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oapen-20.500.12657-327592023-03-09T09:02:26Z Subjectivity Chateau, Dominique subjectivity nouvelle vague Consciousness Duchy of Münsterberg Point-of-view shot Robert Bresson bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFA Film theory & criticism Subjectivity is a central concept in film theory, philosophy and cultural studies. It was also a key term in the reception of the Nouvelle Vague film movement in France and Italy from the start of 1945. This timely volume explores the ways in which the concept of subjectivity has made its way into film theory, history, practice and criticism, as well as the confrontations of the subject with this rapidly changing medium.Contributors to this timely study include Francesco Casetti, Gregory Currie, Marina Grzinic, Maria Klonaris and Katerina Thomadaki, Jacinto Lageira, José Moure, Pere Salabert, Céline Scemama, Karl Sierek, Vivian Sobchack, and Pierre Taminiaux. Their illuminating essays are a testimony to their profound involvement in the subjectivity debate, enriching our perception of film history and our understanding of the medium. 2016-12-31 23:55:55 2019-12-10 14:46:32 2020-04-01T14:18:23Z 2020-04-01T14:18:23Z 2011 book 605864 OCN: 1030822965 9789089643179 http://library.oapen.org/handle/20.500.12657/32759 eng The Key Debates: Mutations and Appropriations in European Film Studies application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 605864.pdf Amsterdam University Press 10.26530/OAPEN_605864 10.26530/OAPEN_605864 dd3d1a33-0ac2-4cfe-a101-355ae1bd857a Nederlandse Organisatie voor Wetenschappelijk Onderzoek 9789089643179 Dutch Research Council (NWO) 2 276 open access
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Subjectivity is a central concept in film theory, philosophy and cultural studies. It was also a key term in the reception of the Nouvelle Vague film movement in France and Italy from the start of 1945. This timely volume explores the ways in which the concept of subjectivity has made its way into film theory, history, practice and criticism, as well as the confrontations of the subject with this rapidly changing medium.Contributors to this timely study include Francesco Casetti, Gregory Currie, Marina Grzinic, Maria Klonaris and Katerina Thomadaki, Jacinto Lageira, José Moure, Pere Salabert, Céline Scemama, Karl Sierek, Vivian Sobchack, and Pierre Taminiaux. Their illuminating essays are a testimony to their profound involvement in the subjectivity debate, enriching our perception of film history and our understanding of the medium.
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