scholarly journals CRÍTICO, COMISARIO Y CINEASTA EXPERIMENTAL: NÉSTOR ALMENDROS EN NUEVA YORK, 1957-1959

2021 ◽  
pp. 9-32
Author(s):  
Breixo Viejo
Keyword(s):  
Film Culture ◽  
Vassar College ◽  
La Luna

El reconocimiento internacional de Néstor Almendros (1930-1992) como director de fotografía ha eclipsado, dentro de la historia convencional del cine, otras dos facetas fundamentales de su trayectoria: la de crítico cinematográfico y la de director de cine experimental y documental. Este artículo analiza las actividades profesionales de Almendros durante el comienzo de su carrera en Nueva York, entre 1957 y 1959, y estudia con detenimiento su producción como comisario (para el cineclub de Vassar College), como crítico (para Film Culture) y como director de cine experimental (con los cortometrajes de vanguardia, El monte de la luna y 58-59). A su vez, y a través de un estudio crítico de materiales de archivo inéditos, propone una nueva lectura de la obra de Almendros que tiene en cuenta su carácter multidisciplinar y resitúa al cineasta como una de las figuras principales del cine español en el exilio. 

Neorealist Film Culture, 1945–1954

2019 ◽  
Author(s):  
Francesco Pitassio
Keyword(s):  
Film Culture

Screen Presence

2016 ◽  
Author(s):  
Stephen Monteiro
Keyword(s):  
Contemporary Art ◽  
Social Contexts ◽  
Popular Media ◽  
Andy Warhol ◽  
Film Culture ◽  
Artistic Practice ◽  
Popular Film ◽  
Robert Rauschenberg ◽  
Mona Hatoum ◽  
Source Materials

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

Re-centering the Cinema Experience in a Multi-Platform, Digital Age

2015 ◽  
Vol 8 (5) ◽  
Author(s):  
E. W. Nikdel
Keyword(s):  
Physical Environment ◽  
Cultural Memory ◽  
Emotional Response ◽  
Physical Space ◽  
Film History ◽  
Cultural Activity ◽  
Film Culture ◽  
The Past ◽  
Imminent Death ◽  
Multiple Media

With the advent of online distribution and the rise of multiple media devices, claims of the cinema’s imminent death have surfaced with greater intensity than ever before. Of course, with an ever-widening array of platforms these accounts have placed a newfound emphasis on the cinema as a distinctive physical space, one that plays host to a very particular and much cherished cultural activity. This article considers the substance of these claims by tracing a very particular historical route. Firstly, be revisiting Baudry’s notion of the dispositif, this article detects the importance of the physical environment in the process of film consumption. Secondly, I relate this emphasis on the physical to the traditional notion of the cinephile, a practice that ritualises the cinema experience. Many accounts across the spectrum of film history will attest to the profound ways in which the physical experience of the cinema summons a rich emotional response. Lastly, I consider how the cinema and the collective nature of film consumption provides an authentic trace to the past and a very certain time and place in history. In turn, despite competition from cheaper and more convenient platforms, this article will endeavour to show how the cinema retains its place at the centre of contemporary film culture. KEYWORDS Cinema, dispositif, cinephilia, cultural memory.

Cinema and the Haptic in Modern Japan

Screen Bodies ◽  
2018 ◽  
Vol 3 (1) ◽  
pp. 23-36
Author(s):  
Daisuke Miyao
Keyword(s):  
The Body ◽  
Film Culture ◽  
Visual Medium ◽  
German Cinema ◽  
The Status ◽  
The Senses ◽  
Modern Japan

The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.

Sign in / Sign up

Export Citation Format

Share Document