{"title":"宏伟的幽灵","authors":"Carsten Meiner","doi":"10.1080/17406315.2017.1319531","DOIUrl":null,"url":null,"abstract":"Abstract Carsten Meiner analyses a series of classic French films, from Truffaut to Haneke, and their uses of the home with respect to the relation between grandeur and individuality. Homes thus become problematizing mediators between individuals and national grandeur, and together the films form a historical series of quite consistent albeit surprising articulations of the metabolism of life in national grandeur. This focus on the home leads to reflections on the problems of the idea of “represented nationalism” in cinema.","PeriodicalId":44765,"journal":{"name":"Home Cultures","volume":"14 1","pages":"24 - 7"},"PeriodicalIF":0.5000,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17406315.2017.1319531","citationCount":"3","resultStr":"{\"title\":\"The Ghost of Grandeur\",\"authors\":\"Carsten Meiner\",\"doi\":\"10.1080/17406315.2017.1319531\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract Carsten Meiner analyses a series of classic French films, from Truffaut to Haneke, and their uses of the home with respect to the relation between grandeur and individuality. Homes thus become problematizing mediators between individuals and national grandeur, and together the films form a historical series of quite consistent albeit surprising articulations of the metabolism of life in national grandeur. This focus on the home leads to reflections on the problems of the idea of “represented nationalism” in cinema.\",\"PeriodicalId\":44765,\"journal\":{\"name\":\"Home Cultures\",\"volume\":\"14 1\",\"pages\":\"24 - 7\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2017-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/17406315.2017.1319531\",\"citationCount\":\"3\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Home Cultures\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17406315.2017.1319531\",\"RegionNum\":4,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ARCHITECTURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Home Cultures","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17406315.2017.1319531","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHITECTURE","Score":null,"Total":0}
Abstract Carsten Meiner analyses a series of classic French films, from Truffaut to Haneke, and their uses of the home with respect to the relation between grandeur and individuality. Homes thus become problematizing mediators between individuals and national grandeur, and together the films form a historical series of quite consistent albeit surprising articulations of the metabolism of life in national grandeur. This focus on the home leads to reflections on the problems of the idea of “represented nationalism” in cinema.
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