Global Cinema Studies in Landscape Allegory

Inbunden, Engelska, 2024

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Global Cinema Studies in Landscape Allegory explores the narrative and stylistic approaches to imbuing natural settings in audiovisual media with a psychological dimension – or, in other words, configuring a ‘landscape’ to function beyond its typical role as a backdrop – and the cultural contexts for this aesthetic impulse. Contributors argue that while audiovisual allegory can be understood as inherently avant-garde, certain kinds of stories – and the ways in which they are presented – can be categorized as a ‘landscape allegory.’ Focusing on the idea of a ‘landscape’ in the most concrete and literal form, contributions drawing from a global spectrum of cultural contexts work toward establishing a fuller and more culturally diverse understanding of landscape allegory in cinema.

Produktinformation

Utgivningsdatum2024-08-20
Mått158 x 236 x 17 mm
Vikt449 g
FormatInbunden
SpråkEngelska
Antal sidor198
FörlagBloomsbury Publishing Plc
ISBN9781666921205

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Film inom Kultur
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IntroductionDavid MelbyeChapter One: Vacation Landscapes and Interpersonal Crisis in Argentine FilmRocío GordonChapter Two: Landscapes of Loss and Guilt in Post-Socialist Hungarian and Romanian CinemaHajnal KirályChapter Three: Allegorizing Socialist China: Landscape in Chung Kuo, Cina and A Brilliant SpectacleSabrina Y. TaoChapter Four: An Alternative Sublime: Filming a Contemporary Gold Rush at The Top of The World Filipa RosárioChapter Five: Landscape Allegory in Nacer Khemir’s Desert TrilogyEbrahim Barzegar & Fatemeh GholamiChapter Six: High Ground, Level Ground, and Underground: Dynamics of the Colonized Australian LandscapeSusan BarberChapter Seven: Emergence of the Cinematographer: Landscape Allegory in Soviet Thaw FilmsDavid MelbyeAbout the Editor and Contributors

Global Cinema Studies in Landscape Allegory explores how cinematic landscapes, often invested with psychological dimensions, play key roles in their films’ moral universes. Its seven chapters, alongside its informative introduction, deal with both older films and very new ones from Argentina, Hungary, Romania, China, Peru, North Africa, Australia, and Russia. Whether as scholars or students, anyone who is interested in landscapes that are idyllic, transformative, or ‘guilty,’ ones that evoke memories of vanished peoples, or ones that could best be described as domains of love with the potential for hope, is sure find something of interest in this worthwhile collection.