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Spanish Cinema against Itself maps the evolution of Spanish surrealist and politically committed cinematic traditions from their origins in the 1930s-with the work of Luis Buñuel and Salvador Dalí, experimentalist José Val de Omar, and militant documentary filmmaker Carlos Velo-through to the contemporary period. Framed by film theory this book traces the works of understudied and non-canonical Spanish filmmakers, producers, and film collectives to open up alternate, more cosmopolitan and philosophical spaces for film discussion. In an age of the post-national and the postcinematic, Steven…mehr
Spanish Cinema against Itself maps the evolution of Spanish surrealist and politically committed cinematic traditions from their origins in the 1930s-with the work of Luis Buñuel and Salvador Dalí, experimentalist José Val de Omar, and militant documentary filmmaker Carlos Velo-through to the contemporary period. Framed by film theory this book traces the works of understudied and non-canonical Spanish filmmakers, producers, and film collectives to open up alternate, more cosmopolitan and philosophical spaces for film discussion. In an age of the post-national and the postcinematic, Steven Marsh's work challenges conventional historiographical discourse, the concept of "national cinema," and questions of form in cinematic practice.
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Autorenporträt
Steven Marsh is Professor of Spanish Film and Cultural Studies at the University of Illinois at Chicago. He is author of Popular Spanish Film Under Franco: Comedy and the Weakening of the State and editor (with Parvati Nair) of Gender and Spanish Cinema.
Inhaltsangabe
Acknowledgments Introduction: Différance. Otherness. Experiment. 1. Interrogations of the National Allegory: Trance film and Ethnography 2. Intermediality, Intoxication, and the Infrathin 3. The Discontinuous Legacies of Pere Portabella: Between Heritage and Inheritance 4. History, Hauntology, Representation: Spanish Cinema Against Itself 5. The Ex of Experimentation: Against Periodization 6. The Catacoustic and the Cosmopolitan: Rhythm and Timbre in the Films of Andrés Duque 7. Turns and Returns, Envois/Renvois: The Postal Effect in Recent Spanish Film 8. Retrospective Future Perfect: History, Black Holes, and Time Warps in the Films of Los Hijos and Luis López Carrasco 9. ¡No nos representan!: Performativity as Militant Film, the 15-M Archive Afterword: Unruly Archives. La décima carta and Buenas noches, España Index
Acknowledgments Introduction: Différance. Otherness. Experiment. 1. Interrogations of the National Allegory: Trance film and Ethnography 2. Intermediality, Intoxication, and the Infrathin 3. The Discontinuous Legacies of Pere Portabella: Between Heritage and Inheritance 4. History, Hauntology, Representation: Spanish Cinema Against Itself 5. The Ex of Experimentation: Against Periodization 6. The Catacoustic and the Cosmopolitan: Rhythm and Timbre in the Films of Andrés Duque 7. Turns and Returns, Envois/Renvois: The Postal Effect in Recent Spanish Film 8. Retrospective Future Perfect: History, Black Holes, and Time Warps in the Films of Los Hijos and Luis López Carrasco 9. ¡No nos representan!: Performativity as Militant Film, the 15-M Archive Afterword: Unruly Archives. La décima carta and Buenas noches, España Index
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