John David Rhodes – författare

This title considers the films of Michael Haneke, who has emerged as a major figure in world cinema over the last fifteen years. Austrian director Michael Haneke is recognized for films that explore the most pressing social questions of our time while simultaneously pushing the boundaries of style with innovative visual and sonic practices. ""On Michael Haneke"" is one of the very first and most extensive considerations of Haneke's work. Editors Brian Price and John David Rhodes have gathered contributors whose own work combines critical inquiry and close formal analysis to explore the philosophical, historical, and stylistic complexity of Haneke's films. This volume is divided into three parts, beginning with 'Violence and Play', in which contributors explore the relation in Haneke's films between violence and playfulness that complicates questions of media, representation, and morality. Essays in part 2, 'Style and Medium', investigate Haneke's stylistic innovation and the ways in which he can be seen as indebted to previous traditions and filmmakers, including the Italian neorealists, Alfred Hitchcock, Antonioni, and Robert Bresson. Part 3 addresses questions of 'Culture and Conflict' by looking at the cultural and historical problems suggested by Haneke's films and exploring the relation between culture and film style. ""On Michael Haneke"" is both an introduction to the work of a major figure in world cinema and a model for modern media criticism. Scholars of film and television studies, cinephiles, and anyone interested in contemporary film culture will enjoy ""On Michael Haneke"".

John David Rhodes places the city of Rome at the center of this original and in-depth examination of the work of Italian director Pier Paolo Pasolini-but it’s not the classical Rome you imagine. Stupendous, Miserable City situates Pasolini within the history of twentieth-century Roman urban development. The book focuses first on the Fascist period, when populations were moved out of the urban center and into public housing on the periphery of the city, called the borgate, and then turns to the progressive social housing experiments of the 1950s. These environments were the settings of most of Pasolini’s films of the early to mid-1960s.  Discussing films such as Accattone, Mamma Roma, and The Hawks and the Sparrows, Rhodes shows how Pasolini used the borgate to critique Roman urban planning and neorealism and to draw attention to the contemptuous treatment of Rome’s poor. To Pasolini, the borgate, rich in human incident, linguistic difference, and squalor, “were life”-and now his passion can be appreciated fully for the first time.  Carefully tracing Pasolini’s surprising engagement with this part of Rome and looking beyond his films to explore the interrelatedness of all of Pasolini’s artistic output in the 1950s and 1960s-including his poetry, fiction, and journalism-Rhodes opens up completely new ways of understanding Pasolini’s work and proves how connected Pasolini was to the political and social upheavals in Italy at the time.  John David Rhodes is lecturer in literature and visual culture at the University of Sussex.

Taking Place argues that the relation between geographical location and the moving image is fundamental and that place grounds our experience of film and media. Its original essays analyze film, television, video, and installation art from diverse national and transnational contexts to rethink both the study of moving images and the theorization of place. Through its unprecedented-and at times even obsessive- attention to actual places, this volume traces the tensions between the global and the local, the universal and the particular, that inhere in contemporary debates on global cinema, television, art, and media.Contributors: Rosalind Galt, U of Sussex; Frances Guerin, U of Kent; Ji-hoon Kim; Hugh S. Manon, Clark U; Ara Osterweil, McGill U; Brian Price, U of Toronto; Linda Robinson, U of Wisconsin–Whitewater; Michael Siegel; Noa Steimatsky, U of Chicago; Meghan Sutherland, U of Toronto; Mark W. Turner, Kings College London; Aurora Wallace, New York U; Charles Wolfe, U of California, Santa Barbara.

Much of our time at the movies is spent in other peoples homes. Cinema is, after all, often about everyday life. Spectacle of Property is the first book to address the question of the ubiquitous conjuncture of the moving image and its domestic architecture. Arguing that in cinema we pay to occupy spaces we cannot occupy, John David Rhodes explores how the house in cinema both structures and criticizes fantasies of property and ownership. Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with the horrible anxieties it produces. He begins by laying out a theory of film spectatorship that proposes the concept of the spectator-tenant,with reference to films such as Gone with the Wind and The Magnificent Ambersons. The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Louis. Among the other films discussed are Meshes of the Afternoon, Mildred Pierce, A Star Is Born, Killer of Sheep, and A Single Man. Bringing together film history, film theory, and architectural history as no book has to date, Spectacle of Property marks a new milestone in examining cinemas relationship to realism while leaving us vastly more informed about, if less at home inside, the houses we occupy at the movies.

What are film props? What do they do? This book answers these questions by a close attention to those material objects that are used to construct cinematic worlds. The term "prop" is short for property. This truncated term's etymology belies the expansiveness of the concept and indicates the micro and macro scales at which the prop operates. Props are the material—often literal—furniture of cinema's diegetic reality. Props are also narrative agents: think of the animacy of objects in Jean Epstein's account of photogénie, the crystal egg in Risky Business, or the domestic bric-à-brac of Sirk's melodramas. The prop is central to production design and the construction of mise-en-scène. And yet, the prop has rarely—almost never—been taken as an object of analysis and theorization in its own right. This book begins by tracing the prop's curious but unacknowledged role in film theory, before proceeding to a series of theoretical speculations and close readings that bring the prop into focus. Analyses of scenes of "prop mastery" demonstrate the labor that props perform and enable, as well as the interpretive work they make possible. Across a variety of genres, modes, and historical contexts—studio filmmaking, art cinema, adult and avant-garde films—The Prop introduces readers to the notion of "prop value," a quality that puts the prop in proximity to the capitalist commodity, but also provides an ironic distance from the commodity's subjection to exchange value. Gorfinkel and Rhodes argue that the prop is nothing less than a condensation of how labor, subjection, value, and instrumentality underwrite the very conditions of cinema.

What are film props? What do they do? This book answers these questions by a close attention to those material objects that are used to construct cinematic worlds. The term "prop" is short for property. This truncated term's etymology belies the expansiveness of the concept and indicates the micro and macro scales at which the prop operates. Props are the material—often literal—furniture of cinema's diegetic reality. Props are also narrative agents: think of the animacy of objects in Jean Epstein's account of photogénie, the crystal egg in Risky Business, or the domestic bric-à-brac of Sirk's melodramas. The prop is central to production design and the construction of mise-en-scène. And yet, the prop has rarely—almost never—been taken as an object of analysis and theorization in its own right. This book begins by tracing the prop's curious but unacknowledged role in film theory, before proceeding to a series of theoretical speculations and close readings that bring the prop into focus. Analyses of scenes of "prop mastery" demonstrate the labor that props perform and enable, as well as the interpretive work they make possible. Across a variety of genres, modes, and historical contexts—studio filmmaking, art cinema, adult and avant-garde films—The Prop introduces readers to the notion of "prop value," a quality that puts the prop in proximity to the capitalist commodity, but also provides an ironic distance from the commodity's subjection to exchange value. Gorfinkel and Rhodes argue that the prop is nothing less than a condensation of how labor, subjection, value, and instrumentality underwrite the very conditions of cinema.

This collection of new essays by leading film scholarsaddresses Michelangelo Antonionias apre-eminent figure in European art cinema, explores his continuing influence and legacy, and engages with his ability to both interpret and shape ideas of modernity and modern cinema.

This collection of new essays by leading film scholarsaddresses Michelangelo Antonionias apre-eminent figure in European art cinema, explores his continuing influence and legacy, and engages with his ability to both interpret and shape ideas of modernity and modern cinema.

Meshes of the Afternoon (1943), filmed by Maya Deren and her then husband Alexader Hammid in their bungalow above Sunset Boulevard for a mere $274.90, is the most important film in the history of American avant-garde cinema. The artistic collaboration between Deren and Hammid finds its distorted reflection in the vision of the film''s tormented female protagonist. Its focus - through a series of intricate and interlocking dream sequences - on female experience and the domestic sphere links Meshes to the Hollywood melodramas of the period, while its unsettling atmosphere of dread, death and doubles makes it a counter-cinematic cousin to film noir. The film has influenced not only the subsequent history of experimental film, but also on the work of Hollywood auteurs. It is a touchstone of women''s film-making, of modern cinema and of modern art. John David Rhodes traces the film''s history back into the lives of Maya Deren and Alexander Hammid, but in particular that of Deren. He reads the film as a culmination of Deren''s abiding interest in modernism and her intense engagement in socialist politics. Rhodes argues that while the film remains a powerful point of reference for feminist film-makers and experimentalists, it is also an example of political art in the broadest terms.In his foreword to this new edition, Rhodes reflects upon the film''s continuing importance for and influence upon feminist and avant-garde filmmaking.

Meshes of the Afternoon (1943), filmed by Maya Deren and her then husband Alexader Hammid in their bungalow above Sunset Boulevard for a mere $274.90, is the most important film in the history of American avant-garde cinema. The artistic collaboration between Deren and Hammid finds its distorted reflection in the vision of the film''s tormented female protagonist. Its focus - through a series of intricate and interlocking dream sequences - on female experience and the domestic sphere links Meshes to the Hollywood melodramas of the period, while its unsettling atmosphere of dread, death and doubles makes it a counter-cinematic cousin to film noir. The film has influenced not only the subsequent history of experimental film, but also on the work of Hollywood auteurs. It is a touchstone of women''s film-making, of modern cinema and of modern art. John David Rhodes traces the film''s history back into the lives of Maya Deren and Alexander Hammid, but in particular that of Deren. He reads the film as a culmination of Deren''s abiding interest in modernism and her intense engagement in socialist politics. Rhodes argues that while the film remains a powerful point of reference for feminist film-makers and experimentalists, it is also an example of political art in the broadest terms.In his foreword to this new edition, Rhodes reflects upon the film''s continuing importance for and influence upon feminist and avant-garde filmmaking.

Meshes of the Afternoon (1943), filmed by Maya Deren and her then husband Alexader Hammid in their bungalow above Sunset Boulevard for a mere $274.90, is the most important film in the history of American avant-garde cinema. The artistic collaboration between Deren and Hammid finds its distorted reflection in the vision of the film's tormented female protagonist. Its focus - through a series of intricate and interlocking dream sequences - on female experience and the domestic sphere links Meshes to the Hollywood melodramas of the period, while its unsettling atmosphere of dread, death and doubles makes it a counter-cinematic cousin to film noir. The film has influenced not only the subsequent history of experimental film, but also on the work of Hollywood auteurs. It is a touchstone of women's film-making, of modern cinema and of modern art.John David Rhodes traces the film's history back into the lives of Maya Deren and Alexander Hammid, but in particular that of Deren. He reads the film as a culmination of Deren's abiding interest in modernism and her intense engagement in socialist politics. Rhodes argues that while the film remains a powerful point of reference for feminist film-makers and experimentalists, it is also an example of political art in the broadest terms.In his foreword to this new edition, Rhodes reflects upon the film's continuing importance for and influence upon feminist and avant-garde filmmaking.

This collection of new essays by leading film scholarsaddresses Michelangelo Antonionias apre-eminent figure in European art cinema, explores his continuing influence and legacy, and engages with his ability to both interpret and shape ideas of modernity and modern cinema.