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Exploring lived cinematic moments in Italian neorealism and the French nouvelle vague.

机译:探索意大利新现实主义和法国新贵模糊的现实电影时刻。

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摘要

This dissertation charts the varying attitudes within Italian neorealism and the French nouvelle vague toward expressing a character's inward experience of duration. This mode of expression is given the designation "lived cinematic moment". Part one of this dissertation examines the lived cinematic moment in Italian neorealism and its modernist reformation in the work of Michelangelo Antonioni. Italian neorealism's distinctive cinematic temporality is articulated via everyday moments in which "nothing happens", a notion typified by the so-called "little maid" scene in Vittorio De Sica's Umberto D. While these everyday moments remain antithetical to neorealism's otherwise classical treatment of narrative progression, in Antonioni's L'avventura they threaten to devour narration altogether within an incessant expression of similitude. These variations of the lived cinematic moment are linked to the thought of Andre Bazin and Siegfried Kracauer, who contend that neorealism's indeterminate spatiotemporal horizons and contingent, non-narrational components mark a new intertwining of cinema and the phenomenological notion of the Lebenswelt or lifeworld. Our claim is that these criteria of indeterminacy and contingency beget a new cinematic expression of lived temporality.;Part two of this dissertation explores the epistemological consequences of delimiting the lived cinematic moment by the criteria established in part one. Beginning with the French nouvelle vague, a certain skepticism about cinema's ability to utilize indeterminacy and contingency appears, an attitude best understood via the critical thought of Stanley Cavell. Using Cavell as our guide, we examine three of Jean-Luc Godard's early films which reflexively deconstruct various possibilities for presenting lived moments in modernist cinema. This skepticism continues with Eric Rohmer's Ma nuit chez Maud, in which the utilization of indeterminate and contingent elements may in fact come to deter our acknowledgement of the protagonist's epiphanic moment. Utilizing Cavell's notion of "moral perfectionism", we show that cinema's ability to depict such a lived moment is instead dependent upon the moral outlook of the viewer, or to use Cavell's term, upon our "good encounter" with it.
机译:这篇论文描绘了意大利新现实主义和法国新手主义模糊主义者在表达角色的内在经历上的不同态度。这种表达方式被指定为“活着的电影时刻”。本文的第一部分考察了米开朗基罗·安东尼奥尼(Michelangelo Antonioni)作品中意大利新现实主义中的生动电影时刻及其现代主义改革。意大利新现实主义的独特电影时间性是通过“什么都没有发生”的日常时刻表达出来的,这种观念以维托里奥·德·西卡(Vittorio De Sica)的Umberto D中所谓的“小女仆”场景为代表。进步,在安东尼奥尼的《 L'avventura》中,他们扬言要不断地模仿,从而完全吞噬叙述。现场电影时刻的这些变化与安德烈·巴赞(Andre Bazin)和齐格弗里德·克拉考尔(Siegfried Kracauer)的思想相关联,他们认为新现实主义的不确定时空视野和偶然的,非叙事性成分标志着电影的新交织以及Lebenswelt或生活世界的现象学概念。我们的断言是,这些不确定性和偶然性标准会产生一种新的生活时间的电影表现形式。本论文的第二部分探讨了根据第一部分中建立的标准界定生活电影时刻的认识论后果。从法国新手模糊开始,人们对电影院利用不确定性和偶然性的能力产生了某种怀疑,这种态度可以通过斯坦利·卡维尔的批判思想得到最好的理解。我们以卡维尔(Cavell)为指导,考察了让·卢克·戈达尔(Jean-Luc Godard)的三部早期电影,这些电影反身解构了在现代主义电影中呈现生活瞬间的各种可能性。这种怀疑继续伴随着埃里克·罗默(Eric Rohmer)的《蒙兹·奇兹·莫德(Ma nuit chez Maud)》,其中不确定性和偶然性因素的使用实际上可能会阻止我们对主角的顿悟时刻的认可。利用卡维尔的“道德完美主义”概念,我们表明电影院描绘这样一个生动时刻的能力取决于观众的道德观,或者取决于我们与卡维尔的“良好相处”。

著录项

  • 作者

    Norton, Glen W.;

  • 作者单位

    York University (Canada).;

  • 授予单位 York University (Canada).;
  • 学科 Cinema.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 265 p.
  • 总页数 265
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:36:52

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