Modernist_film

Modernist film

Modernist film

Film genre


Modernist film is related to the art and philosophy of modernism.

History

Early modernist film came to maturity in the era between WWI and WWII, with characteristics such as montage and symbolic imagery, manifesting itself in genres as diverse as expressionism and surrealism (as featured in the works of Fritz Lang and Luis Buñuel)[1] while postmodernist film – similar to postmodernism as a whole – is a reaction to modernist works, and to their tendencies (such as nostalgia and angst).[2] Modernist cinema has been said to have "explored and exposed the formal concerns of the medium by placing them at the forefront of consciousness."[3] The auteur theory and idea of an author creating a work from their singular vision became a central characteristic of modernist filmmaking. It has been said that "To investigate the transparency of the image is modernist but to undermine its reference to reality is to engage with the aesthetics of postmodernism."[4][5] The modernist film has more faith in the author, the individual, and the accessibility of reality itself (and generally has a more sincere tone[6]) than the postmodernist film.

List of notable modernist films

List of notable modernist filmmakers

Sources:[7][8][9][10][11][12][13][14][15][16][17][18][19][20][21][22][23][24][25][26][27][28][29][30][31][32][33][34][35][36][37][38][39][40][41][42][43][44][45][46][47][48][49][50][51][52][53][54][55][56][57][58][59][60][61][62][63][64][65][66][67][68][69][70][71][72][73][74][75][76][77][78][79][80][81][82][83][84][85][86][87][88][89][90] [91][92][93][94][95][96][97][98] [99][100][101][102][103][104][105][106][107][108][109][110][111][112][113][114][115]

See also


References

  1. Beginning Postmodernism, Manchester University Press: 1999 by Tim Woods
  2. Dragan Milovanovic. "Dueling Paradigms: Modernist v. Postmodern Thought". American Society of Criminology.
  3. "Reading the Postmodern Image: A Cognitive Mapping," Screen: 31, 4 (Winter 1990) by Tony Wilson
  4. Perry, Ted (2006). Masterpieces of Modernist Cinema. Indiana University Press. ISBN 0253347718.
  5. Murphy, Richard (2007). "Modernism and the Cinema: Metropolis and the Expressionist Aesthetic". Comparative Critical Studies. 4 (1): 105–120. doi:10.3366/ccs.2007.4.1.105. S2CID 145016904.
  6. Kovács, András Bálint (2006). "Sartre, the Philosophy of Nothingness, and the Modern Melodrama". The Journal of Aesthetics and Art Criticism. 64 (1): 135–145. doi:10.1111/j.0021-8529.2006.00235.x. JSTOR 3700498.
  7. Hilliker, Lee (2002). "In the Modernist Mirror: Jacques Tati and the Parisian Landscape". The French Review. 76 (2): 318–329. JSTOR 3132711.
  8. Carney, Raymond (28 January 1994). The Films of John Cassavetes: Pragmatism, Modernism, and the Movies. Cambridge University Press. ISBN 9780521388153.
  9. McElhaney, Joe (February 2012). The Death of Classical Cinema: Hitchcock, Lang, Minnelli. State University of New York Press. ISBN 9780791481110.
  10. Hutcheon, Linda (1990). "An epilogue: Postmodern parody: History, subjectivity, and ideology". Quarterly Review of Film and Video. 12 (1–2): 125–133. doi:10.1080/10509209009361343.
  11. Simpson, Philip; Utterson, Andrew; Shepherdson, Karen J. (2004). Film Theory: Critical Concepts in Media and Cultural Studies. Taylor & Francis. p. 171. ISBN 9780415259750.
  12. Bashara, Dan (2 April 2019). Cartoon Vision: UPA Animation and Postwar Aesthetics. Univ of California Press. ISBN 9780520298132.
  13. Sollors, Werner (2008). Ethnic modernism (First Harvard University Press paperback ed.). Cambridge, Mass. p. 8. ISBN 9780674030916.{{cite book}}: CS1 maint: location missing publisher (link)
  14. Murray, Robin L. (2011). That's all folks? : ecocritical readings of American animated features. Lincoln: University of Nebraska Press. pp. 85–89. ISBN 9780803235120.

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