- EAN13
- 9781554586776
- Éditeur
- Wilfrid Laurier University Press
- Date de publication
- 31/12/2005
- Collection
- Film and Media Studies
- Langue
- anglais
- Langue d'origine
- anglais
- Fiches UNIMARC
- S'identifier
Image and Identity
Reflections on Canadian Film and Culture
R. Bruce Elder
Wilfrid Laurier University Press
Film and Media Studies
Livre numérique
-
Aide EAN13 : 9781554586776
- Fichier EPUB, avec Marquage en filigrane
31.99
_What do images of the body, which recent poets and filmmakers have given us,
tell us about ourselves, about the way we think and about the culture in which
we live?_
In his new book _A Body of Vision_ , R. Bruce Elder situates contemporary
poetic and cinematic body images in their cultural context.
Elder examines how recent artists have tried to recognize and to convey
primordial forms of experiences. He proposes the daring thesis that in their
efforts to do so, artists have resorted to gnostic models of consciousness. He
argues that the attempt to convey these primordial modes of awareness demands
a different conception of artistic meaning from any of those that currently
dominate contemporary critical discussion. By reworking theories and speech in
highly original ways, Elder formulates this new conception.
The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under
Elder’s razor-sharp dissecting knife and he exposes the essence of their work,
cutting deeply into the themes and theses from which the works are derived.
His remarks on the gaps in contemporary critical practices will likely become
the focus of much debate.
tell us about ourselves, about the way we think and about the culture in which
we live?_
In his new book _A Body of Vision_ , R. Bruce Elder situates contemporary
poetic and cinematic body images in their cultural context.
Elder examines how recent artists have tried to recognize and to convey
primordial forms of experiences. He proposes the daring thesis that in their
efforts to do so, artists have resorted to gnostic models of consciousness. He
argues that the attempt to convey these primordial modes of awareness demands
a different conception of artistic meaning from any of those that currently
dominate contemporary critical discussion. By reworking theories and speech in
highly original ways, Elder formulates this new conception.
The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under
Elder’s razor-sharp dissecting knife and he exposes the essence of their work,
cutting deeply into the themes and theses from which the works are derived.
His remarks on the gaps in contemporary critical practices will likely become
the focus of much debate.
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