Timothy Corrigan – författare

The Humanities and Human Flourishing series publishes edited volumes that explore the role of human flourishing in the central disciplines of the humanities, and whether and how the humanities can increase human happiness.This edited volume examines the role of cinema and media in the context of human flourishing. The history of cinema is rife with films and genres in which positive cinematic narratives stand out as remarkable and defining achievements. Since the 1930s through the superhero movies of today, from You Can't Take It with You or Toy Story to literary adaptations like Midsummer Night's Dream or Clueless, films have celebrated the resilience and triumphs of people pursuing a life of happiness and contentment. Yet, in the majority of these films, various crises shadow these pursuits, adding obstacles and detours that suggest films require a narrative drama of conflict, out of which human well-being and flourishing eventually emerge. This volume covers a multitude of historical periods and topics, including discussions of the Aristotelian and classical models of a "good life" that inform animated fairy tales today; how 1930s French and Hollywood films responded to the dire need for productive human relationships in a turbulent decade; the polemical positions of black film criticism through the lens of James Baldwin; a discussion of contemporary filmic quests for happiness; the challenges for women filmmakers today in mapping the values of their own world; the scientific, psychological, and philosophical base for human value; and the shifting media frames of modern society and selves. Cinema, Media Studies, and Human Flourishing features a diverse array of approaches to understanding human flourishing through cinematic representations of the journey to a fulfilling life.

In Describing Cinema, award-winning film scholar Timothy Corrigan explores the art and poetics of writing about film. Part theory, part rhetoric, and part pedagogy, the text examines and demonstrates acts of describing scenes, shots, and sequences in films as the most common and most underestimated way viewers respond to movies. Describing Cinema represents a global range of movies from Hollywood to Morocco to Rome, made from the 1940s to the present. As Corrigan shows, energetic and careful descriptions can serve as exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. At its best, the act of describing films never simply denotes actions, images, sounds, or styles but rather produces the orchestration of one or more of those dimensions as an often creative and intersubjective movement between images, viewers, and a rhetorical language. Providing an invaluable exploration of the challenges and rewards film scholars face in describing movies, Corrigan insists that writing about film becomes thinking about film.

In Describing Cinema, award-winning film scholar Timothy Corrigan explores the art and poetics of writing about film. Part theory, part rhetoric, and part pedagogy, the text examines and demonstrates acts of describing scenes, shots, and sequences in films as the most common and most underestimated way viewers respond to movies. Describing Cinema represents a global range of movies from Hollywood to Morocco to Rome, made from the 1940s to the present. As Corrigan shows, energetic and careful descriptions can serve as exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films. At its best, the act of describing films never simply denotes actions, images, sounds, or styles but rather produces the orchestration of one or more of those dimensions as an often creative and intersubjective movement between images, viewers, and a rhetorical language. Providing an invaluable exploration of the challenges and rewards film scholars face in describing movies, Corrigan insists that writing about film becomes thinking about film.

Even though essay films have been a key practice since the 1950s, there is scant analysis about this form in English. Part of this is likely due to the inherent difficulty of definition. The films, which foreground subjectivity and adopt an explicit, personal approach to their subject matter, can look and feel very different from one another. Their coherence as a group, however, comes into focus when contextualized as part of the larger tradition from which they draw. By looking to the literary and philosophical lineage of the essay form, Corrigan brings new clarity to a practice that, arguably, is one of the most common and successful in contemporary film culture. The Essay Film situates its investigation in the literary tradition of essayists such as Montaigne, Barthes, and Huxley before moving to an expansive discussion of filmmakers such as Derek Jarman, Allan Clark, Werner Herzog, Harun Farocki, Chantal Akerman, Chris Marker, Errol Morris, Nanni Moretti, Agnès Varda, Ross McElwee, Abbas Kiarostami, Raoul Ruiz, Lynne Sachs, and Trinh T. Minh-ha.

Even though essay films have been a key practice since the 1950s, there is scant analysis about this form in English. Part of this is likely due to the inherent difficulty of definition. The films, which foreground subjectivity and adopt an explicit, personal approach to their subject matter, can look and feel very different from one another. Their coherence as a group, however, comes into focus when contextualized as part of the larger tradition from which they draw. By looking to the literary and philosophical lineage of the essay form, Corrigan brings new clarity to a practice that, arguably, is one of the most common and successful in contemporary film culture. The Essay Film situates its investigation in the literary tradition of essayists such as Montaigne, Barthes, and Huxley before moving to an expansive discussion of filmmakers such as Derek Jarman, Allan Clark, Werner Herzog, Harun Farocki, Chantal Akerman, Chris Marker, Errol Morris, Nanni Moretti, Agnès Varda, Ross McElwee, Abbas Kiarostami, Raoul Ruiz, Lynne Sachs, and Trinh T. Minh-ha.

The essay-with its emphasis on the provisional and explorative rather than on definitive statements-has evolved from its literary beginnings and is now found in all mediums, including film. Today, the essay film is, arguably, one of the most widely acclaimed and critically discussed forms of filmmaking around the world, with practitioners such as Chris Marker, Hito Steyerl, Errol Morris, Trinh T. Minh-ha, and Rithy Panh. Characteristics of the essay film include the blending of fact and fiction, the mixing of art- and documentary-film styles, the foregrounding of subjective points of view, a concentration on public life, a tension between acoustic and visual discourses, and a dialogic encounter with audiences. This anthology of fundamental statements on the essay film offers a range of crucial historical and philosophical perspectives. It provides early critical articulations of the essay film as it evolved through the 1950s and 1960s, key contemporary scholarly essays, and a selection of writings by essay filmmakers.It features texts on the foundations of the essay film by writers such as Hans Richter and Andre Bazin; contemporary positions by, among others, Phillip Lopate and Michael Renov; and original essays by filmmakers themselves, including Laura Mulvey and Isaac Julien.

The essay-with its emphasis on the provisional and explorative rather than on definitive statements-has evolved from its literary beginnings and is now found in all mediums, including film. Today, the essay film is, arguably, one of the most widely acclaimed and critically discussed forms of filmmaking around the world, with practitioners such as Chris Marker, Hito Steyerl, Errol Morris, Trinh T. Minh-ha, and Rithy Panh. Characteristics of the essay film include the blending of fact and fiction, the mixing of art- and documentary-film styles, the foregrounding of subjective points of view, a concentration on public life, a tension between acoustic and visual discourses, and a dialogic encounter with audiences. This anthology of fundamental statements on the essay film offers a range of crucial historical and philosophical perspectives. It provides early critical articulations of the essay film as it evolved through the 1950s and 1960s, key contemporary scholarly essays, and a selection of writings by essay filmmakers.It features texts on the foundations of the essay film by writers such as Hans Richter and Andre Bazin; contemporary positions by, among others, Phillip Lopate and Michael Renov; and original essays by filmmakers themselves, including Laura Mulvey and Isaac Julien.

The Routledge new edition of this classic book functions as an accessible introduction to the historical and theoretical exchanges between film and literature and also includes the key critical readings necessary for an understanding of this increasingly vibrant and popular field of adaption studies. This new edition has been fully updated and is usefully separated into three sections: in the first section Timothy Corrigan guides readers through the history of film and literature to the present; the second section has expanded to reprint 28 key essays by leading theorists in the field including André Bazin, Linda Hutcheon and Robert Stam, as well as new essays by Timothy Corrigan and William Galperin; and the third section offers hands-on strategies and advice for students writing about film and literature.Film and Literature will fill a gap for many film and literature courses and courses concentrating on the interplay between the two.The companion website features an interactive timeline, extended filmography and comprehensive bibliography, by Geoff Wright, Samford University, USA. www.routledge.com/cw/corrigan

The Routledge new edition of this classic book functions as an accessible introduction to the historical and theoretical exchanges between film and literature and also includes the key critical readings necessary for an understanding of this increasingly vibrant and popular field of adaption studies. This new edition has been fully updated and is usefully separated into three sections: in the first section Timothy Corrigan guides readers through the history of film and literature to the present; the second section has expanded to reprint 28 key essays by leading theorists in the field including André Bazin, Linda Hutcheon and Robert Stam, as well as new essays by Timothy Corrigan and William Galperin; and the third section offers hands-on strategies and advice for students writing about film and literature.Film and Literature will fill a gap for many film and literature courses and courses concentrating on the interplay between the two.The companion website features an interactive timeline, extended filmography and comprehensive bibliography, by Geoff Wright, Samford University, USA. www.routledge.com/cw/corrigan

Given Herzog’s own pronouncement that ‘film is not the art of scholars, but of illiterates,’ it is not surprising that his work has aroused ambivalent and contradictory responses. Visually and philosophically ambitious and at the same time provocatively eccentric, Herzog’s films have been greeted equally by extreme adulation and extreme condemnation.Even as Herzog’s rebellious images have gained him a reputation as a master of the German New Wave, he has been attacked for indulging in a romantic naiveté and wilful self-absorption. To his hardest critics, Herzog’s films appear as little more than Hollywood fantasies disguised as high seriousness. This book is an attempt to illuminate these contradictions. It gathers essays that focus from a variety of angles on Herzog and his work. The contributors move beyond the myths of Herzog to investigate the merits of his work and its place in film history. A challenging range of films is covered, from Fata Morgana and Aguirre, the Wrath of God to more recent features such as Nosferatu and Where the Green Ants Dream, offering the reader ways of understanding why, whatever the controversies surrounding Herzog and his films, he remains a major and popular international filmmaker. Orignally published in 1986.

"One of the sharpest and most productive analyses of our contemporaneity and the place of cinema within it and of our new historical relations as spectators to the imaginary universe on the movie screen. This is a study that will be of intense interest to film theorists and historians, cultural critics, mass media analysts, and anyone concerned with the complicated place of culture in our world today."--Dana Polan, English and Film Studies, University of Pittsburgh How have modern advertising techniques, the widespread use of VCRs, conglomerate takeovers of studios and film archives, cable TV, and media coverage of the Vietnam war changed the ways we watch movies? And how, in turn, have those different habits and patterns of viewing changed the ways in which films address their viewers? Drawing on a wide variety of American and European films and on many theoretical models, Timothy Corrigan investigates what he calls "a cinema without walls," taking a close look at particular films in order to see how we watch them differently in the post-Vietnam era. He examines cult audiences, narrative structure, genre films (road movies, in particular), and contemporary politics as they engage new models of film making and viewing. He thus provides a rare, serious attempt to deal with contemporary movies. Corrigan discusses filmmakers from a variety of backgrounds and cultures, including Martin Scorsese, Raoul Ruiz, Michael Cimino, Alexander Kluge, Francis Ford Coppola, Stephen Frears, and Wim Wenders. He offers detailed analyses of films such as Platoon; Full Metal Jacket; 9-1/2 Weeks; The Singing Detective; Choose Me; After Hours; Badlands; The King of Comedy; Paris, Texas; and My Beautiful Laundrette. Orchestrating this diversity, Corrigan provides a critical basis for making sense of contemporary film culture and its major achievements.

The decade from 2000 to 2009 is framed, at one end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other, by the election of the first African American president of the United States. In between, the United States and the world witnessed the rapid expansion of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings around the world, and a massive meltdown of world economies.Amid these crises and revolutions, American films responded in multiple ways, sometimes directly reflecting these turbulent times, and sometimes indirectly couching history in traditional genres and stories. In American Cinema of the 2000s, essays from ten top film scholars examine such popular series as the groundbreaking Matrix films and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11.  Each essay demonstrates the complex ways in which American culture and American cinema are bound together in subtle and challenging ways.

Long celebrated as a great aesthetic idealist and champion of the imagination, Coleridge is now beginning to be understood as a literary critic with many other dimensions, with exciting and far-reaching insights into language, and with detailed notions about the psychological, historical, and linguistic demands of the literary experience.In this study, Timothy Corrigan sees Coleridge's criticism as "the product of an actively self-conscious reader, of a precise user of language, and, most of all, of a historical man involved with the demands of his day." Specifically he studies the relationship between the language of Coleridge's criticism and his interests in politics, psychology, science, and theology.Corrigan concludes that Coleridge's work is not a closed and strictly defined system but an extraordinarily diverse one that responds sympathetically to new angles of research. His study is first and foremost an investigation of Coleridge's criticism based on Coleridge's own ideas about language and reading. While taking its particular direction from a variety of contemporary literary theories, the book is most concerned with how Coleridge's critical prose and theoretical positions anticipate these in an exceptionally complex way.

Having a nineteenth-century apartment in Paris steps from the Trocadero and Eiffel Tower is a dream. So is owning an eighteenth-century chateau in the French countryside known as the Versailles of the fields. Having both? That s the dreamy escapism found in designer Corrigan s new book, which will enchant Francophiles and design lovers alike with its rich trove of ideas for anyone wanting to decorate in a French-inspired style. In the first section of the book, Corrigan invites readers into his dazzling Paris apartment, walking them through the history of the building and his design plans, from the entryway through the salons, dining room, and bedrooms. In the second part, Corrigan shares his enduring love for French country homes. Traveling through his spectacular new chateau room by room, he tells the story of its purchase, restoration, and decoration. Layered throughout are insights and advice on topics ranging from antiquing in Paris, hanging art in the French style, hosting with panache, and exploring the French countryside. With gorgeous new photography commissioned for the book, this volume is a must for everyone who dreams of living in France and bringing French chic into their own lives.

How do you create a home that is elegant, but also livable? In his follow-up to the story of his restoration of a French chateau, internationally celebrated designer Timothy Corrigan, shares eleven homes that answer this question of elegance for today, from a John Fowler-inspired London townhouse near Belgravia Square, to a Hollywood Regency-inspired Los Angeles colonial, to an art-filled Chicago apartment with sweeping views of Lake Michigan, to Corrigan s own Parisian pied-a-terre. Layered in between each chapter are eleven interludes in which Corrigan outlines the building blocks of successful decoration, including Scale and Proportion, Symmetry, Architectural Details, Impactful Surfaces, Layering, Art and Mirrors, The Power of Color, The Role of Surprise, Mixing Elements, Drama Lessons, and Details. Illustrated with multiple photos, these interludes inspire and instruct with constructive advice, from addressing low ceilings with low furniture and low-hanging artwork, to utilizing reflectional symmetry to create serenity, giving the reader dozens of ideas to implement at home.

Given Herzog’s own pronouncement that ‘film is not the art of scholars, but of illiterates,’ it is not surprising that his work has aroused ambivalent and contradictory responses. Visually and philosophically ambitious and at the same time provocatively eccentric, Herzog’s films have been greeted equally by extreme adulation and extreme condemnation.Even as Herzog’s rebellious images have gained him a reputation as a master of the German New Wave, he has been attacked for indulging in a romantic naiveté and wilful self-absorption. To his hardest critics, Herzog’s films appear as little more than Hollywood fantasies disguised as high seriousness. This book is an attempt to illuminate these contradictions. It gathers essays that focus from a variety of angles on Herzog and his work. The contributors move beyond the myths of Herzog to investigate the merits of his work and its place in film history. A challenging range of films is covered, from Fata Morgana and Aguirre, the Wrath of God to more recent features such as Nosferatu and Where the Green Ants Dream, offering the reader ways of understanding why, whatever the controversies surrounding Herzog and his films, he remains a major and popular international filmmaker. Orignally published in 1986.

The Film Experience offers a comprehensive introduction to the art, language, industry, culture, and experience of the movies -with new digital tools to bring that experience to life and help students master course material.