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Zusatztext Mark Le Fanu! who "endured a Catholic upbringing during the 1950s in the north of Scotland"! has written a lucid and highly readable study of the role of religion - and specifically! the Christian religion - in classic European cinema. His thesis! unfashionable in certain quarters but cogently argued! that religion and culture are inseparable! takes in not only expected figures like Bresson and Tarkovsky! but also such avowed atheists as the Spanish director Luis Buñuel. Altogether this book offers many penetrating insights! such as will rivet the attention - and challenge the assumptions - of even the most irreligious reader. Informationen zum Autor MARK LE FANU is a writer on film who has contributed to Sight and Sound , Positif and The East-West Review . A former Research Fellow at Downing College, Cambridge, he now teaches at University College London, UK. He is the author of The Cinema of Andrei Tarkovsky (1987) and Mizoguchi and Japan (2005), which was shortlisted in its year of publication for the Kraszna-Krausz Book Award. Klappentext We live in a secular world and cinema is part of that secular edifice. There is no expectation, in modern times, that filmmakers should be believers - any more than we would expect that to be the case of novelists, poets and painters. Yet for all that this is true, many of the greatest directors of classic European cinema (the period from the end of World War II to roughly the middle of the 1980s) were passionately interested not only in the spiritual life but in the complexities of religion itself. In his new book Mark Le Fanu examines religion, and specifically Christianity, not as the repository of theological dogma but rather as an energizing cultural force - an 'inflexion' - that has shaped the narrative of many of the most striking films of the twentieth century. Discussing the work of such cineastes as Eisenstein and Tarkovsky from Russia; Wajda, Zanussi and Kieslowski from Poland; France's Rohmer and Bresson; Pasolini, Fellini and Rossellini from Italy; the Spanish masterpieces of Buñuel, and Bergman and Dreyer from Scandinavia, this book makes a singular contribution to both film and religious studies.Explores the importance of Christianity in shaping post-War European cinema. Zusammenfassung We live in a secular world and cinema is part of that secular edifice. There is no expectation! in modern times! that filmmakers should be believers - any more than we would expect that to be the case of novelists! poets and painters. Yet for all that this is true! many of the greatest directors of classic European cinema (the period from the end of World War II to roughly the middle of the 1980s) were passionately interested not only in the spiritual life but in the complexities of religion itself. In his new book Mark Le Fanu examines religion! and specifically Christianity! not as the repository of theological dogma but rather as an energizing cultural force - an 'inflexion' - that has shaped the narrative of many of the most striking films of the twentieth century. Discussing the work of such cineastes as Eisenstein and Tarkovsky from Russia; Wajda! Zanussi and Kieslowski from Poland; France's Rohmer and Bresson; Pasolini! Fellini and Rossellini from Italy; the Spanish masterpieces of Buñuel! and Bergman and Dreyer from Scandinavia! this book makes a singular contribution to both film and religious studies. Inhaltsverzeichnis General Editor's Introduction Introduction CHAPTER 1: Russia: Tarkovsky, Eisenstein and Christianity CHAPTER 2: Poland: A Trio of Catholics CHAPTER 3: France: The Apostasy of Robert Bresson CHAPTER 4: Italy: Christianity and Neo-Realism CHAPTER 5: Scandinavia: Lutheran Interludes CHAPTER 6: Spain: The Heresies of Don Luis CHAPTER 7: Russia Again: Millennial Faith and Nihilism Afterword Acknowledgements Li...
