{"title":"10. 作为生产方式的整体电影","authors":"Mikhail, Zvyagintsev, C. Gallego","doi":"10.1515/9789048539215-013","DOIUrl":null,"url":null,"abstract":"Chapter 10 examines Bazin’s ‘myth of total cinema’ in light of a major trend in recent world cinema to focus on monumental landscapes, in films by and ( The Story of the Weeping Camel/ 2019). Taken together, these films testify to the remarkable convergence among filmmakers from the most disparate corners of the globe in resorting to expansive landscapes as a totalising cosmos and a sealed-off stage for the drama of existence, where realism manifests itself by means of real locations.","PeriodicalId":169642,"journal":{"name":"Realist Cinema as World Cinema","volume":"126 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"10. Total Cinema as Mode of Production\",\"authors\":\"Mikhail, Zvyagintsev, C. Gallego\",\"doi\":\"10.1515/9789048539215-013\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Chapter 10 examines Bazin’s ‘myth of total cinema’ in light of a major trend in recent world cinema to focus on monumental landscapes, in films by and ( The Story of the Weeping Camel/ 2019). Taken together, these films testify to the remarkable convergence among filmmakers from the most disparate corners of the globe in resorting to expansive landscapes as a totalising cosmos and a sealed-off stage for the drama of existence, where realism manifests itself by means of real locations.\",\"PeriodicalId\":169642,\"journal\":{\"name\":\"Realist Cinema as World Cinema\",\"volume\":\"126 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-12-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Realist Cinema as World Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1515/9789048539215-013\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Realist Cinema as World Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/9789048539215-013","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Chapter 10 examines Bazin’s ‘myth of total cinema’ in light of a major trend in recent world cinema to focus on monumental landscapes, in films by and ( The Story of the Weeping Camel/ 2019). Taken together, these films testify to the remarkable convergence among filmmakers from the most disparate corners of the globe in resorting to expansive landscapes as a totalising cosmos and a sealed-off stage for the drama of existence, where realism manifests itself by means of real locations.