Fb2 Story of the Lost Reflection ePub
by Paul Coates
|Subcategory:||Humour and Entertainment|
|Publisher:||Norton*(ww Norton Co; 1st Edition. edition (July 1, 1985)|
|Fb2 eBook:||1633 kb|
|ePub eBook:||1411 kb|
|Digital formats:||lrf txt azw lit|
The feeling of strangeness that overcomes the actor before the camera, as Pirandello describes it, is basically of the same kind as the estrangement felt before one’s own image in the mirror.
The feeling of strangeness that overcomes the actor before the camera, as Pirandello describes it, is basically of the same kind as the estrangement felt before one’s own image in the mirror. But now the reflected image has become separable, transportable. And where is it transported? Before the public. I Film and the Fin de Siècle. The film image is an alienated reflection-an imitation of life perilously similar to the original. The man who has lost his reflection may experience terror when he observes it living its own life.
Start by marking The Story of the Lost Reflection: The . I was just watching Andre Rublev on cable, and while Coates' remarks on that masterpiece are not extensive, his essay here on Tarkovsky is richly speculative.
Start by marking The Story of the Lost Reflection: The Alienation of the Image in Western and Polish Cinema as Want to Read: Want to Read savin. ant to Read. I have yet to read insights on Robert Altman that better Coates', and his "Fragments of a Theory of Cinema," has helped me to reflect on historicity and color film. Rarely see this around anymore, but I return to it frequently.
Coates is a rarity in film writing-a really great writer. The essays here on such apparently banal subjects as color vs. black and white, the aesthetic and political ramifications of dubbing, the iconography of the western, etc. are closer to poetry in tone and insight rather than traditional criticism. His essays on Herzog, Tarkovsky, Truffaut, Coppola, Bunuel, etc are essential.
THE STORY OF THE LOST REFLECTION The Alienation of the Image in Western and Polish Cinema. 167 pp. Verso/Schocken Books. DESCRIBING ''The Story of the Lost Reflection'' as a collection of unrelated essays would be misleading - though things do occasionally jell to good effect, the book is more a collection of unrelated paragraphs. Paul Coates displays a wide acquaintance with European culture, and one is pleased to find apposite references to Holderlin and Schiller in a film book. He also knows a lot about movies
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Robert Myron Coates (April 6, 1897 – February 8, 1973) was an American writer and a long-term art critic for the New Yorker. He used the term "abstract expressionism" in 1946 in reference to the works of Hans Hofmann, Arshile Gorky, Jackson Pollock and Willem de Kooning and others. As a writer of fiction, he is considered a member of the Lost Generation, having spent part of his life abroad in Europe
Paul Coates is a professor emeritus of film studies at Western University, Ontario.
Paul Coates is a professor emeritus of film studies at Western University, Ontario. Previously, he taught at Georgia, McGill, and Aberdeen, and his books include The Story of the Lost Reflection (1985), The Gorgon’s Gaze (1991), Lucid Dreams: The Cinema of Krzysztof Kieślowski (e. 1999), Cinema and Colour (2010), and Screening the Face (2012). And So On : Kieślowski’s Dekalog and the Metaphysics of the Everyday.
Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada
Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. His books include The Story of the Lost Reflection (1985), The Gorgon's Gaze (1991), Lucid Dreams: the Cinema of Krzysztof Kie?lowski (e. (1999), Cinema, Religion and the Romantic Legacy (2003), The Red and the White: The Cinema of People's Poland (2005) and Cinema and Colour: The Saturated Image (2010). In 1997 he became only the second Film Studies academic to give a series of Gauss seminars at Princeton University.