1946-1973 (livre en anglais)
de Tino Balio
(0 vote)Moyenne des votes :
| 0 | vote |  = On peut s'en passer |
| 0 | vote |  = Bon livre |
| 0 | vote |  = Excellent livre |
| 0 | vote |  = Unique / une référence |
Votre vote : -
Description de l'ouvrage :
“Balio revisits the most exciting period in the history of world cinema, reminding us how movies suddenly, briefly became a vital force in modern intellectual life.”
—Richard B. Jewell, author of The Golden Age of Cinema: Hollywood, 1929–1945
Largely shut out of American theaters since the 1920s, foreign films such as Open City, Bicycle Thief, Rashomon, The Seventh Seal, Breathless, La Dolce Vita, and L’Avventura played after World War II in a growing number of art houses around the country and created a small but influential art film market devoted to the acquisition, distribution, and exhibition of foreign-language and English-language films produced abroad. Nurtured by successive waves of imports from Italy, Great Britain, France, Sweden, Japan, and the Soviet Bloc, the renaissance was kick-started by independent distributors working out of New York; by the 1960s, however, the market had been subsumed by Hollywood.
From Roberto Rossellini’s Open City in 1946 to Bernardo Bertolucci’s Last Tango in Paris in 1973, Tino Balio tracks the critical reception in the press of such filmmakers as François Truffaut, Jean-Luc Godard, Federico Fellini, Michelangelo Antonioni, Tony Richardson, Ingmar Bergman, Akira Kurosawa, Luis Buñuel, Satyajit Ray, and Milos Forman. Their releases paled in comparison to Hollywood fare at the box office, but their impact on American film culture was enormous. The reception accorded to art house cinema attacked motion picture censorship, promoted the director as auteur, and celebrated film as an international art. Championing the cause was the new “cinephile” generation, which was mostly made up of college students under thirty.
The fashion for foreign films depended in part on their frankness about sex. When Hollywood abolished the Production Code in the late 1960s, American-made films began to treat adult themes with maturity and candor. In this new environment, foreign films lost their cachet and the art film market went into decline.
Biographie de l'auteur :
Tino Balio is professor emeritus of film in the Department of Communication Arts at the University of Wisconsin–Madison and former director of the Wisconsin Center for Film and Theater Research. He is author of United Artists, Volume 1, 1919–1950 and United Artists, Volume 2, 1951–1978 as well as Grand Design: Hollywood as Modern Business Enterprise, 1930–1939. He is editor of The American Film Industry and Hollywood in the Age of Television.
Voir le site internet de l'éditeur University of Wisconsin Press
> Du même auteur :
Grand Design, 1930–1939 (1996)
History of American Cinema vol.5
de Tino Balio
(en anglais)
Sujet : Histoire du cinéma
> Sur un thème proche :
Le goof au cinéma (2020)
De la gaffe au faux raccord, la quête de l'anomalie filmique
de Réjane Hamus-Vallée et Olivier Caïra
Sujet : Sociologie
Ecrits de spectateurs (2020)
théâtre et cinéma
Collectif dir. Fabien Cavaillé, Myriam Juan et Claire Lechevalier
Sujet : Sociologie
Cinéphilies plurielles dans la France des années 1940-1950 (2019)
Sortir, lire, rêver, collectionner
Collectif dir. Delphine Chedaleux et Mélisande Leventopoulos
Sujet : Sociologie
Les Nouvelles Pratiques cinéphiles (2015)
Collectif dir. Jean-Paul Aubert et Christel Taillibert
Sujet : Sociologie
Pourquoi aime-t-on un film? (2015)
Quand les sciences cognitives discutents des goûts et des couleurs
Sujet : Sociologie
Pourquoi est-on déçu par un film au cinéma ? (2007)
Microsociologie et typologies de la déception
de Michaël Pino
Sujet : Sociologie
Nota : Un livre sur fond de couleur beige est un livre édité dans une autre langue que le français.
Retour
