
Filmklassiker Konvolut 26 Bücher BFI Softcover Kino Neuzustand Filme
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Filmklassiker Konvolut 26 Bücher BFI Softcover Kino Neuzustand Filme
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eBay-Artikelnr.:205645809792
Artikelmerkmale
- Artikelzustand
- ISBN
- 9781844572311
Über dieses Produkt
Product Identifiers
Publisher
BFI Publishing
ISBN-10
1844572315
ISBN-13
9781844572311
eBay Product ID (ePID)
65764634
Product Key Features
Book Title
8 1/2
Number of Pages
96 Pages
Language
English
Publication Year
2008
Topic
Film / Guides & Reviews, Film / History & Criticism
Illustrator
Yes
Genre
Performing Arts
Book Series
Bfi Film Classics Ser.
Format
Trade Paperback
Dimensions
Item Height
0.4 in
Item Weight
8 Oz
Item Length
7.5 in
Item Width
5.3 in
Additional Product Features
Intended Audience
Trade
Reviews
'D.A. Miller's study of the film suggests that we can now see more clearly how tentative Fellini's groundbreaking incarnation always was, and its enduring timeliness, he argues, lies in its determined shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities.' - Sight& Sound '...an excellent addition to one of the finest collections of film criticism ever collated...He [Miller] makes an interesting and persuasive argument for his theory and, like much great criticism, sheds new light on a classic film.' - Laurence Boyce, Netribution
Dewey Edition
22
Number of Volumes
1 vol.
Dewey Decimal
791.4372
Synopsis
Federico Fellini's masterpiece 8 1/2 (Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini's mirror image, and the story to reflect the making of 8 1/2 itself. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal filmmaking, and numerous directors, including Martin Scorsese, Woody Allen and Bruce LaBruce, paid homage to it in their own work. Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellin's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities., Federico Fellini's masterpiece 8 1/2 (Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini's mirror image, and the story to reflect the making of 8 1/2 itself. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal filmmaking, and numerous directors, including Martin Scorsese, Woody Allen and Bruce LaBruce, paid homage to it in their own work. Now that 8 1/2 's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: " I have nothing to say, but I want to say it anyway ." 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities.
LC Classification Number
PN1993-PN1999
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