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Like every history, the history of film can be grasped not just as a temporal phenomenon, but also within the specificity with which it has inscribed itself into concrete places. The question of how this has occurred at different points in German film history forms the starting point of this book. Using five examples, it explores the social and political horizons of heterotopic concepts of space in German film from the 1930s to the 1990s: Hamburg in Werner Hochbaum's A Girl Goes Ashore [Ein Mädchen geht an Land], East Berlin in Günter Reisch's Ein Lord am Alexanderplatz, Munich in the early works of Wim Wenders, the passage from New York to Athens and Santorini via Berlin in Rudolf Thome's Die Sonnegöttin, and the reunified Berlin in Tom Tykwer's Run Lola Run [Lola rennt]. The main points of interest are the poetological devices the films use to portray their settings. By uniting topology and film aesthetics, this book opens up spaces of historic experience that provide film historiography with new insights. Wie jede Geschichte lässt sich auch die des Films nicht nur als zeitliches Phänomen fassen, sondern auch in der Spezifik betrachten, mit der sie sich in konkrete Orte eingeschrieben hat. Die Frage, wie dies zu verschiedenen Zeitpunkten der deutschen Filmgeschichte geschehen ist, bildet den Ausgangspunkt des Buches. An fünf Beispielen erkundet es die gesellschaftlichen und politischen Horizonte heterotopischer Raumkonzepte des deutschen Films von den 1930er bis in die 1990er Jahre: Hamburg in Werner Hochbaums Ein Mädchen geht an Land, Ost-Berlin in Günter Reischs Ein Lord am Alexanderplatz, München im Frühwerk von Wim Wenders, die Passage von New York über Berlin nach Athen und Santorini in Rudolf Thomes Die Sonnengöttin, das wiedervereinigte Berlin in Tom Tykwers Lola rennt. Im Mittelpunkt des Interesses stehen dabei die poetologischen Verfahren, mit denen die Filme ihre Schauplätze ästhetisch erschließen. In der Verschränkung von Topologie und Filmästhetik entwirft das Buch Räume historischer Erfahrung, die der Filmgeschichtsschreibung neue Zugänge eröffnen.
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Michelangelo Antonioni, who died in 2007, was one of cinema's greatest modernist filmmakers. The films in his black and white trilogy of the early 1960s-L'avventura, La Notte, L'eclisse-are justly celebrated for their influential, gorgeously austere style. But in this book, Murray Pomerance demonstrates why the color films that followed are, in fact, Antonioni's greatest works. Writing in an accessible style that evokes Antonioni's expansive use of space, Pomerance discusses The Red Desert, Blow-Up, Professione: Reporter (The Passenger), Zabriskie Point, Identification of a Woman, The Mystery of Oberwald, Beyond the Clouds, and The Dangerous Thread of Things to analyze the director's subtle and complex use of color. Infusing his open-ended inquiry with both scholarly and personal reflection, Pomerance evokes the full range of sensation, nuance, and equivocation that became Antonioni's signature.
#SBIB:309H1323 --- Antonioni, Michelangelo --- Films met een amusementsfunctie en/of esthetische functie: auteurs --- Criticism and interpretation. --- An-tung-ni-ao-ni --- PERFORMING ARTS / Film & Video / General. --- 1960s. --- art film. --- beyond the clouds. --- blow up. --- cinema scholars. --- cinema studies. --- cinemaphiles. --- discussion books. --- essay collection. --- famous directors. --- film analysis. --- film and culture. --- film criticism. --- film critics. --- film historians. --- film production. --- film scholars. --- film studies. --- filmmakers. --- identification of a woman. --- michelangelo antonioni. --- modernism. --- modernist film. --- nonfiction essays. --- pop culture. --- space in film. --- the dangerous thread of things. --- the red desert. --- zabriskie point.
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