Cultural Study of the Art Film - Book One

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This exhaustive two-volume work approaches the films as works of art with notations of prevailing critical response. Each major film coverage begins with a ‘data block’ giving dates, personnel, etc., so that the textual material can move directly to substantive aspects. Material is presented not only as a text resource of information, but a correlation of film with other media as a time frame from association that might suggest cross-influence. Comparisons of directors’ styles and films of a certain period or culture as well as cross-cultural examination round out the coverage of each area. These volumes can function as a text for an introductory and in-depth course in the Art Film. With illustrations from films.


“A useful compendium of background information, plot summaries, and cultural, stylistic, and genre considerations, A Cultural Study of the Art Film is likely to appeal to any reader who wishes to delve deeper into classical films by world-class auteurs. The analyses are perceptive and insightful, written in a style that is at once clear, jargon-free, and reader friendly.” – Louis Giannetti, Professor Emeritus English and Film, Case Western Reserve University

“…comprehensive attempt to recap and update the major contributions of international filmmakers, with an epilogue that addresses the works of what can be called the American ‘art film’ contingent. Shelton offers brief career overviews, contextualizes them in light of each country’s cinematic and sociohistorical landscape, and then provides brief or extended detours into their selected film works….compact in organization and the author’s descriptive prose invites initial or return viewings of the titles under discussion at every turn…. Shelton shows these filmmakers existing as a community of individuals and as individualized voices for over 100 years of film history. All decades are appropriately and evenly represented. Regenerative linkages are celebrated among them and their works, making this an inspiring read that will invigorate students, scholars, and filmmakers.” – Del Jacobs

Table of Contents

Table of Contents:
· 1: Silent Film in Germany – the Weimar Era (UFA Studios; Erich Pommer; Karl Mayer; Kammerspielfilm; Robert Wiene; Fritz Lang; F. W. Murnau; G. W. Pabst; E. A. Dupont; Paul Wegener; Arthur Von Gerlach; Paul Leni; Leopold Jessner; Lulu Pick; Karl Grune; Josef von Sternberg; Walter Ruttmann)
· 2: Silent Film in Russia and France (Moscow Film Workshop; Montage Theory; Plastic Material; Revolt; Dziga Vertov; Lev Kuleshov; Sergei Eisenstein; V. I. Pudovkin; Alexander Dovzhenko; Abel Gance; Carl Theodor Dreyer)
· 3: Dada and Surrealism in France (Reaction to War; Fighting Traditions and Rationale; Freudian Theory; Louis Dulluc; Germaine Dulac; Dmitri Kirsanov; René Clair; Man Ray; Fernand Leger; Marcel Duchamp; Luis Buñuel; Jean Cocteau)
· 4: Further Works of Jean Cocteau (Manipulating Image and Myth; Ritual and Sacrifice; Self-Reflexivity)
· 5: Early Poetic Realism (Atmosphere and Trickery; Social Conventions and Class Structure; René Clair; Jean Vigo; Jacques Feyder; Julien Duvivier)
· 6: Pre-War Films of Jean Renoir (The Prison of Institutions; Fall of the Bourgeoisie)
· 7: Late Poetic Realism (Marcel Carne and Jacques Prevert – Melodrama and Despair)
· 8: Italian Neo-Realism (Fascist Confusion; Allied Occupation; Rebuilding; Luchino Visconti; Roberto Rossellini; Vittorio DeSica)
· 9: Further Films of Vittorio DeSica (Cesare Zavattini; Depth of Character; Non-professionalism Hope)
· 10: Post-War France (Search and Disillusionment; Seeking Genres; Recording Events; René Clair; Jean Renoir; René Clement; Jacques Tati; Henri Clouzot; Max Ophuls; Robert Bresson)
· 11: Spain: Early Films of Luis Buñuel (Addressing Repression; Holdover Surrealism; Roman Catholic Church)
· 12: Spain: Later Films of Luis Buñuel (Color and Disguised Revolt; Dark Humor; Social Paralysis)
· 13: Spain: Further Stylism and Franco (Carlos Saura; Victor Erice; Vicente Aranda)
· 14: Swedish Film: The Emergence of Ingmar Bergman (Nordic Legacies; Alf Sjoberg; The ‘Journey’ Triptych)
· 15: Ingmar Bergman: The Sixties (Searching for a God; Personal Imaging; Experimentation)
· 16: Ingmar Bergman: Political Urgency and Reform (Surrealism; The ‘Isolation’ Triptych; Theater and Self-Reflexivity)
· s 17: Films of Japan (Zen and Feudal Empires; Family Honor; Legends Then and Now; Yasujiro Ozu; Kenzo Mizoguchi; Kon Ichikawa; Hiroshi Teshigahara; Nagisa Oshima)
· 18: Early Films of Akira Kurosawa (Relative Truths; Inner Triumph; Shakespeare and the U. S. Western)
· 19: Later Films of Akira Kurosawa (Expressionism and Color; Personal Retreat; Shakespeare and the Epic)
· 20: Films of India and China (Contemplation; Hindu and Buddhist Influence; Fighting Traditions; Satyajit Ray; Zhang Yimou)
· 21: The New Wave: Early Jean-Luc Godard (Rebellion and Avant-Garde; André Bazin; Le Cahiers; Auteurship)
· 22: Later Jean-Luc Godard (Political Revolt; Self-Reflexivity; Further Brechtian Theater)
· 23: Films of François Truffaut (New Narrative Structures; The Misfit; Character Manipulation)
· 24: Films of Alain Resnais (Documentary Influence; Dis of Time; Literary Stylism)
· 25: Other New Wave Directors in France (Female Societal Roles and the Feminist Perspective; Claude Chabrol; Agnes Varda)
· 26: Further Stylism in the New Wave (Futurism; Moral Tales; Narratives of Repression; Eric Rohmer; Jacques Rivette)
· 27: The Second Italian Renaissance: Early Films of Federico Fellini (Breaking Neo-realist Ties; Fantasy; Female Roles; Sacred and Profane)
· 28: Federico Fellini’s World (Societal Breakdown; City as Model; Banality of the Upper Class)
· 29: Federico Fellini’s Self-Reflexivity (Childhood Memories; Life and the Circus; Learning to Love)
· 30: Early Films of Michelangelo Antonioni (Environment as Mirror; The Barrier; The Deconstructive Narrative)
· 31: Michelangelo Antonioni and the Environment (Trilogy of Isolation; Communication Gaps; Ecology Ahead of its Time)
· 32: Michelangelo Antonioni Outside Italy (Questioning Reality; Youth Rebellion; Britain, Africa, and the USA)
· 33: The Italian Post New Wave (Literary Bases; Forms of Spirituality; Fascism ; Marxist Values; Luchino Visconi; Vittorio DeSica; Pier Paolo Pasolini; Ermanno Olmi; The Taviani Brothers; Bernardo Bertolucci)
· 34: Satire in Italian Film (Satire; Passion, Sex, and Politics; Fellini Influence; Male Casting; Pietro Germi; Lina Wertmuller)
· 35: Films of Poland (Nationalism and Resistance; Nazi/Communist Gap; Alienation and Class; Andrjez Wajda; Roman Polanski; Jerzy Skolimowski)
· 36: Modern Poland and Hungarian Film (East/West Tendencies; Solidarity, History, and Metaphorical Figures; Krzysztof Kieslowski; Agnieszka Holland; Walerian Borowczyk; Krzystztof Zanussi; Miklos Jancso; Istvan Szabo; Peter Gothar; Ildyko Enyedi)
· 37: Films from the Former Czechoslovakia (Variants on Nazism; Anxiety before the Takeover; Social Structures; Milos Forman; Jan Kadar; Ivan Passer; Jiri Menzel; Vera Chytilova; Evald Schorm; Jan Nemek)
· 38: Yugoslavian Film: Dusan Makaveyev (Documentary Innovation; Mass Attack Through Sexual Politics)
· 39: Films from the Former Soviet Union (Montage; Folk Origins; Generations and Tribute; Antiwar Sentiment; Mikhail Kalatazov; Sergei Paradjanov; Andrei Konchalovsky; Gregori Chukrai; Vasily Pichul; Andrei Tarkovsky)
· 40: Films of Andrei Tarkovsky (Selective Color and Cinematography; Other Worlds; Bergman Connections)
· 41: German Film and Werner Herzog (World Debt; Nietzchean Supermen; Obsession and Distortion)
· 42: Early Films of Rainer Fassbinder (Employing Melodrama; The Oppressed; Theatrical Staging)
· 43: Later Films of Rainer Fassbinder (Sexual Politics; Dark Humor; Social Barriers and Misguided Sacrifice)
· 44: Early Films of Wim Wenders (Bildungsroman Model; Americanization; Cultural Homesickness)
· 45: Later Films of Wim Wenders (Venturing to America; Disillusionment and Return; Filming the Ultimate)
· 46: Other German Directors (Literary Models; Female Solidarity; Opera; Revisiting History; Volker Schlondorff; Margarethe Von Trotta; Helma Sanders-Brahms; Alexander Kluge; Edgar Reitz; Peter Lilienthal; Michael Verhoeven; Hans-Jurgen Syberberg; Jean-Marie Straub/Daniele Huillet)
· 47: Films from Great Britain (Alternatives to Traditions; Angry Young Men; Free Cinema Movement; Tony Richardson; Jack Clayton; Karel Reisz; Lindsay Anderson; Joseph Losey)
· 48: British Stylism in Film (Documentary Influence; Fantasy; Anachronism; Operatic Audience Games; John Schlesinger; Nicholas Roeg; Derek Jarman; Ken Russell; Peter Greenaway)
· 49: The British Return to Edwardian Literature (John Schlesinger; Ken Russell; James Ivory)
· 50: Films from Ireland and Scotland (Spirituality of Character; Different Takes on the IRA; Irony and Industry; Pat O’Connor; Neil Jordan; Bill Forsyth)
· 51: Films from Australia and New Zealand (Battles of Regret; Rituals; The Independence of the Female; Bruce Beresford; Peter Weir; Gillian Armstrong; Paul Cox; Jane Campion)
· 52: Films from Developing Nations (Environmental, Cultural, and Political Barriers; Old Meets New; Armando Godoy; Hector Babenco; Ruy Guerra; Tomas Alea; Youssef Chahine; Atom Agoyan
Epilogue: American Film

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