Download The Mystical Gaze of the Cinema: The Films of Peter Weir by Richard Leonard PDF

By Richard Leonard

ISBN-10: 0522856624

ISBN-13: 9780522856620

Interesting, attractive and provocative ... This finely researched learn is a must-read for movie students, movie fans and somebody attracted to the non secular dimensions of pop culture and well known entertainment.Barbara Creed, Professor of monitor experiences, Head of the varsity of tradition and communique, collage of MelbourneA hugely unique paintings of scholarship ...
The Mystical Gaze of the Cinema is meticulously researched, theoretically knowledgeable and written in a method that's instantaneously swish and accessible.Robert Rosen, Dean, UCLA college of Theater, movie and Television‘Magical’, ‘out of this world’, ‘an event you’ll by no means forget’: Peter Weir’s motion pictures have enthralled audiences around the world. no matter if in iconic Australian works akin to Picnic at putting Rock and Gallipoli or foreign mainstream thrillers corresponding to Witness, Weir has intentionally created mystical motion picture studies. sleek cinema reviews is used to dissecting motion pictures at the foundation of gender, category or race: now, for the 1st time, Richard Leonard exhibits mystical gaze additionally exists and is exercised within the secular multiplex temples of today.The Mystical Gaze of the Cinema is a meticulous and available booklet that makes use of a psychoanalytic strategy incorporating the insights of Jung, movie idea and theology to wreck new floor in what remains to be a scorching subject in cinema reviews: the spectator–screen dating. Leonard presents a clean, cutting edge and provocative point of view on what occurs after we behold a movie.

Show description

Read or Download The Mystical Gaze of the Cinema: The Films of Peter Weir PDF

Best film books

Film as Subversive Art

A vintage returns. the unique variation of Amos Vogel's seminal e-book, movie as a Subversive paintings was once first released in 1974, and has been out of print considering the fact that 1987. in keeping with Vogel--founder of Cinema sixteen, North America's mythical movie society--the booklet info the "accelerating around the world development towards a extra liberated cinema, within which topics and varieties hitherto thought of unthinkable or forbidden are boldly explored.

What Ever Happened to Orson Welles?: A Portrait of an Independent Career

On the age of twenty-five, Orson Welles (1915--1985) directed, co-wrote, and starred in Citizen Kane, generally considered as the best movie ever made. yet Welles used to be this kind of innovative filmmaker that he discovered himself at odds with the Hollywood studio method. His paintings was once to date prior to its time that he by no means regained the vast well known following he had as soon as loved as a tender actor-director at the radio.

Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business

The veteran manufacturer and writer of the bestseller hi, He Lied takes a witty and significant examine the recent Hollywood.

Over the earlier decade, manufacturer Lynda Obst steadily discovered she was once operating in a Hollywood that was once present process a drastic transformation. The the place every little thing had as soon as been widely used to her used to be all at once disturbingly strange.

Combining her personal event and interviews with the brightest minds within the enterprise, Obst explains what has stalled the large moviemaking computing device. The calamitous DVD cave in helped bring in what she calls the recent irregular (because Hollywood used to be by no means basic to start with), the place studios at the moment are seriously depending on overseas markets for revenue, a scenario which without delay affects the type of leisure we get to work out. Can comedy live to tell the tale in the event that they don’t get our jokes in Seoul or let them in China? Why are studios making fewer videos than ever—and why are they greater, costlier and almost always sequels or recycled ideas?

Obst writes with affection, remorse, humor and wish, and her behind-the-scenes vantage element permits her to discover what has replaced in Hollywood like not anyone else has. This candid, insightful account explains what has occurred to the motion picture company and explores no matter if it’ll ever go back to creating the flicks we love—the classics that make us chortle or cry, or that we simply can’t cease conversing approximately.

Films of Werner Herzog: Between Mirage and History (Routledge Library Editions: Cinema)

Put up yr word: First released in 1986

Given Herzog s personal pronouncement that movie isn't the paintings of students, yet of illiterates, it isn't miraculous that his paintings has aroused ambivalent and contradictory responses. Visually and philosophically bold and while provocatively eccentric, Herzog s movies were greeted both by way of severe adulation and severe condemnation.

Even as Herzog s rebellious photos have received him a name as a grasp of the German New Wave, he has been attacked for indulging in a romantic naivete and wilful self-absorption. To his toughest critics, Herzog s motion pictures look as little greater than Hollywood fantasies disguised as excessive seriousness. This publication is an try to remove darkness from those contradictions. It gathers essays that attention from a number of angles on Herzog and his paintings. The participants circulate past the myths of Herzog to enquire the benefits of his paintings and its position in movie background. A difficult diversity of flicks is roofed, from "Fata Morgana" and "Aguirre, the Wrath of God" to more moderen positive aspects similar to "Nosferatu" and "Where the golf green Ants Dream," supplying the reader methods of realizing why, regardless of the controversies surrounding Herzog and his movies, he continues to be an enormous and renowned overseas filmmaker. Orignally released in 1986.

Extra resources for The Mystical Gaze of the Cinema: The Films of Peter Weir

Example text

Second, Creed’s argument for the abject, castrating mother was entirely predicated on a variety of mythological sources. For people who believed in the myths of the goddess of Melanesia, or the first Yanomano woman on earth who possessed a toothed vagina, or the goddess Medusa, an experience of their presence—to behold them— would have been a mystical encounter, filled with dread and horror. Mysticism is not exclusively about light and peace but has been termed by ‘the mysterium tremendum et fascinas’132, the mysterious 34 The Mystical Gaze of the Cinema encounter that is both frightening and fascinating at the same time.

To exclude religion from an analysis of the institutional discourses about ‘meanings, values, knowledge and practises’116 when its liturgical and mystical traditions have exerted the most profound and significant The Mystical Gaze 29 influences on the European artistic and visual imagination for a millennia leaves de Lauretis’ theory on the role of gender in the gaze, at best, incomplete. The recognition of the role of the mystical gaze and its ideological and theological history goes some way to explain how the male gaze has become so entrenched in the cinema.

The cinema, implicitly, and magic, explicitly, promise subjects that they can be perfect or complete if they obtain what they have lost. Nearly every ancient religious belief system, for example, has mythologies that centre on the loss of innocence and the need to regain it. Accompanying this lack is a loss of control over the natural and physical forces impacting upon the individual and the world, which are seen as a disruption of the harmony that once existed. Magic uses story, ritual, time, space, light, dark, smell, sound and people to conjure up the conditions in which a subject or a community might regain lost innocence and reassert control over the material world.

Download PDF sample

Rated 4.30 of 5 – based on 10 votes