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In October 1967, Pier Paolo Pasolini travelled to Venice to interview Ezra Pound for broadcast on national television. One a lifelong Marxist, the other a former propagandist for the Fascist regime, their encounter was billed as a clash of opposites. But what do these poets share? And what can they tell us about the poetics and politics of the twentieth century? This book reads one by way of the other, aligning their engagement with different temporalities and traditions, polities and geographies, languages and forms, evoked as utopian alternatives to the cultural and political crises of capitalist modernity. Part literary history, part comparative study, it offers a new and provocative perspective on these poets and the critical debates around them - in particular, on Pound's Italian years and Pasolini's use of Pound in his work. Their connection helps to understand the implications and legacies of their work today. .

Poetry --- Comparative literature --- Literature --- literatuur --- poëzie --- anno 1900-1999 --- Europe --- Pasolini, Pier Paolo, --- Criticism and interpretation. --- Political and social views.

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In De goddelijke komedie van Dante verspreidt het grote licht zich in sublieme cirkels in het Paradijs en dwalen de kleine vuurvliegjes in de Hel. De jonge Pier Paolo Pasolini las dit werk secuur. Op een nachtelijke wandeling met vrienden ziet hij plotseling een zwerm vuurvliegjes. Het is 1941. In het duister van de nacht en tegen de achtergrond van het fascisme van Mussolini tekenen zij zich af als vluchtige lichtjes van onschuld en liefde. Ze staan in schril contrast met de schijnwerpers van de propaganda die de fascistische dictator in een verblindend licht hullen. Dantes universum in omgekeerde vorm. Pasolini heeft vaak herhaald dat de ‘dans van de vuurvliegjes’, dat moment van gratie dat weerstand biedt aan een wereld vol terreur, het meest broze is wat er bestaat. Aan het eind van zijn leven meende hij dat de vuurvliegjes waren verdwenen. Maar volgens Didi-Huberman leven ze ‘ondanks alles’ voort: tegenover macht staan nog altijd verzet en hoop. Didi-Huberman laat in zijn beeldende schrijfstijl de vuurvliegjes oplichten in actuele voorbeelden van verzet. En daarbij speelt het werk van de filosofen Walter Benjamin en Giorgio Agamben en de kunsthistoricus Aby Warburg een belangrijke rol.

Protest --- politiek --- filosofie --- kunstfilosofie --- cultuurfilosofie --- Tweede Wereldoorlog (WO II) --- fascisme --- oorlogen --- Agamben, Giorgio --- Benjamin, Walter --- Warburg Aby --- Pasolini, Pier Paolo --- protest --- 700.6 --- film --- filmtheorie --- filmgeschiedenis --- 798.3 --- klimaatverandering --- televisie --- kunsttheorie --- wereldoorlog II --- 7.01 --- 791.41 --- beeldende kunst, filosofie, esthetiek en kritiek der beeldende kunst --- film, esthetiek en kritiek --- Political philosophy. Social philosophy --- Warburg, Aby --- philosophy

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Art --- Arte Povera --- art [discipline] --- Baruchello, Gianfranco --- Chiari, Giuseppe --- Ceroli, Mario --- Agnetti, Vincenzo --- Fabro, Luciano --- Pistoletto, Michelangelo --- Fogliati, Piero --- Icaro, Paolo --- Mattiacci, Eliseo --- Mondino, Aldo --- Nespolo, Ugo --- Simonetti, Gianni Emilio --- Penone, Giuseppe --- Paolini, Giulio --- Merz, Mario --- Zorio, Gilberto --- Anselmo, Giovanni --- Boetti, Alighiero --- Calzolari, Pier Paolo --- Kounellis, Jannis --- Merz, Marisa --- Pascali, Pino --- Gilardi, Piero --- Patella, Luca --- Piacentino, Gianni --- Prini, Emilio --- Parmiggiani, Claudio --- The Zoo --- anno 1960-1969 --- Italy

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Teaching Sound Film: A Reader is a film analysis-and-criticism textbook that contains 35 essays on 35 geographically diverse, historically significant sound films. The countries represented here are France, Italy, England, Belgium, Russia, India, China, Cuba, Germany, Japan, Russia, Romania, Czechoslovakia, Brazil, Taiwan, Austria, Afghanistan, South Korea, Finland, Burkina Faso, Mexico, Iran, Israel, Colombia, and the United States. The directors represented include Jean Renoir, Orson Welles, Akira Kurosawa, Federico Fellini, Woody Allen, Aki Kaurismäki, Ken Loach, Tomás Gutiérrez Alea, Abbas Kiarostami, Michael Haneke, and Hong Sang-soo. Written with university students (and possibly also advanced high school students) in mind, the essays in Teaching Sound Film: A Reader cover some of the central films treated—and central issues raised—in today’s cinema courses and provide students with practical models to help them improve their own writing and analytical skills. These essays are clear and readable—that is, sophisticated and meaty yet not overly technical or jargon-heavy. This makes them perfect introductions to their respective films as well as important contributions to the field of film studies in general. Moreover, this book’s scholarly apparatus features credits, images, bibliographies for all films discussed, filmographies for all the directors, a list of topics for writing and discussion, a glossary of film terms, and an appendix containing three essays, respectively, on film acting, avant-garde cinema, and theater vs. film. .


Teaching --- filmgeschiedenis --- film --- onderwijs --- opvoeding --- filmeducatie --- Allen, Woody --- Pasolini, Pier Paolo --- Coppola, Francis Ford --- Kurosawa, Akira --- Renoir, Jean --- Sica, de, Vittorio --- Clément, René --- Kaurismäki, Aki --- Kiarostami, Abbas --- Loach, Ken --- Tsai, Ming-Liang --- Welles, Orson --- Rohmer, Éric --- Olmi, Ermanno --- Menzel, Jiří --- Goretta, Claude --- Sen, Mrinal --- Moretti, Nanni --- Ouedraogo, Idrissa --- Novaro, María --- Kaige, Chen --- Gutiérrez Alea, Tomás --- Gitai, Amos --- Schroeder, Barbet --- Waddington, Andrucha --- Barmak, Siddiq --- Hong, Sang-Soo --- Kravchuk, Andrei --- Poromboui, Corneliu --- Haneke, Michael --- Wilder, Billy --- Dardenne, Jean-Pierre --- Dardenne, Luc --- Fassbinder, Rainer Werner --- Fellini, Federico

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Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography cinema's ghostly parent was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David documenting the photography-film dialogue that has enriched both media.

Whitechapel Art Gallery. --- Cinematography --- Photography, Artistic --- Whitechapel Art Gallery --- kunst --- twintigste eeuw --- eenentwintigste eeuw --- kunst en fotografie --- kunst en film --- fotografie --- film --- video --- Akerman Chantal --- Antonioni Michelangelo --- Coleman James --- Crewdson Gregory --- Dean Tacita --- Doherty Willie --- Douglas Stan --- Gordon Douglas --- Marker Chris --- McQueen Steve --- Muybridge Eadweard --- Ristelhueber Sophie --- Trockel Rosemarie --- Sherman Cindy --- Snow Michael --- Viola Bill --- Wall Jeff --- Warhol Andy --- Wenders Wim --- Barthes Roland --- Figgis Mike --- Baudrillard Jean --- Bellour Raymond --- Bragaglia Anton Giulio --- Burgin Victor --- Cartier-Bresson Henri --- David Catherine --- Deleuze Gilles --- Durand Régis --- de Duve Thierry --- Eisenstein Sergei --- Gaensheimer Susan --- Goldin Nan --- Gunning Tom --- Metz Christian --- Mulvey Laura --- Moholy-Nagy Laszlo --- Newhall Beaumont --- Orlow Uriel --- Pasolini Pier Paolo --- Penley Constance --- Prince Richard --- Reich Steve --- Rim Carlo --- Sontag Susan --- Stimson Blake --- Tarantino Michael --- Varda Agnès --- Wollen Peter --- 7.01 --- 7.038 --- 77.01 --- 791.41 --- Cinematography. --- Photography, Artistic. --- Fotografie ; theorie, filosofie, esthetica --- 791.43.01 --- Kunsttheorie ; relatie film en fotografie ; bewegend versus stilstaand beeld --- Cinematografie --- Het filmische in de fotografie --- Het fotografische in de film --- Kunst ; theorie, filosofie, esthetica --- Filmkunst ; theorie, filosofie, esthetica --- film [performing arts] --- hedendaagse kunst --- Film --- photography [process] --- Contemporary [style of art] --- Photography --- Goldin, Nan --- Eisenstein, Sergei M. --- Pasolini, Pier Paolo --- Muybridge, Eadweard --- Sontag, Susan --- Cartier-Bresson, Henri --- Wall, Jeff --- Kracauer, Siegfried --- Wenders, Wim --- Moholy-Nagy, László --- Akerman, Chantal --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Chronophotography --- Aesthetics --- Animated pictures --- Motion pictures --- Whitechapel Gallery --- Whitechapel Art Gallery, London --- Iconographie --- Art contemporain --- Processus de création --- Création artistique --- Cinéma --- Photographie --- Fotografie --- film [uitvoerende kunsten] --- film [discipline] --- Art conceptuel --- Art vidéo --- Mouvement moderne --- Werkbund --- Bauhaus --- Constructivisme