
Screening Modernism
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Content
- Intro
- Contents
- Acknowledgments
- Introduction
- Part One: What Is the Modern?
- 1 THEORIZING MODERNISM
- Modern
- Modernism
- Avant-Garde
- Cinema and Modernism: The First Encounter
- The Institution of the Art Film
- Modernist Art Cinema and the Avant-Garde
- 2 THEORIES OF THE CLASSICAL/MODERN DISTINCTION IN THE CINEMA
- Style Analysts
- Evolutionists
- Modern Cinema and Deleuze
- Modernism as an Unfinished Project
- Part Two: The Forms of Modernism
- 3 MODERN ART CINEMA: STYLE OF MOVEMENT?
- 4 NARRATION IN MODERN CINEMA
- Classical versus Modernist Art Films
- The Alienation of the Abstract Individual
- Who Is "the Individual" in Modern Cinema?
- The Role of Chance
- Open-Ended Narrative
- Narrative Trajectory Patterns: Linear, Circular, Spiral
- 5 GENRE IN MODERN CINEMA
- Melodrama and Modernism
- Excursus: Sartre and the Philosophy of Nothingness
- A Modern Melodrama: Antonioni's Eclipse (1962)
- Other Genres and Recurrent Plot Elements
- Investigation
- Wandering/Travel
- The Mental Journey
- Closed-Situation Drama
- Satire/Genre Parody
- The Film Essay
- 6 PATTERNS OF MODERN FORMS
- Primary Formation: Continuity and Discontinuity
- Radical Continuity
- Imaginary Time in Last Year at Marienbad
- Radical Discontinuity
- The Fragmented Form according to Godard
- Serial Form
- 7 STYLES MODERNISM
- Minimalist Styles
- The Bresson Style
- Abstract Subjectivity and the "Model"
- Bresson and His Followers
- Analytical Minimalism: The Antonioni Style
- Psychic Landscape?
- Continuity
- Antonioni and His Followers
- Expressive Minimalism
- 8 NATURALIST STYLES
- Post-neorealism
- Cinéma Vérité
- The "New Wave" Style
- 9 ORNAMENTAL STYLES
- 10 THEATRICAL STYLES
- 11 MODERN CINEMA TRENDS
- The Family Tree of Modern Cinema
- Part Three: Appearance and Propagationof Modernism (1949-1958)
- 12 CRITICAL REFLEXIVITY OR THE BIRTH OF THE AUTEUR
- The Birth of the Auteur
- Historical Forms of Reflexivity
- The Emergence of Critical Reflexivity: Bergman's Prison
- Reflexivity and Abstraction: Modern Cinemaand the Nouveau Roman
- 13 THE RETURN OF THE THEATRICAL
- Abstract Drama
- 14 THE DESTABILIZATION OF THE FABULA
- Voice-Over Narration
- The Dissolution of Classical Narrative: Film Noirand Modernism
- Fabula Alternatives: Hitchcock
- Alternative Subjective Narration: Rashomon
- 15 AN ALTERNATIVE TO THE CLASSICAL FORM: NEOREALISM AND MODERNISM
- The End of Neorealism
- Modernism in Story of a Love Affair: NeorealismMeets Film Noir
- Rossellini: The "Neorealist Miracle"
- Part Four: The Short Story of Modern Cinema (1959-1975)
- 16 THE ROMANTIC PERIOD, 1959-1961
- Neorealism: The Reference
- Eastern Europe: From Socialist Realism toward Neorealism
- Heroism versus Modernism
- Jerzy Kawalerowicz: The First Modern Polish Auteur
- The Year 1959
- Forms of Romantic Modernism
- Genre and Narration in the Early Years
- Sound and Image
- Background and Foreground
- From Hiroshima to Marienbad: Modernism andthe Cinema of the Elite
- The Production System of the "New Cinema"
- 17 ESTABLISHED MODERNISM, 1962-1966
- Western Europe around 1962
- The Key Film of 1962: Fellini's 8 1/2
- Central Europe
- Czechoslovak Grotesque Realism
- The "Central European Experience"
- Jancsó and the Ornamental Style
- Summary
- 18 THE YEAR 1966
- The Loneliness of the Auteur
- 19 POLITICAL MODERNISM, 1967-1975
- The Year 1968
- Conceptual Modernism: The Auteur's New World
- Reconstructing Reality
- Counter-Cinema: Narration as a Direct Auteurial Discourse
- The Film as a Means of Direct Political Action
- Parabolic Discourse
- Teorema
- The Auteur's Private Mythology
- The Self-Critique of Political Modernism: Sweet Movie
- Summary
- 20 "The Death of the Auteur"
- The Last of Modernism: Mirror
- Mirror and Serial Structure
- The Disappearance of Nothingness
- Appendix: A Chronology of Modern Cinema
- Selected Bibliography
- Index of Names and Movie Titles
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