Spaces in European Cinema

Myrto Konstantarakos
Intellect Books, 2000 - 188 páginas
How is space constructed in European Cinema?
What ideological or artistic concerns does space "narrate"? This is one of the few studies of its kind to explore such questions and the only text to fully address the unique spatial power of the cinema. Coveing films of the 1920s right up to those of the 1990s; racial, social and gendered 'mappings' of the city and its private and public spaces are considered from a fresh perspective.
The volume includes special contributions from scholars right across Europe who focus on previously neglected areas such as news and municipal cinema as well as the canon of key European films. Offreing a plurality of critical approaches, the text interweaves national cinema with specific genre studies and documents the vision of individual film-makers.
Fully illustrated with a comprehensive filmography and bibliography, this is a significant work for use in the study of Modern Languages or film. Spaces in European cinema is the product of the Research Centre of European Cinema at Middlesex University.

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Página 7 - Thus the chronotope, functioning as the primary means for materializing time in space, emerges as a center for concretizing representation, as a force giving body to the entire novel. All the novel's abstract elements — philosophical and social generalizations, ideas, analyses of cause and effect — gravitate toward the chronotope and through it take on flesh and blood, permitting the imaging power of art to do its work.
Página 3 - We will give the name chronotope [literally, „time space"] to the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature.
Página 6 - Bakhtin's terms, the scholarly article, which quotes or cites statements by others — "some for refutation and others for confirmation and supplementation — is one instance of a dialogic interrelationship among directly signifying discourses within the limits of a single context. . . . This is not a clash of two ultimate semantic authorities, but rather an objectified (plotted) clash of two represented positions, subordinated wholly to the higher, ultimate authority of the author. The monologic...

Acerca del autor (2000)

Myrto Konstantarakos is from the Middlesex University.

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