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Film on the Faultline.
Film has always played a crucial role in the imagination of disaster. The earthquake, especially, transforms our understanding of the limits and possibilities of cinema, as well as of life itself. After major quakes in countries as dissimilar as Japan, Chile, Iran and New Zealand, film-makers have r...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Bristol :
Intellect,
2015.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 260 | |a Bristol : |b Intellect, |c 2015. | ||
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| 505 | 0 | |6 880-01 |a Cover; Half Title; Title; Copyright; Contents; Introduction: Film Theory as Seismic Research; Chapter 1: A Tale of Two Cities: San Francisco 1906 and Earthquake in Adelaide; Chapter 2: The Wrath of Heaven: The Great Kantō Earthquake and Japanese Cinema; Chapter 3: Earthquakes in Film: Exploring Visualization Strategies; Chapter 4: The Virtual of Disaster: Science, Politics and Tectonics in Roland Emmerich's 2012; Chapter 5: Aftershock: The Cultural Politics of Commercializing Traumatic Memory; Chapter 6: The Just Distance: Abbas Kiarostami and the Aftermath of Devastation. | |
| 505 | 8 | |a Chapter 16: "What I Really Saw Could Not Possibly Be Reflected in a Movie": Abbas Kiarostami on Life and Nothing More ... Chapter 17: Tres Semanas después/Life Goes On; Notes on Contributors; Back Cover. | |
| 520 | |a Film has always played a crucial role in the imagination of disaster. The earthquake, especially, transforms our understanding of the limits and possibilities of cinema, as well as of life itself. After major quakes in countries as dissimilar as Japan, Chile, Iran and New Zealand, film-makers have responded with films that challenge ingrained social, political, ethical and philosophical categories of thinking and being in the world. Film on the Faultline explores the fractious relationship between cinema and seismic experience and addresses the important role that cinema can play in the wake o. | ||
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| 650 | 0 | |a Disaster films |x History and criticism. | |
| 650 | 6 | |a Films-catastrophes |x Histoire et critique. | |
| 650 | 7 | |a PERFORMING ARTS |x Reference. |2 bisacsh | |
| 650 | 7 | |a Disaster films. |2 fast |0 (OCoLC)fst00894721 | |
| 650 | 7 | |a PERFORMING ARTS / Film & Video / Reference |2 bisacsh | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
| 776 | 0 | 8 | |i Print version: |a Wright, Alan. |t Film on the Faultline. |d Bristol : Intellect, ©2015 |z 9781783204335 |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.2307/j.ctv36xvppx |z Texto completo |
| 880 | 8 | |6 505-01/(S |a Chapter 7: Towards a Natural History of the Cinema: Walter Benjamin, Film and CatastropheChapter 8: Seismic Energy and Symbolic Exchange in When a City Falls; Chapter 9: Landscapes in Conflict in Contemporary Chilean Film; Chapter 10: The Earth Still Trembles: On Landscape Views in Contemporary Italian Cinema; Chapter 11: Cinema in Reconstruction: Japan's Post 3.11 Documentary; Chapter 12: Ordinary Extraordinary: 3.11 in Japanese Fiction Film; Chapter 13: Earthquake/ΣΕΙΣΜΟΣ; Chapter 14: Home in a Foreign Land; Chapter 15: Moving: An Interview with Park Kiyong. | |
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