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Shadows, Specters, Shards : Making History in Avant-Garde Film by Jeffrey Skoller (2005, Perfect)
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About this product
Product Identifiers
PublisherUniversity of Minnesota Press
ISBN-10081664232X
ISBN-139780816642328
eBay Product ID (ePID)22038656921
Product Key Features
Number of Pages264 Pages
Publication NameShadows, Specters, Shards : Making History in Avantgarde Film
LanguageEnglish
Publication Year2005
SubjectFilm / General, Art & Politics, Film / History & Criticism
TypeTextbook
Subject AreaArt, Performing Arts
AuthorJeffrey Skoller
FormatPerfect
Dimensions
Item Height0.6 in
Item Weight23.5 Oz
Item Length10 in
Item Width7 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN2005-010522
Dewey Edition22
IllustratedYes
Dewey Decimal791.43/658
Table Of ContentContents Introduction 1. Shards: Allegory as Historical ProceedureEureka, Ernie Gehr Dal Polo all Equatore (From the Pole to the Equator), Yervant Gianikian/Angela Ricci-Lucci Tribulation 99: Alien Anomalies Under America, Craig Baldwin 2. Shadows: Historical Temporalities #1The Man without a World, Eleanor Antin Urban Peasants, Ken JacobsCooperation of Parts, Daniel Eisenberg 3. Virtualities: Historical Temporalities #2Allemagne annee 90 neuf zero (Germany Year 90 Nine Zero), Jean-Luc GodardPersistence, Daniel Eisenberg The B/Side, Abigail Child Utopia, James Benning 4. Specters: The Limits of Representing HistorySignal?Germany on the Air, Ernie Gehr Killer of Sheep, Charles BurnettThe March, Abraham Ravett Un vivant qui passe (A Visitor from the Living), Claude Lanzmann 5. Obsessive Returns: Filmmaking as Mourning WorkEl Dia Que Me Quieras, (The Day that you Will Love Me), Leandro Katz Chile: La Memoria Obstanada, (Chile: Obstinant Memory), Patricio Guzman Coda: Notes on History and the Post-Cinema ConditionRock Hudson's Home Movies, Mark RappaportDichotomy, Tony SindenBeyond, Zoe Beloff NotesBibliographyFilmographyDistributorsPermissionsIndex
SynopsisAvant-garde films are often dismissed as obscure or disconnected from the realities of social and political history. Jeffrey Skoller challenges this myth, arguing that avant-garde films more accurately display the complex interplay between past events and our experience of the present than conventional documentaries and historical films. "Shadows, Specters, Shards" examines a group of experimental films, including work by Eleanor Antin, Ernie Gehr, and Jean-Luc Godard, that take up historical events such as the Holocaust, Latin American independence struggles, and urban politics." "Identifying a cinema of" evocation" rather than" representation," these films call attention to the unrepresentable aspects of history that profoundly impact the experience of everyday life. Making use of the critical theories of Walter Benjamin and Gilles Deleuze, among others, Skoller analyzes various narrative strategies - allegory, sideshadowing, testimony, and multiple temporalities - that uncover competing perspectives and gaps in historical knowledge often ignored in conventional film. In his discussion of avant-garde film of the 1970s, 1980s, and 1990s, Skoller reveals how a nuanced understanding of the past is inextricably linked to the artistry of image making and storytelling., Avant-garde films are often dismissed as obscure or disconnected from the realities of social and political history. Jeffrey Skoller challenges this myth, arguing that avant-garde films more accurately display the complex interplay between past events and our experience of the present than conventional documentaries and historical films. Shadows, Specters, Shards examines a group of experimental films, including work by Eleanor Antin, Ernie Gehr, and Jean-Luc Godard, that take up historical events such as the Holocaust, Latin American independence struggles, and urban politics. Identifying a cinema of evocation rather than representation, these films call attention to the unrepresentable aspects of history that profoundly impact the experience of everyday life. Making use of the critical theories of Walter Benjamin and Gilles Deleuze, among others, Skoller analyzes various narrative strategies - allegory, sideshadowing, testimony, and multiple temporalities - that uncover competing perspectives and gaps in historical knowledge often ignored in conventional film. In his discussion of avant-garde film of the 1970s, 1980s, and 1990s, Skoller reveals how a nuanced understanding of the past is inextricably linked to the artistry of image making and storytelling.
LC Classification NumberPN1995.9.H5S46 2005
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