Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond
The term "art cinema" has been applied to many cinematic projects, including the film d'art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what "art cinema" is. Turning the t...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Austin
University of Texas Press
[2021]
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| Schlagworte: | |
| Online-Zugang: | FAW01 FAB01 FCO01 FHA01 FKE01 FLA01 UPA01 UBG01 Volltext |
| Zusammenfassung: | The term "art cinema" has been applied to many cinematic projects, including the film d'art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what "art cinema" is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as "art" movies-an activity that has occurred across film history and across film subcultures-rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema "super-genre" from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Nov 2021) |
| Beschreibung: | 1 Online-Ressource (309 pages) |
| ISBN: | 9780292747753 |
| DOI: | 10.7560/747746 |
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| spelling | Andrews, David Verfasser aut Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond David Andrews Austin University of Texas Press [2021] © 2013 1 Online-Ressource (309 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Nov 2021) The term "art cinema" has been applied to many cinematic projects, including the film d'art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what "art cinema" is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as "art" movies-an activity that has occurred across film history and across film subcultures-rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema "super-genre" from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie In English PERFORMING ARTS / General bisacsh Avant-garde (Aesthetics) Experimental films History and criticism https://doi.org/10.7560/747746 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Andrews, David Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond PERFORMING ARTS / General bisacsh Avant-garde (Aesthetics) Experimental films History and criticism |
| title | Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond |
| title_auth | Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond |
| title_exact_search | Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond |
| title_exact_search_txtP | Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond |
| title_full | Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond David Andrews |
| title_fullStr | Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond David Andrews |
| title_full_unstemmed | Theorizing Art Cinemas Foreign, Cult, Avant-Garde, and Beyond David Andrews |
| title_short | Theorizing Art Cinemas |
| title_sort | theorizing art cinemas foreign cult avant garde and beyond |
| title_sub | Foreign, Cult, Avant-Garde, and Beyond |
| topic | PERFORMING ARTS / General bisacsh Avant-garde (Aesthetics) Experimental films History and criticism |
| topic_facet | PERFORMING ARTS / General Avant-garde (Aesthetics) Experimental films History and criticism |
| url | https://doi.org/10.7560/747746 |
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