Cinema After Fascism considers how postwar European films glance ambivalently backward from the postwar period to the fascist era and delves into issues of gender certainties and spectatorship. In this period of film; familiar structures of epistemology and historiography reappear as ghostly imprints on postwar celluloid; and the remnants of fascist subjectivity walk the streets of postwar cities. Through new perspectives on the films of Roberto Rossellini; Billy Wilder; Carol Reed; Alain Resnais; and Marguerite Duras; this book examines the ways in which filmmakers acknowledge the fascist past. Siobhan S. Craig reveals that the attempts to reconfigure the idioms of cinema are never fully naturalized and remain highly precarious constructions.
#3063035 in eBooks 2011-07-26 2011-07-26File Name: B009AURNOC
Review
0 of 0 people found the following review helpful. Missing factual information. sadly.By move2poetryWhile the book looks interesting and is loaded with lovely pictures. I was sadly. disappointed with the content and treatment of the subject. It seems to be imbalanced and not well researched. For example. Contemporary Indian Dance was flourishing in Singapore since the early 1950s. Collaborative. cross cultural work and idea of group dance in the Bharathanatyam style was conceived outside of India. and in Singapore. in the mid 1950s. Prior to this it was not present this way in India. except in the movies. Singapore is hardly mentioned and not given any coverage even though Dance (namely Bharathanatyam) flourished prior to Kuala Lumpur which received a lot of coverage. Disappointing that this vital piece of information was left out. Not sure why and how the author sourced information. conducted his research. and why this and other similar information was left out.
