Screening Modernism

Contents Acknowledgments xi Introduction = 1 Part One: What Is the Modern? 1 THEORIZING MODERNISM = 7 Modern = 8 Modernism = 11 Avant-Garde = 14 Cinema and Modernism: The First Encounter = 16 The Institution of the Art Film = 20 Modernist Art Cinema and the Avant-Garde = 27 2 THEORIES OF THE CLASSICAL/MODERN DISTINCTION IN THE CINEMA = 33 Style Analysts = 34 Evolutionists = 38 Modern Cinema and Deleuze = 40 Modernism as an Unfinished Project = 44 Part Two: The Forms of Modernism 3 MODERN ART CINEMA: STYLE OR MOVEMENT? = 51 4 NARRATION IN MODERN CINEMA = 56 Classical versus Modernist Art Films = 6i The Alienation of the Abstract Individual = 65 Who Is "the Individual" in Modern Cinema? = 67 The Role of Chance = 70 Open-Ended Narrative = 77 Narrative Trajectory Patterns: Linear, Circular, Spiral = 78 5 GENRE IN MODERN CINEMA = 82 Melodrama and Modernism = 84 Excursus: Sartre and the Philosophy of Nothingness = 90 A Modern Melodrama: Antonioni's Eclipse (1962) = 96 Other Genres and Recurrent Plot Elements = 99 Investigation = 99 Wandering/Travel = 102 The Mental Journey = 103 Closed-Situation Drama = 111 Satire/Genre Parody = 114 The Film Essay = 116 6 PATTERNS OF MODERN FORMS = 120 Primary Formation: Continuity and Discontinuity = 122 Radical Continuity = 128 imaginary Time in Last Year at Marienbad = 130 Radical Discontinuity = 131 The Fragmented Form according to Godard = 132 Serial Form = 136 7 STYLES MODERNISM = 140 Minimalist Styles = 140 The Bresson Style = 141 Abstract SubJectivity and the "Model" = 146 Bresson and His Followers = 148 Analytical Minimalism: The Antonioni Style = 149 Psychic Landscape? = 149 Continuity = 153 Antonioni and His Followers = 156 Expressive Minimalism = 161 8 NATURALIST STYLES = 168 Post-neorealism = 169 Cinema Verite = 170 The "New Wave" Style = 172 9 ORNAMENTAL STYLES = 175 10 THEATRICAL STYLES = 192 11 MODERN CINEMA TRENDS = 203 The Family Tree of Modern Cinema = 210 Part Three: Appearance and Propagation of Modernism (1949-1958) 12 CRITICAL REFLEXIVITY OR THE BIRTH OF THE AUTEUR = 217 The Birth of the Auteur = 218 Historical Forms of Reflexivity = 224 The Emergence of Critical Reflexivity: Bergman's Prison = 227 Reflexivity and Abstraction: Modern Cinema and the Nouveau Roman = 231 13 THE RETURN OF THE THEATRICAL = 238 Abstract Drama = 241 14 THE DESTABILIZATION OF THE FABULA = 244 Voice-Over Narration = 245 The Dissolution of Classical Narrative: Film Noir and Modernism = 246 Fabula Alternatives: Hitchcock = 248 Alternative Subjective Narration: Rashomon = 251 15 AN ALTERNATIVE TO THE CLASSICAL FORM : NEOREALISM AND MODERNISM = 253 The End of Neorealism = 255 Modernism in Story of a Love Affair: Neorealism Meets Film Noir = 256 Rossellini: The "Neorealist Miracle" = 260 Part Four: The Short Story of Modern Cinema (1959-1975) 16 THE ROMANTIC PERIOD, 1959-1961 = 275 Neorealism: The Reference = 276 Eastern Europe: From Socialist Realism toward Neorealism = 282 Heroism versus Modernism = 284 Jerzy Kawalerowicz: The First Modern Polish Auteur = 286 The Year 1959 = 290 Forms of Romantic Modernism = 293 Genre and Narration in the Early Years = 295 Sound and Image = 298 Background and Foreground = 300 From Hiroshima to Marienbad: Modernism and the Cinema of the Elite = 303 The Production System of the "New Cinema" = 306 17 ESTABLISHED MODERNISM, 1962-1966 = 310 Western Europe around 1962 = 310 The Key Film of 1962: Fellini's 8 1/2 = 316 Central Europe = 322 Czechoslovak Grotesque Realism = 324 The "Central European Experience" = 326 Jancso and the Ornamental Style = 329 Summary = 336 18 THE YEAR 1966 = 338 The Loneliness of the Auteur = 341 19 POLITICAL MODERNISM, 1967-1975 = 349 The Year 1968 = 350 Conceptual Modernism: The Auteur's New World = 355 Reconstructing Reality = 357 Counter-Cinema: Narration as a Direct Auteurial Discourse = 363 The Film as a Means of Direct Political Action = 368 Parabolic Discourse = 371 Teorema = 373 The Auteur's Private Mythology = 376 The Self-Critique of Political Modernism: Sweet Movie = 380 Summary = 382 20 "THE DEATH OF THE AUTEUR" = 383 The Last of Modernism: Mirror = 387 Mirror and Serial Structure = 389 The Disappearance of Nothingness = 394 Appendix: A Chronology of Modern Cinema = 401 Selected Bibliography = 409 Index of Names and Movie Titles = 415

Show more