10. 作为生产方式的整体电影

Realist Cinema as World Cinema Pub Date : 2020-12-31 DOI:10.1515/9789048539215-013

Mikhail, Zvyagintsev, C. Gallego

{"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}

引用次数: 0

摘要

第10章根据最近世界电影的主要趋势(《哭泣骆驼的故事》/ 2019)，研究了巴赞的“整体电影神话”。总的来说，这些电影证明了来自世界上最不同角落的电影人之间的显著融合，他们将广阔的景观作为一个整体的宇宙和一个封闭的舞台来表现存在的戏剧，在这里，现实主义通过真实的地点表现出来。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

查看原文本刊更多论文

10. Total Cinema as Mode of Production

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.

求助全文

通过发布文献求助，成功后即可免费获取论文全文。去求助

来源期刊

Realist Cinema as World Cinema

自引率

0.00%

发文量