung(en):

    Includes bibliographical references (p. [245]-251) and index

    Aus dem Französischen übersetzt

    Contents; Acknowledgments; Introduction: The Aesthetic Doxa on the New Wave; Chapter One: A New Generation Marked by the Emergence of Women; Chapter Two: Cinephilia in the 1950s; Chapter Three: Auteur Cinema: An Affair of State; Chapter Four: Contrasting Receptions; Chapter Five: The Precursors; Chapter Six: Between Romanticism and Modernism; Chapter Seven: Nostalgia for a Heroic Masculinity; Chapter Eight: The Women of the New Wave: Between Modern and Archaic; Chapter Nine: Jeanne Moreau: Star of the New Wave and Icon of Modernity

    Chapter Ten: Brigitte Bardot and the New Wave: An Ambivalent RelationshipChapter Eleven: The Independent Filmmakers of the Left Bank:A ''Feminist'' Alternative?; Conclusion: The New Wave's Legacy: ''Auteur Cinema''; Appendix One: Box Office Results; Appendix Two: The Press; Notes; Bibliography; Index
  3. Art Cinema and India's Forgotten Futures
    Film and History in the Postcolony
    Autor*in: Majumdar, Rochona
    Erschienen: [2021]; ©2021
    Verlag:  Columbia University Press, New York, NY ; Walter de Gruyter GmbH, Berlin

    The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term "art film" and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines... mehr

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    Standort:
    Universitätsbibliothek Gießen
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    Standort:
    Universitätsbibliothek Kassel, Landesbibliothek und Murhardsche Bibliothek der Stadt Kassel
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    Standort:
    Universität Mainz, Zentralbibliothek
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    Universität Marburg, Universitätsbibliothek
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    The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term "art film" and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines key works of Indian art cinema to demonstrate how film emerged as a mode of doing history and that, in so doing, it anticipated some of the most influential insights of postcolonial thought.Majumdar details how filmmakers as well as a host of film societies and publications sought to foster a new cinematic culture for the new nation, fueled by enthusiasm for a future of progress and development. Good films would help make good citizens: art cinema would not only earn global prestige but also shape discerning individuals capable of exercising aesthetic and political judgment. During the 1960s, however, Satyajit Ray, Mrinal Sen, and Ritwik Ghatak-the leading figures of Indian art cinema-became disillusioned with the belief that film was integral to national development. Instead, Majumdar contends, their works captured the unresolvable contradictions of the postcolonial present, which pointed toward possible, yet unrealized futures.Analyzing the films of Ray, Sen, and Ghatak, and working through previously unexplored archives of film society publications, Majumdar offers a radical reinterpretation of Indian film history. Art Cinema and India's Forgotten Futures offers sweeping new insights into film's relationship with the postcolonial condition and its role in decolonial imaginations of the future.

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9780231553902
    Weitere Identifier:
    Schlagworte: Nouvelle vague; Postkolonialismus; Motion picture producers and directors; Motion pictures; New wave films; Postcolonialism in motion pictures; PERFORMING ARTS / Film & Video / History & Criticism
    Umfang: 1 Online-Ressource, 35 b&w film stills
    Bemerkung(en):

    Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Nov 2021)