Screening Modernism: European Art Cinema, 1950-1980 (Cinema and Modernity Series)

Contents......Page 8
Acknowledgments......Page 12
Introduction......Page 14
Part One: What Is the Modern?......Page 18
1 THEORIZING MODERNISM......Page 20
Modern......Page 21
Modernism......Page 24
Avant-Garde......Page 27
Cinema and Modernism: The First Encounter......Page 29
The Institution of the Art Film......Page 33
Modernist Art Cinema and the Avant-Garde......Page 40
2 THEORIES OF THE CLASSICAL/MODERN DISTINCTION IN THE CINEMA......Page 46
Style Analysts......Page 47
Evolutionists......Page 51
Modern Cinema and Deleuze......Page 53
Modernism as an Unfinished Project......Page 57
Part Two: The Forms of Modernism......Page 62
3 MODERN ART CINEMA: STYLE OF MOVEMENT?......Page 64
4 NARRATION IN MODERN CINEMA......Page 69
Classical versus Modernist Art Films......Page 74
The Alienation of the Abstract Individual......Page 78
Who Is “the Individual” in Modern Cinema?......Page 80
The Role of Chance......Page 83
Open-Ended Narrative......Page 90
Narrative Trajectory Patterns: Linear, Circular, Spiral......Page 91
5 GENRE IN MODERN CINEMA......Page 95
Melodrama and Modernism......Page 97
Excursus: Sartre and the Philosophy of Nothingness......Page 103
A Modern Melodrama: Antonioni’s Eclipse (1962)......Page 109
Investigation......Page 112
Wandering/Travel......Page 115
The Mental Journey......Page 116
Closed-Situation Drama......Page 124
Satire/Genre Parody......Page 127
The Film Essay......Page 129
6 PATTERNS OF MODERN FORMS......Page 133
Primary Formation: Continuity and Discontinuity......Page 135
Radical Continuity......Page 141
Imaginary Time in Last Year at Marienbad......Page 143
Radical Discontinuity......Page 144
The Fragmented Form according to Godard......Page 145
Serial Form......Page 149
Minimalist Styles......Page 153
The Bresson Style......Page 154
Abstract Subjectivity and the “Model”......Page 159
Bresson and His Followers......Page 161
Psychic Landscape?......Page 162
Continuity......Page 166
Antonioni and His Followers......Page 169
Expressive Minimalism......Page 174
8 NATURALIST STYLES......Page 181
Post-neorealism......Page 182
Cinéma Vérité......Page 183
The “New Wave” Style......Page 185
9 ORNAMENTAL STYLES......Page 188
10 THEATRICAL STYLES......Page 205
11 MODERN CINEMA TRENDS......Page 216
The Family Tree of Modern Cinema......Page 222
Part Three: Appearance and Propagationof Modernism (1949–1958)......Page 228
12 CRITICAL REFLEXIVITY OR THE BIRTH OF THE AUTEUR......Page 230
The Birth of the Auteur......Page 231
Historical Forms of Reflexivity......Page 237
The Emergence of Critical Reflexivity: Bergman’s Prison......Page 240
Reflexivity and Abstraction: Modern Cinemaand the Nouveau Roman......Page 244
13 THE RETURN OF THE THEATRICAL......Page 251
Abstract Drama......Page 254
14 THE DESTABILIZATION OF THE FABULA......Page 257
Voice-Over Narration......Page 258
The Dissolution of Classical Narrative: Film Noirand Modernism......Page 259
Fabula Alternatives: Hitchcock......Page 261
Alternative Subjective Narration: Rashomon......Page 264
15 AN ALTERNATIVE TO THE CLASSICAL FORM: NEOREALISM AND MODERNISM......Page 266
The End of Neorealism......Page 268
Modernism in Story of a Love Affair: NeorealismMeets Film Noir......Page 269
Rossellini: The “Neorealist Miracle”......Page 273
Part Four: The Short Story of Modern Cinema (1959–1975)......Page 286
16 THE ROMANTIC PERIOD, 1959-1961......Page 288
Neorealism: The Reference......Page 289
Eastern Europe: From Socialist Realism toward Neorealism......Page 295
Heroism versus Modernism......Page 297
Jerzy Kawalerowicz: The First Modern Polish Auteur......Page 299
The Year 1959......Page 303
Forms of Romantic Modernism......Page 306
Genre and Narration in the Early Years......Page 308
Sound and Image......Page 311
Background and Foreground......Page 313
From Hiroshima to Marienbad: Modernism andthe Cinema of the Elite......Page 316
The Production System of the “New Cinema”......Page 319
Western Europe around 1962......Page 323
The Key Film of 1962: Fellini’s 8 1/2......Page 329
Central Europe......Page 335
Czechoslovak Grotesque Realism......Page 337
The “Central European Experience”......Page 339
Jancsó and the Ornamental Style......Page 342
Summary......Page 349
18 THE YEAR 1966......Page 351
The Loneliness of the Auteur......Page 354
19 POLITICAL MODERNISM, 1967-1975......Page 362
The Year 1968......Page 363
Conceptual Modernism: The Auteur’s New World......Page 368
Reconstructing Reality......Page 370
Counter-Cinema: Narration as a Direct Auteurial Discourse......Page 376
The Film as a Means of Direct Political Action......Page 381
Parabolic Discourse......Page 384
Teorema......Page 386
The Auteur’s Private Mythology......Page 389
The Self-Critique of Political Modernism: Sweet Movie......Page 393
Summary......Page 395
20 “The Death of the Auteur”......Page 396
The Last of Modernism: Mirror......Page 400
Mirror and Serial Structure......Page 402
The Disappearance of Nothingness......Page 407
Appendix: A Chronology of Modern Cinema......Page 414
Selected Bibliography......Page 422
Index of Names and Movie Titles......Page 428