Cinema Inferno: Celluloid Explosions from the Cultural Margins [Hardcover] Weine

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ISBN
9780810876569
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
Scarecrow Press, Incorporated
ISBN-10
0810876566
ISBN-13
9780810876569
eBay Product ID (ePID)
84299012

Product Key Features

Book Title
Cinema Inferno : Celluloid Explosions from the Cultural Margins
Number of Pages
420 Pages
Language
English
Publication Year
2010
Topic
Film / Genres / Horror, Film / History & Criticism
Genre
Performing Arts
Author
John Cline
Format
Hardcover

Dimensions

Item Height
0.9 in
Item Weight
27.1 Oz
Item Length
9.2 in
Item Width
6.1 in

Additional Product Features

Intended Audience
Trade
LCCN
2010-005144
Reviews
"In fact, inclusivity is one of the hallmarks of both this collection and its companion volume The solicitation of material from both inside and outside of established film scholarship allows the editors to select work from authors who are the most knowledgeable about their subjects, regardless of previous experience or recognition. Weiner and Cline have set the bar for a thoughtful exploration of films all too easily written off or devalued by even the most 'objective' critics, and their work should be seen as the high point of transgressive scholarship." -- Science Fiction Film and Television, In fact, inclusivity is one of the hallmarks of both this collection and its companion volume The solicitation of material from both inside and outside of established film scholarship allows the editors to select work from authors who are the most knowledgeable about their subjects, regardless of previous experience or recognition. Weiner and Cline have set the bar for a thoughtful exploration of films all too easily written off or devalued by even the most 'objective' critics, and their work should be seen as the high point of transgressive scholarship., In fact, inclusivity is one of the hallmarks of both this collection and its companion volumeThe solicitation of material from both inside and outside of established film scholarship allows the editors to select work from authors who are the most knowledgeable about their subjects, regardless of previous experience or recognition.Weiner and Cline have set the bar for a thoughtful exploration of films all too easily written off or devalued by even the most 'objective' critics, and their work should be seen as the high point of transgressive scholarship.
Dewey Edition
22
Dewey Decimal
791.43/6164
Synopsis
Cinema Inferno: Celluloid Explosions from the Cultural Margins addresses significant areas (and eras) of "transgressive" filmmaking, including many subgenres and styles that have not yet received much critical attention. This collection of essays covers both contemporary films and those produced in the last 50 years to provide a theoretical framework for looking at transgressive cinema and what that means. This volume begins with a number of essays that examine the aesthetic of "realism," tracing it through the late Italian Neo-Realism of Pasolini, the early films of Melvin Van Peebles, and Canadian filmmaker Guy Maddin. Another section focuses on '70s Italian horror and thrillers, including a substantially different examination of filmmaker Dario Argento, as well as essays on critically underrepresented directors Lucio Fulci and Sergio Martino. A section on New York looks at both radical independents like Troma and Andy Milligan, as well as the social context from which a view of the metropolis-in-decay emerged. Sections also cover the experimental work of the Vienna Action Group and controversial filmmaker Michael Haneke, as well as films and genres too idiosyncratic and disturbing to fit anywhere else, including analyses of Nazi propaganda films, fundamentalist Christian "scare" movies, and postwar Japanese youth films. The final essays try to come to terms with a mainstream flirtation with "transgressive" film and Grindhouse aesthetics., Addressing significant areas and eras of "transgressive" filmmaking, Cinema Inferno: Celluloid Explosions from the Cultural Margins is a collection of essays that explores many subgenres and styles that have received little critical attention. To provide a theoretical framework for transgressive cinema and its meaning, these articles discuss both contemporary films and those produced in the past fifty years. This volume begins with essays that examine the aesthetic of "realism," tracing it through the late Italian neorealism of Pasolini, the early films of Melvin Van Peebles, and Canadian filmmaker Guy Maddin. Another section focuses on '70s Italian horror films and thrillers, including a substantially different examination of filmmaker Dario Argento, as well as essays on critically underrepresented directors Lucio Fulci and Sergio Martino. A section on New York focuses on both radical independents, like Troma and Andy Milligan, and the social context from which a view of the metropolis-in-decay emerged. Other contributors explore the experimental work of the Vienna Action Group and controversial filmmaker Michael Haneke, as well as films and genres too idiosyncratic and disturbing to fit anywhere else, such as analyses of Nazi propaganda films, fundamentalist Christian "scare" movies, and postwar Japanese youth films. The final essays try to reconcile a mainstream flirtation with "transgressive" film and grindhouse aesthetics. Book jacket., This is a provocative collection of essays that provide cutting edge, original research in film studies, discussing a number of 'transgressive' films that have never before had such in-depth analysis and treatment. From '70s Italian horror films and extreme European cinema to Nazi propaganda films and fundamentalist Christian 'scare' movies, these essays explore many different genres and themes., Cinema Inferno: Celluloid Explosions from the Cultural Margins addresses significant areas (and eras) of "transgressive" filmmaking, including many subgenres and styles that have not yet received much critical attention. This collection of essays covers both contemporary films and those produced in the last 50 years to provide a theoretical framework for looking at transgressive cinema and what that means.This volume begins with a number of essays that examine the aesthetic of "realism," tracing it through the late Italian Neo-Realism of Pasolini, the early films of Melvin Van Peebles, and Canadian filmmaker Guy Maddin. Another section focuses on '70s Italian horror and thrillers, including a substantially different examination of filmmaker Dario Argento, as well as essays on critically underrepresented directors Lucio Fulci and Sergio Martino. A section on New York looks at both radical independents like Troma and Andy Milligan, as well as the social context from which a view of the metropolis-in-decay emerged. Sections also cover the experimental work of the Vienna Action Group and controversial filmmaker Michael Haneke, as well as films and genres too idiosyncratic and disturbing to fit anywhere else, including analyses of Nazi propaganda films, fundamentalist Christian "scare" movies, and postwar Japanese youth films. The final essays try to come to terms with a mainstream flirtation with "transgressive" film and Grindhouse aesthetics.
LC Classification Number
PN1995.9.H6C495 2010

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