Editorial Reviews. Review. “Andras Balint Kovacs has written a monumental work . Impressive in its scope, erudition, originality, critical acumen, and. Spanning from the s to the s, András Bálint Kovács’s encyclopedic work argues that cinematic modernism was not a unified movement with a handful. Screening Modernism has 48 ratings and 4 reviews. Spanning from the s to the s, András Bálint Kovács’s encyclopedic work argues that cinematic.
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Screening Modernism: European Art Cinema, by András Bálint Kovács
Scrsening Art Cinema University of Chicago Press, As we approach the end of the s, it is worth remembering that it has been fifty years since that annus mirabilis during which history and aesthetics took a quantum leap.
In February Fidel Castro arrived in Havana.
In October a Soviet probe transmitted the first photos of the dark side of the moon. It was an efflorescence of rare velocity. In an era in which we are spoilt for choice as movies, television, DVD, satellite and cable vie for our viewing habits, any thoroughgoing attempt to account for the canonical audiovisual moment is welcome.
Post-war modernism became the first truly international style or movement in cinema. And seemed seminal. It occurs not very often in the history of art that one single year brings so many radical novelties that determine considerably the evolution of a genre or a style.
Screening Modernism: European Art Cinema
But that is exactly what happened in in European cinema. These films were not only emblematic of modern cinema, but represented all the important trends of modernism that would later spread throughout Europe and the world…almost the whole spectrum of modern cinema was opened up at once. Indeed, as rich and rigorous as this history of post-war aesthetics is, you find yourself wanting a little more of the history behind the history, so to speak.
It is easy to be picky, but here there is so much to choose from: And syntactically cumbersome, the sentences go on and on and modernissm.
As for the factual errors, these are not so frequent that they detract from the exacting intellectual ambition of the book, but they do glare. What about Woody Allen, an arch-legatee of Bergman, surely? The Free Cinema movement did not emerge out of the theatrical tradition.
It was the result of a British Film Institute funding initiative to re-invigorate British cinema cinematically, owing more to the poetic tradition in British documentary than to the British theatre, the hidebound traditions of which it opposed. There is also an irritating habit of shortening film titles.
Richard Armstrong, Cambridge University, U. Sunday, 23 November