By arguing that this dissident Catholic's worldview is anti-anthropocentric, Angela Dalle Vacche concludes that André Bazin's idea of the cinema recapitulates the histories of biological evolution and modern technology inside our consciousness, unsettling our routines in productive ways and expanding our sense of belonging to a much larger picture.
By arguing that this dissident Catholic's worldview is anti-anthropocentric, Angela Dalle Vacche concludes that André Bazin's idea of the cinema recapitulates the histories of biological evolution and modern technology inside our consciousness, unsettling our routines in productive ways and expanding our sense of belonging to a much larger picture.
Angela Dalle Vacche is Professor of Cinema Studies at the Georgia Institute of Technology in Atlanta. She has written extensively on the representation of history in film; on Italian women and early cinema; on intermediality and color. She is the author or editor of such works as Film, Art, New Media: Museum without Walls? (2012) and Diva: Defiance and Passion in Early Cinema (2008), and is currently developing a book on African cinema.
Inhaltsangabe
Preface and Acknowledgements Introduction: The Soul of Cinema The Structure of the Book Conceptual Key Words Cinema's Special Eye Lady in the Lake Cinema as Mind-Machine Art A Christological Ontology Impure Cinema Pure Cinema The Postwar Art Documentary Painting as Object, Cinema as Event Frame and Screen The Objects of Still Life and the Camera Lens as Object From Painting to Biology Science Darwin and Bergson Evocative Affinities Bergson, Einstein, Heisenberg Geometry and the Snowflake Mathematics and the Policier Miraculous Mathematics Neorealism and Calculus.. Michael Faraday Religion Immanence and the Supernatural Catholics and Communists Taking Risks Looking at Oneself from the Outside Charlot and Cabiria Saint Sulpice and Max Ophuls Robert Delannoy's Religious Adaptations Bazin's Ontology, Bresson's Stylistics Epilogue: Wind and Dust Anti-Anthropocentric Anthropocosmomorphism The Wild Grass of Saintonge Bibliography: Primary and Secondary Sources Primary Sources: Articles by André Bazin, cited in each chapter Primary Sources: Compilations of essays by André Bazin Secondary Sources Index of Names and Films List of Illustrations
Preface and Acknowledgements Introduction: The Soul of Cinema The Structure of the Book Conceptual Key Words Cinema's Special Eye Lady in the Lake Cinema as Mind-Machine Art A Christological Ontology Impure Cinema Pure Cinema The Postwar Art Documentary Painting as Object, Cinema as Event Frame and Screen The Objects of Still Life and the Camera Lens as Object From Painting to Biology Science Darwin and Bergson Evocative Affinities Bergson, Einstein, Heisenberg Geometry and the Snowflake Mathematics and the Policier Miraculous Mathematics Neorealism and Calculus.. Michael Faraday Religion Immanence and the Supernatural Catholics and Communists Taking Risks Looking at Oneself from the Outside Charlot and Cabiria Saint Sulpice and Max Ophuls Robert Delannoy's Religious Adaptations Bazin's Ontology, Bresson's Stylistics Epilogue: Wind and Dust Anti-Anthropocentric Anthropocosmomorphism The Wild Grass of Saintonge Bibliography: Primary and Secondary Sources Primary Sources: Articles by André Bazin, cited in each chapter Primary Sources: Compilations of essays by André Bazin Secondary Sources Index of Names and Films List of Illustrations
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