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摘要
摘要
Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema , Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.
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This groundbreaking interdisciplinary book brings together scholars of avant-garde Italian futurism of the 1910s and 1920s to offer insights on Italian futurist cinema and its cinematic production. The methodological approaches span film and media studies, film theory and literary criticism, cultural and gender studies, and visual and performing art studies. The contributors offer unique perspectives on this early-20th-century avant-garde movement, demonstrating that it influenced not only other movements, such as Soviet futurism, but also visual arts, literature, and dance. Thanks to the different approaches, what emerges from this scholarly work is the notion that futurist cinema can be understood only by engaging it in a theoretical framework that takes into consideration all the diverse possibilities of the arts. In the second part of the book some important futurist films are analyzed through close readings, adding filmic analysis to the more critical and theoretical first part. Part 3 comprises a chronology of futurism and a filmography, both crucial to the book. Summing Up: Recommended. Graduate students, researchers, faculty. --Chiara De Santi, Farmingdale State College SUNY
目录
Acknowledgements | p. 7 |
Preface: The Poly-expressive Symphony of Futurist Cinema | p. 9 |
Section 1 Joyful Deformation Of The Universe | |
1 Introduction | p. 19 |
The Poetics of Futurist CinemaGiovanni Lista | |
2 Speed and Dynamism | p. 33 |
Futurism and the Soviet Cinematographic Avant-garde | p. 33 |
3 Futurism and Film Theories | p. 45 |
Manifesto of Futurist Cinema and Theories in Italy in the 1910-1920sValentina Valente | |
4 Film Aesthetics Without Films | p. 57 |
5 Marinetti's Tattilismo Revisited | p. 69 |
Hand Travels, Tactile Screens, and Touch Cinema in the 21st CenturyWanda Strauven | |
6 Dance and Futurism in Italian Silent Cinema | p. 89 |
7 Futurism and cinema in the 1910s | p. 103 |
A reinterpretation starting from McLuhanAntonio Saccoccio | |
8 The Human in the Fetish of the Human | p. 115 |
Cuteness in Futurist Cinema, Literature, and Visual ArtsGiancarlo Carpi | |
Section 2 Daily Filmed Exercises Designed To Free Us From Logic | |
9 Yambo on the moon of Verne and Méliès | p. 133 |
From La colonia lunare to Un Matrimonio InterplanetarioDenis Lotti | |
10 An Avant-Garde Heritage | p. 147 |
Vita FuturistaRossella Catanese | |
11 Thaïs | p. 163 |
A Different Challenge to the Stars | p. 163 |
12 Velocità, a Screenplay | p. 181 |
From Futurist Simultaneity to Live Streaming Media | p. 181 |
13 Velocità/Vitesse | p. 195 |
Filmed Dramas of Objects and 'avant-garde integrale' | p. 195 |
14 From Science to the Marvellous | p. 209 |
The Illusion of Movement, Between Chronophotography and Contemporary Cinema | p. 209 |
Section 3 Shop Windows Of Filmed Ideas, Events, Types, Objects | |
Chronology | p. 225 |
Filmography | p. 241 |
Index | p. 255 |