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Geoffrey Nowell-Smith - Making Waves, Revised and Expanded, Häftad

Häftad, Engelska, 2013

Making Waves, Revised and Expanded

New Cinemas of the 1960s

Av Geoffrey Nowell-Smith

441 kr

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Beskrivning
The 1960s was famously the decade of sex, drugs and rock'n'roll. It was also a decade of revolution and counter-revolution, of the Cuban missile crisis, of the American intervention in Vietnam, of economic booms and the beginning of consumerism (and the rebellion against it). In Hollywood, the genres which had held audiences captive in the 1940s and 50s - musicals, Westerns, melodramas - were losing their appeal and their great practitioners were approaching retirement. The scene was therefore set for new cinemas to emerge to attract the young, the discriminating, the politically conscious and the sexually emancipated.Making Waves, Revised and Expanded is a sharp, focused, and brilliant survey of the innovative filmmaking of the 1960s, placing it in its political, economic, cultural and aesthetic context - capturing the distinctiveness of a decade which was great for the cinema and for the world at large. Geoffrey Nowell-Smith pays particular attention to a handful of the most remarkable talents (Godard, Antonioni, Oshima) that emerged during the period and helped to make it so special. Nowell-Smith updates his classic text with a focus on 1960s Japan and the burgeoning New York scene.
Produktinformation
  • Utgivningsdatum: 2013-08-15
  • Mått: 150 x 226 x 16 mm
  • Vikt: 400 g
  • Format: Häftad
  • Språk: Engelska
  • Antal sidor: 264
  • Förlag: Bloomsbury Publishing Plc
  • ISBN: 9781623565084
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Geoffrey Nowell-Smith is Honorary Professorial Fellow in the School of History at Queen Mary, University of London.

Recensioner i media

Veteran film scholar Nowell-Smith (The Oxford History of World Cinema) is indeed ‘making waves’ as he demystifies the new cinemas of the 1960s in Europe and Latin America. He doesn’t hesitate to point out that a new-wave director’s use of a documentary style or black and white was because of financial rather than aesthetic reasons, or that some of the innovative techniques used (e.g. shaky camera, jump cuts, and strangely accentuated location sounds) actually reflect incompetence in overcoming difficulties in location shooting. Particularly interesting is his analysis of the change in British culture and how it affected free cinema in that country and the contrast between the diversity of new filmmaking in France and the corresponding dearth of new wave in Italy... this work distinguishes itself as an all-encompassing text on the subject, unlike others that focus on an individual country during the 1960s. Recommended for both public and academic libraries.

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