https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 Producing revolutionary history on film: Henri Lefebvre's urban space and Peter Watkins' La Commune (Paris, 1871) https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:29764 Wed 11 Apr 2018 15:57:54 AEST ]]> Driving into the void: Kiarostami's 'Taste of Cherry' https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:24274 Wed 11 Apr 2018 13:54:55 AEST ]]> Generative apogee and elegiac expansion: European film modernism from Antonioni to Angelopoulos https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26768 L'avventura (1960) as a seminal moment in his development, reportedly watch­ing it thirteen times while a student in Paris during the early 1960s (cited in Archimandritis ZOIJ: 26). What exactly is it about Antonioni's work that was so formative for Angelopoulos, and how can we see its effects play out in his own subsequent films? More than simply illustrating authorial influence, by exam­ining the connections between these two filmmakers as well as some important differences, this chapter seeks to explore the ways in which, through their work, we can chart the complex development of European feature film modernism itself.]]> Tue 10 Apr 2018 11:03:39 AEST ]]> Screening the 'other' Deutschland https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8179 Sat 24 Mar 2018 08:36:16 AEDT ]]> The Silence https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8183 Sat 24 Mar 2018 08:36:15 AEDT ]]> Andrei Roublev https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:8073 Sat 24 Mar 2018 08:34:25 AEDT ]]> The return of 1960s modernist cinema https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:13812 Sat 24 Mar 2018 08:22:44 AEDT ]]> Broken glass by the road: Adorno and a cinema of negativity https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:13327 Sat 24 Mar 2018 08:17:02 AEDT ]]> Post-war modernist cinema and philosophy: confronting negativity and time https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16238 Sat 24 Mar 2018 07:53:35 AEDT ]]> Two or three things I know about her https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16344 Sat 24 Mar 2018 07:50:43 AEDT ]]> Consistent pickings but few difficult pleasures (55th Sydney Film Festival) https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:5206 Sat 24 Mar 2018 07:47:46 AEDT ]]> Difficult relations: film studies and continental European philosophy https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:6430 Sat 24 Mar 2018 07:45:20 AEDT ]]> Charting the web: at the demonic, utopian heart of Rivette's 1970s Cinema https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:29429 Out 1: Noli me tangere (1971), Out 1: Spectre (1972), Céline et Julie vont en bateau: Phantom Ladies Over Paris/Céline and Julie go Boating (1974), Duelle (une quarantaine) and Noroît (both 1976) is what I call the web. Such a key organising principle powers this caché of experimental feature films, a treasure-chest long hidden or difficult to access but now finally brought into the digital light. A loose term encapsulating their much-discussed internal conspiracy theme and the key organisational principle of Rivette's cinema, the web also evokes networks of a less exotic nature, including the banal but vital pursuit of connections between people driven by desire for external meaning and continuity. But it just as easy results in withdrawal and disconnection. The subtitle added to Out 1's long version upon Rivette's definitive 1990 edit, Noli me tangere, is a Latin term meaning "touch me not", "don't tread on me", or more prosaically, "don't come too close." This is an appropriate phrase (with mythic origins attributed to Jesus speaking to Mary Magdalene following his resurrection) signaling Out 1's story of people coming into close proximity and association before moving away without confirmation of ongoing connection. Throughout these five films, the web's alienating, oppressive, and sometimes sinister dimension exists alongside its playful, connective, and creative potential. The result is a cinema at once demonic and utopian. Link: http://sensesofcinema.com/2016/jacques-rivette/jacques-rivettes-1970s-cinema/]]> Sat 24 Mar 2018 07:39:18 AEDT ]]> Hard clarity, vaporous ambiguity: the fusion of realism and modernism in Antonioni's early 1960s films https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26471 Sat 24 Mar 2018 07:27:15 AEDT ]]> On slippery ground: Robert Altman, beyond Hollywood or modernism https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26470 Sat 24 Mar 2018 07:27:15 AEDT ]]> The porous frame: visual style in Altman's 1970s films https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26769 Mon 09 Apr 2018 11:41:58 AEST ]]> From otherness 'over there' to virtual presence: Camp de Thiaroye - the Battle of Algiers - Hidden https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16240 Mon 09 Apr 2018 11:10:38 AEST ]]>