In this Book

summary
1968 and Global Cinema addresses a notable gap in film studies. Although scholarship exists on the late 1950s and 1960s New Wave films, research that puts cinemas on 1968 into dialogue with one another across national boundaries is surprisingly lacking. Only in recent years have histories of 1968 begun to consider the interplay among social movements globally. The essays in this volume, edited by Christina Gerhardt and Sara Saljoughi, cover a breadth of cinematic movements that were part of the era's radical politics and independence movements. Focusing on history, aesthetics, and politics, each contribution illuminates conventional understandings of the relationship of cinema to the events of 1968, or "the long Sixties." The volume is organized chronologically, highlighting the shifts and developments in ideology in different geographic contexts. The first section, "The Long Sixties: Cinematic New Waves," examines both the visuals of new cinemas, as well as new readings of the period's politics in various geopolitical iterations. This half of the book begins with an argument that while the impact of Italian Neorealism and the French New Wave on subsequent global new waves is undeniable, the influence of cinemas of the so-called Global South is pivotal for the era's cinema as well. The second section, "Aftershocks," considers the lasting impact of 1968 and related cinematic new waves into the 1970s. The essays in this section range from China's Cultural Revolution in cinema to militancy and industrial struggle in 1970s worker's films in Spain. In these ways, the volume provides fresh takes and allows for new discoveries of the cinemas of the long 1968. 1968 and Global Cinema aims to achieve balance between new readings of well-known films, filmmakers, and movements, as well as new research that engages lesser-known bodies of films and film texts. The volume is ideal for graduate and undergraduate courses on the long sixties, political cinema, 1968, and new waves in art history, cultural studies, and film and media studies.

Table of Contents

  1. Cover
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  1. Title Page
  2. pp. i-iv
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  1. Contents
  2. pp. v-vii
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  1. Acknowledgments
  2. pp. viii-ix
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  1. Introduction. Looking Back: Global Cinema and the Legacy of New Waves around 1968
  2. pp. 1-20
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  1. I. The Long Sixties: Cinematic New Waves
  1. 1. The “Long 1968” and Radical Film Aesthetics
  2. pp. 23-42
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  1. 2. “What Am I Doing in the Middle of the Revolution?”: Ennio Morricone and The Battle of Algiers
  2. pp. 43-60
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  1. 3. Before the Revolution: The Radical Anxiety of Paulo Rocha’s Cinema
  2. pp. 61-76
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  1. 4. The Czechoslovak New Wave Revisited
  2. pp. 77-94
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  1. 5. Internationalism and the Early Student Films of the German Film and Television Academy Berlin (dffb)
  2. pp. 95-116
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  1. 6. The Hour of the Furnaces: A Film “Happening”
  2. pp. 117-144
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  1. 8. Oshima, Korea, and 1968: Death by Hanging and Three Resurrected Drunkards
  2. pp. 165-182
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  1. 9. The Hypothetical and the Experimental: Reading Lindsay Anderson’s If . . . Alongside Pier Paolo Pasolini’s Teorema
  2. pp. 183-198
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  1. 10. Obscurity, Anthologized: Non-Relation and Enjoyment in Love and Anger (1969)
  2. pp. 199-216
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  1. II. Aftershocks
  1. 11. Re-presenting the “Just Image”: Godard-Gorin’s Vent d’est and the Radical Thwartedness of Maoist Solidarity after May 1968
  2. pp. 219-240
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  1. 12. Medium UnCool: Women Shoot Back; Feminism, Film, and 1968—A Curious Documentary
  2. pp. 241-272
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  1. 13. Third Cinema in the First World: L.A. Rebellion and the Aesthetics of Confrontation
  2. pp. 273-288
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  1. 14. The Politics of (In)Action: Humanism, Violence, and Revolution in Satyajit Ray’s Pratidwandi/The Adversary
  2. pp. 289-310
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  1. 15. Maysles Films: Some Paradoxes of Direct Cinema in the 1960s and 1970s
  2. pp. 311-328
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  1. 16. The Rhetoric of Parapraxis: The 1967 Riots and Hong Kong Film Theory
  2. pp. 329-344
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  1. 17. Cultural Revolution Models on Film: The Third World Politics of Self-Reflexivity in On the Docks (1972)
  2. pp. 345-362
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  1. 18. Workers Interrupting the Factory: Helena Lumbreras’s Militant Factory Films between Italy and Spain (1968–78)
  2. pp. 363-384
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  1. 19. Political Cinema, Revolution, and Failure: The Iranian New Wave, 1962–79
  2. pp. 385-404
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  1. List of Contributors
  2. pp. 405-408
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  1. Index
  2. pp. 409-422
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Additional Information

ISBN
9780814342947
MARC Record
OCLC
1066121742
Launched on MUSE
2018-11-18
Language
English
Open Access
No
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