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Informationen zum Autor Antoine de Baecque is a historian and film critic and professor of cinema studies at the University of Paris X Nanterre. His books in English include Truffaut: A Biography; The Body Politic: Corporeal Metaphor in Revolutionary France! 1770-1800; Glory and Terror; and A History of Democracy in Europe. He has served as culture editor for the newspaper Liberation and as editor in chief of Cahiers du cinema. Ninon Vinsonneau teaches American culture and cinema at Ecole Centrale Paris. Jonathan Magidoff teaches history at Sciences Po Paris. Klappentext Antoine de Baecque proposes a new historiography of cinema! exploring film as a visual archive of the twentieth century! as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes! certain twentieth-century filmmakers used a particular mise-en-scene to give form to history! becoming in the process historians themselves. Historical events! in turn! irrupted into cinema. This double movement! which de Baecque terms the "cinematographic form of history!" disrupts the very material of film! much like historical events disturb the narrative of human progress.De Baecque defines! locates! and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style! which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films! or the "de-modern" works of catastroika; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristic mise en forme of filmmaker Sacha Guitry! who! in Si Versailles m'etait conte (1954)! filmed French history from inside its chateau; the work of Jean-Luc Godard! who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins! the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework! a profoundly brilliant conceptualization of the many ways cinema and history relate. Inhaltsverzeichnis Prelude: The Tree of HistoryIntroduction: The Cinematographic Forms of History Disciplinary Uncertainties Cinema as Historian Cinema and History: An Analogy of the "Half-Cooked State" Cinema Pursues the Path of History to Reveal What Is Hidden Even from Memory The Sensible Fabric of the World1. Foreclosed Forms: How Images of Mass Death Reemerged in Modern Cinema The Look-to-Camera: A Modern Form of History The Gaze of Death in Action How History Reemerges Through Cinema Alain Resnais and the Editing of Time Monsieur Verdoux! or How Chaplin Puts to Death His Inner Wandering Jew "Faces with Black! Rat-Like Eyes" Hitchcock and the Indelible Corpse Man Alone in the Face of the Machine of Death Mass Death: Neither Reconstruction nor Mise-en-scene2. From Versailles to the Silver Screen: Sacha Guitry! Historian of France "Doing Versailles": Controversial Project and Historical Polemic Guitry and the Revenge of History A Certain Vision of History The Spectacle of Court Society3. "Me? Uh! Nothing!" The French New Wave! Politics! and History Hussar Thought A Cinema "That Has Nothing to Say" Heroes of the New Wave and Militants of Disarray Politicization via Malraux An Intrinsically Political Cinema: Filming Life with Style The Algerian War: The Intimate Drama of the New Wave Torture: The Limit Experience of the New Wave A Political Janus-Face4. Peter Watkins! Live from History: The Films! Style! and Method of Cinema's Special Correspondent Making War Through Making Films The Time of Filmed Reportage The Trials and Tribulations of an Exiled Filmmaker The Deathblow as a Stylistic Form Edvard Munch! or How to Resist the Pa...
