SIOBHAN S. CRAIG is Assistant Professor of English at the University of Minnesota, USA.
Cinema After Fascism considers how postwar European films glance ambivalently backward from the postwar period to the fascist era and delves into issues of gender certainties and spectatorship. In this period of film, familiar structures of epistemology and historiography reappear as ghostly imprints on postwar celluloid, and the remnants of fascist subjectivity walk the streets of postwar cities. Through new perspectives on the films of Roberto Rossellini, Billy Wilder, Carol Reed, Alain Resnais, and Marguerite Duras, this book examines the ways in which filmmakers acknowledge the fascist past. Siobhan S. Craig reveals that the attempts to reconfigure the idioms of cinema are never fully naturalized and remain highly precarious constructions.
In the Ruins of Fascism The Ghost in the Rubble The Web of Spectacle The Atomized Subject The Passion of Veronika Voss
" Cinema after Fascism is a major contribution to European Studies. The strengths of this book lie with its theoretical breadth, interdisciplinary scope, careful research, and original insights. Craig writes in a style that is beautiful, elegant, accessible, and overflowing with ideas." - Nora M. Alter, Professor, Film and Media Arts, Temple University and author of Vietnam Protest Theatre: The Television War on Stage
SIOBHAN S. CRAIG is Assistant Professor of English at the University of Minnesota, USA.
Über den Autor
SIOBHAN S. CRAIG is Assistant Professor of English at the University of Minnesota, USA.
Inhaltsverzeichnis
In the Ruins of Fascism The Ghost in the Rubble The Web of Spectacle The Atomized Subject The Passion of Veronika Voss
Klappentext
Cinema After Fascism considers how postwar European films glance ambivalently backward from the postwar period to the fascist era and delves into issues of gender certainties and spectatorship. In this period of film, familiar structures of epistemology and historiography reappear as ghostly imprints on postwar celluloid, and the remnants of fascist subjectivity walk the streets of postwar cities. Through new perspectives on the films of Roberto Rossellini, Billy Wilder, Carol Reed, Alain Resnais, and Marguerite Duras, this book examines the ways in which filmmakers acknowledge the fascist past. Siobhan S. Craig reveals that the attempts to reconfigure the idioms of cinema are never fully naturalized and remain highly precarious constructions.
