سینمای آینده‌نگر: مطالعاتی در مورد فیلم‌های آوانگارد ایتالیایی (فرهنگ فیلم در حال گذار)

Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era. Table of Contents Acknowledgements Preface: The Poly-expressive Symphony of Futurist Cinema Section 1: Joyful Deformation Of The Universe 1. Introduction. The Poetics of Futurist Cinema 2. Speed and Dynamism. Futurism and the Soviet Cinematographic Avant-garde 3. Futurism and Film Theories. Manifesto of Futurist Cinema and Theories in Italy in the 1910-1920s 4. Film Aesthetics Without Films 5. Marinetti’s Tattilismo Revisited. Hand Travels, Tactile Screens, and Touch Cinema in the 21st Century 6. Dance and Futurism in Italian Silent Cinema 7. Futurism and cinema in the 1910s. A reinterpretation starting from McLuhan 8. The Human in the Fetish of the Human. Cuteness in Futurist Cinema, Literature, and Visual Arts Section 2: Daily Filmed Exercises Designed To Free Us From Logic 9. Yambo on the moon of Verne and Méliès. From La colonia lunare to Un matrimonio interplanetario 10. An Avant-Garde Heritage. Vita futurista 11. Thaïs. A Different Challenge to the Stars 12. Velocità, a Screenplay by F.T. Marinetti. From Futurist Simultaneity to Live Streaming Media 13. Velocità/Vitesse. Filmed Dramas of Objects and ‘avant-garde integrale’ 14. From Science to the Marvellous. The Illusion of Movement, Between Chronophotography and Contemporary Cinema Section 3: Shop Windows Of Filmed Ideas, Events, Types, Objects Chronology Filmography Index "Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. The Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection 'Futurist Cinema', Rossella Catanese and the other authors explore that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting, in order to rethink it for a new era."--Page 4 de la couverture "Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. The Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection 'Futurist Cinema', Rossella Catanese and the other authors explore that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting, in order to rethink it for a new era."--Back cover Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema , the contributors explore that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.

Exhaustive compendium by one of the world's foremost experts on the Swedish master covers Bergman's life, his cultural background, his entire artistic career and extensive annotated bibliographies of interviews and critical writings on Bergman.

Rossella Catanese brings in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.