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Zusatztext Richard Suchenski opens a totally innovative perspective regarding relations between film length, editing, memory, poetry and reality. This groundbreaking work enlightens the resources, and the significance, of the use of a very long format by some specific filmmakers in some specific conditions. It is at the same time perfectly clear about the implication of such an approach, way beyond the 'monuments of the history of cinema' it explicitly focuses on. The sensible quality of Suchenski's writing about specific sequences, scenes, images, or historical and technical components of the filmmaking process provides an understanding and an emotional proximity toward major filmic works, should they be already well-known by the reader or, on the opposite, revealed thanks to this book. Informationen zum Autor Richard I. Suchenski is Associate Professor of Film and Electronic Arts and Director of the Center for Moving Image Arts at Bard College. Suchenski has a joint Ph.D. in History of Art and Film Studies from Yale University, and is a film curator. He is the editor of Hou Hsiao-hsien. Projections of Memory argues that the long-form modernist art film of the twentieth century is more or less the direct conceptual descendant of the eighteenth-century Romantic traditions that originated in literature, painting, and architecture. Zusammenfassung Projections of Memory is an exploration of a body of innovative cinematic works that utilize their extraordinary scope to construct monuments to the imagination that promise profound transformations of vision, selfhood, and experience. This form of cinema acts as a nexus through which currents from the other arts can interpenetrate. By examining the strategies of these projects in relation to one another and to the larger historical forces that shape them--tracing the shifts and permutations of their forms and aspirations--Projections of Memory remaps film history around some of its most ambitious achievements and helps to clarify the stakes of cinema as a twentieth-century art form. Introduction; Chapter 1: The Era of the Image Has Arrived; Chapter 2: Towards the Temenos - Gregory Markopoulos' Eniaios; Chapter 3: We Are No Longer Innocent - The Long Form Aesthetic of Jacques Rivette; Chapter 4: The Sense of an Ending - Jean-Luc Godard's Histoire(s) du cinema; Conclusion ...
