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The Orientation of Future Cinema
What is the fate of cinema in an age of new technologies, new aesthetic styles, new modes of cultural production and consumption? What becomes of cinema and a century-long history of the moving image when the theatre is outmoded as a social and aesthetic space, as celluloid gives over to digital technology, as the art-house and multiplex are overtaken by a proliferation of home entertainment systems? The Orientation of Future Cinema offers an ambitious and compelling argument for the continued life of cinema as image, narrative and experience. Commencing with Lumière’s Arrival of a Train at a Station, Bruce Isaacs confronts the threat of contemporary digital technologies and processes by returning to cinema’s complex history as a technological and industrial phenomenon. The technology of moving images has profoundly changed; and yet cinema materialises ever more forcefully in digital capture and augmentation, 3-D perception and affect, High Frame Rate cinema, and the evolution of spectacle as the dominant aesthetic mode in contemporary studio production.
eBook
Pasolini's Poetic Image: Il vangelo secondo Matteo/The Gospel According to Matthew
In the following short analysis, I discuss the poetic nature of the film image in Pasolini's landmark work, Il vangelo secondo Matteo/The Gospel According to Matthew (IT, 1964) (hereafter The Gospel). The actor does not stare down the barrel of the camera, but the mode of address signifies an awareness of the character's (and actor's) performativity and an awareness of the camera's presence. Against the Hollywood classical style of The Greatest Story Ever Told, The Gospel expresses its neorealist aesthetic through a negation of classical compositional form. [...]contrary to the Hollywood melodramatic narrative and its spectatorial mode of address, Pasolini asks the spectator to engage not only with the film and its story but also with the capacity of the cinematic image to express a mode of thought, representation, and being. In the simplest sense, drawn from his semiotic model for the film image as a sign, film images imbue the natural world with a form of imaginative life.
Journal Article
New Punk Cinema
New Punk Cinema is the first book to examine a new breed of film that is indebted to the punk spirit of experimentation, do-it-yourself ethos, and an uneasy, often defiant relationship with the mainstream. An array of established and emerging scholars trace and map the contours of new punk cinema, from its roots in neorealism and the French New Wave, to its flowering in the work of Lars von Trier and the Dogma 95 movement. Subsequent chapters explore the potentially democratic and even anarchic forces of digital filmmaking, the influences of hypertext and other new media, the increased role of the viewer in arranging and manipulating the chronology of a film, and the role of new punk cinema in plotting a course beyond the postmodern. The book examines a range of films, including The Blair Witch Project, Time Code, Run Lola Run, Memento, The Celebration, Gummo, and Requiem for a Dream.New Punk Cinema is ideal for classroom use at the undergraduate and graduate levels, as well as for film scholars interested in fresh approaches to the emergence of this vital new turn in cinema.Features* Offers a comprehensive examination of the term 'new punk' cinema.* Provides several new approaches for the study of digital cinema.* Includes close analysis of several key new punk films and directors.
eBook
A Roundtable Discussion Pier Paolo Pasolini: Poetry, Politics, and Provocation
Italian Cultural Institute, 4/125 York St, Sydney NSW 2000 6:00 pm, Friday, 4 November Jane Mills: Welcome to our roundtable discussion, which, in a fit of alliteration, we've named \"Pier Paolo Pasolini: Poetry, Politics, and Provocation.\" Taking our cue from Gino Moliterno's article about Pasolini in Senses of Cinema, the main question we're exploring tonight is this: apart from the extraordinary achievement of his individual films, is \"this the ultimate fascination that Pasolini and his cinema hold for us: not only a provocative, heretical, scandalous cinema that proposes both Marxism and a sense of sacred, both revolution and a return to myth, but also, and above all, a complete coincidence between cinema and life, art and reality?\"2 To kick off, I'll set the scene for our discussion of this often puzzling, invariably contradictory filmmaker. In the audience, we have at least two film festival curators, a music critic, book reviewers, a bookseller, an award-winning documentary filmmaker, media and film students, cinephiles, Italophiles, and some more academics. Because I have this dual interest in cinema and literature, I've always tried to understand:
Journal Article
The Birth of a Nation: Living on the Land in Lucky Country
In a departure from the modern, urban concerns of The Illustrated Family Doctor (2005), Blacktown (2007) and Boxing Day (2007), Kriv Stenders' latest feature focuses on the dark side of early twentieth-century Australian settlement in a harsh rural landscape. Bruce Isaacs explores the irony inherent in the title Lucky Country.
Magazine Article
