Chilean filmmaker Raoul Ruiz is the author of some 100 feature-length films, along with numerous plays and multi-media installations. In Poetics of Cinema, Ruiz takes a fresh approach to the major themes haunting our audio-visual civilization: the filmic unconscious, questions of utopia, the inter-contamination of images, the art of the copy, the relations between artistic practices and institutions. Based on a series of lectures given recently at Duke University in North Carolina, Poetics of Cinema develops an acerbically witty critique of the reigning codes of cinematographic narration, principally derived from the dramatic theories set forth by Aristotle's Poetics and characterized by Ruiz as the “central-conflict theory.” Ruiz's impressive knowledge of theology, philosophy, literature and the visual arts never outstrips his powerful imagination. Poetics of Cinema not only offers a singularly pertinent analysis of the seventh art, but also shows us an entirely new way of writing and thinking about images.
Published by Peter Blum Edition, New York. Foreword by Peter Blum. Text by Chris Marker.
“Tabloids love to catch people unaware,” writes the legendary film auteur Chris Marker (born 1921) in his introduction to this beautiful volume of new photographs. “My aim… is exactly—small wonder—the opposite of tabloids. I try to give them their best moment, often imperceptible in the stream of time, sometimes 1/50 of a second that makes them truer to their inner selves.” Passengers accordingly portrays the private reveries and absent-minded gestures that can be seen every day on the Paris Métro (and by implication any other subway): mothers cradling their children, couples whispering intimately, women wistfully staring out the window or into the middle distance, engrossed in thought. Made between 2008 and 2010, this series of 200 photographs—Marker’s first in color—marvelously captures the dislocated mental spaces we occupy on the subway, and the ways in which we devise strategies for escapism, sending out invisible boundaries to endure the constant tiny encroachments of modern urban life. Marker enhances his photographs to draw out both the blotchy pixilation of the lo-fi digital technology used and to add painterly coloration, endowing them with otherworldly presence. A separate color poster by Marker titled “A Subway Quartet” is inserted beneath the printed glassine wrappers of each copy.
PUBLISHER
BOOK FORMAT Hardcover, 11.75 x 9.75 in. / 240 pgs / 208 color.
PUBLISHING STATUS Pub Date 9/30/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 75
PRODUCT DETAILS ISBN 9780935875270TRADE List Price: $115.00 CAD $155.00 GBP £105.00
Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his subsequent global acclaim as a director, Wenders has doggedly maintained his life as a photographer. In fact, the two careers have served each other well, as many of his photographs are created while location-scouting for films. His image repertoire of neglected industrial buildings, vacant lots, cemeteries, dilapidated urban niches and courtyards express a mixture of bemusement, melancholy and dislocation. “When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots,” Wenders says. “It must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” These strange and quiet color photographs are accompanied by poetical captions, some of which elucidate what is depicted, others of which lightly supplement with an anecdote (one characteristically deadpan caption accompanies an image of a cowboy clown standing at a rodeo: “It is amazing how many different ideas of 'fun' co-exist in this world” ). Places, Strange and Quiet gathers photographs from 1983 to 2011 in a full panorama of Wenders' photography to date.
Published by The Museum of Modern Art, New York. Edited by Joshua Siegel, Marie-Christine de Navacelle. Text by Andrew Delbanco, David Denby, Pierre Legendre, Errol Morris, Jay Neugeboren, Marie-Christine de Navacelle, Geoffrey O'Brien, Christopher Ricks, Catherine Samie, Joshua Siegel, William T. Vollmann, Frederick Wiseman.
The first English publication to provide a comprehensive overview of Frederick Wiseman's career
The last word on the French New Wave as viewed by one of its most influential commentators, this glorious book examines the golden days of that era, year by year, from 1955 to 1964, through beautifully-reproduced stills, movie posters and contemporary reviews from numerous sources. Jean Douchet, a staff writer on Cahiers du Cinéma during the New Wave's heyday, has written introductions that trace emergent themes in the films of Godard, Truffaut, Rohmer, Marker, Chabrol, Malle, Resnais, Rivette, Varda, Eustache, Astruc and Demy. French New Wave is unsurpassed as a history of the most influential movement in cinema history. Here is a lavish history of the film movement that spawned the careers of Francois Truffaut, Jean-Luc Godard and a number of other important contemporary filmmakers. Douchet... considers his subject from almost every possible angle."--Library Journal. "A landmark in film scholarship."--Cineaste
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Poets of Cinema
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