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Abstract
Although "Postmodernism" has been a widely used catch word and its concept extensively discussed in philosophy, political thought, and the arts, many scholars still feel uneasy about it
Despite the fact that the concept can be traced back to Arnold Toynbee's 1939 edition of A Study of History, or even back into the nineteenth century, its amorphous nature continues to confound many scholars, not least because there are not one but several kinds of postmodernism, each one pointing to different states of questioning and to diverse ways of remembering, interpreting, and representing. This anthology makes a significant contribution to the current debate in that it offers sophisticated and multi-faceted discussions of a number of key issues in relation to cinema such as auteurism, national cinemas, metacinema, the parodic, history, and colonization.
Cristina Degli-Esposti received a Doctorate in Foreign Languages and Literatures from the University of Bologna and one in Italian Studies from Indiana University. Since 1991 she has been Assistant Professor of Italian Studies in the Department of Modern and Classical Language Studies at Kent State University.
"these essays … provide interesting reading strategies and different systems of interpretations that may help us with the difficult task of being post-modern." · Film and Theory
Table of Contents
| Section Title | Page | Action | Price |
|---|---|---|---|
| Postmodernism in the Cinema | iii | ||
| Copyright Page | iv | ||
| Acknowledgements | v | ||
| Contents | vii | ||
| Introduction | 1 | ||
| Postmodernism(s) | 3 | ||
| Part I. The Ideological, the Mnemonic,the Parodic, and the Media | 19 | ||
| Chapter 1. The Player's Parody of Hollywood | 21 | ||
| Chapter 2. Intertextual Maneuvers Around the Subaltern | 45 | ||
| Chapter 3. Of Mice and Bart | 61 | ||
| Chapter 4. Reification and Loss in Postmodern Puberty | 73 | ||
| Part II. Issues of Cross-Cultural Identity and National Cinemas | 91 | ||
| Chapter 5. Refiguring Pleasure | 93 | ||
| Chapter 6. De-Authorizing the Auteur | 113 | ||
| Chapter 7. The Postmodernist Condition in Post-Socialist Eastern European Films | 131 | ||
| Part III. Postmodernism as Tourism, (Post)History, and Colonization | 145 | ||
| Chapter 8. E.M. Forster's Anti-Touristic Tourism and the Sightseeing Gaze of Cinema | 147 | ||
| Chapter 9. Imaginary Geographies | 167 | ||
| Chapter 10. Decapitated Spectators | 187 | ||
| Part IV. Auteurial Presences | 209 | ||
| Chapter 11. Something Like Autobiography iin Akira Kurosawa's Dreams | 211 | ||
| Chapter 12. Not Waving But Drowning by Numbers | 219 | ||
| Chapter 13. A Double Voice | 231 | ||
| Notes on the Contributors | 260 | ||
| Index of Proper Names | 262 |