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The Cinema of Theo Angelopoulos
Demonstrates how the films of Theo Angelopoulos react aesthetically to their historical period The Cinema of Theo Angelopoulos is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, this groundbreaking collection brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Angelopoulos' formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the...
Demonstrates how the films of Theo Angelopoulos react aesthetically to their historical period The Cinema of Theo Angelopoulos is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, this groundbreaking collection brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Angelopoulos' formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the confines of the Greek national film industry, the book approaches his work as representative of modernism more generally, and in particular of the modernist imperative to document its allusive historical objects through artistic innovation. Retrospective in nature, The Cinema of Theo Angelopoulos argues that Angelopoulos' films are not emblems of a bygone historical and cultural era or abstract exercises in artistic style, but are foreshadowing documents that speak to the political complexities and economic contradictions of the present. * Read the introduction online for free (pdf) Contributors * Maria Chalkou holds a PhD in Film Theory and History (University of Glasgow). * Stephanie Hemelryk Donald is Head of the School of the Arts at the University of Liverpool. * Caroline Eades is Associate Professor in the School of Languages, Literatures and Cultures at the University of Maryland, College Park. * Hamish Ford is a Senior Lecturer in Film Studies at the University of Newcastle, Australia. * Dan Georgakas has been one of the editors of Cineaste film quarterly since 1969. * Asbjørn Grønstad is Professor of Visual Culture in the Department of Information Science and Media Studies at the University Of Bergen. * Andrew Horton is Jeanne H. Smith Professor of Film and Media Studies at the University of Oklahoma, an award-winning screenwriter, and the author of twenty-seven books on film, screenwriting and cultural studies. * Fredric Jameson is the author of Postmodernism, or The Cultural Logic of Late Capitalism (1991), which won the MLA Lowell Award. * Smaro Kamboureli is the Avie Bennett Professor in Canadian Literature at the University of Toronto. * Vrasidas Karalis is a Professor of Modern Greek at the University of Sydney. * Alexander Kluge is a political philosopher, author, filmmaker and co-writer of the Oberhausen Manifesto (1962). * Julian Murphet is Professor in Modern Film and Literature at the University of New South Wales and the Director of the Centre for Modernism studies in Australia. * Dany Nobus is Professor of Psychoanalytic Psychology and Pro-Vice-Chancellor for External Affairs at Brunel University London. * Nagisa Oshima (1932-2013) was an influential Japanese filmmaker and scriptwriter. * Nektaria Pouli teaches courses in Psychology at St Mary's University, South Bank University and the Open University. * Sylvie Rollet is Professor in Film Studies at the University of Poitiers and has previously taught at the Sorbonne Nouvelle University. * Richard Rushton is Senior Lecturer at Lancaster University, UK. * Robert Sinnerbrink is Senior Lecturer in Philosophy at Macquarie University.
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