Details
Existentialism and Contemporary Cinema
A Sartrean Perspective1. Aufl.
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37,99 € |
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| Verlag: | Berghahn Books |
| Format: | EPUB |
| Veröffentl.: | 01.10.2011 |
| ISBN/EAN: | 9780857453211 |
| Sprache: | englisch |
| Anzahl Seiten: | 224 |
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Beschreibungen
<p> At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today. Film, by reflecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifies the understanding of existentialist philosophy. In a scholarly yet accessible style, the contributors exploit the rich interplay between Sartre’s philosophy, plays and novels, and a number of contemporary films including <em>No Country for Old Men</em>, <em>Lost in Translation</em> and <em>The Truman Show</em>, with film-makers including the Dardenne brothers, Michael Haneke, and Mike Leigh. This volume will be of interest to students who are coming to Sartre’s work for the first time and to those who would like to read films within an existentialist perspective.</p>
<p> Acknowledgements</p>
<p> <strong><a>Introduction</a></strong><br> <em>Jean-Pierre Boulé</em> and <em>Enda McCaffrey</em></p>
<p> <strong>PART I: THE CALL TO FREEDOM</strong></p>
<p> <strong>Chapter 1. </strong>Peter Weir’s <em>The Truman Show</em> and SartreanFreedom<br> <em>Christopher Falzon</em></p>
<p> <strong>Chapter 2. </strong>Michael Haneke and the Consequences of Radical Freedom<br> <em>Kevin L. Stoehr </em></p>
<p> <strong>Chapter 3. </strong>Naked, Bad Faith and Masculinity<br> <em>Mark Stanton</em></p>
<p> <strong>Chapter 4. </strong>Pursuits of Transcendence in <em>The Man Who Wasn’t There<br> Tom Martin</em></p>
<p> <strong>Chapter 5. </strong>Lorna’s Silence: Sartre and the Dardenne Brothers<br> <em>Sarah Cooper</em></p>
<p> <strong>PART II: FILMS OF SITUATION</strong></p>
<p> <strong>Chapter 6. </strong>Being–<em>Lost in Translation</em><br> <em>Michelle R. Darnell</em></p>
<p> <strong>Chapter 7. </strong>If I Should Wake Before I Die: Existentialism as a Political Call to Arms in <em>The Crying Game</em><br> <em>Tracey Nicholls</em></p>
<p> <strong>Chapter 8</strong>. Crimes of Passion, Freedom and a Clash of Sartrean Moralities in the Coen Brothers’ <em>No Country for Old Men<br> Enda McCaffrey </em></p>
<p> <strong>Chapter 9</strong>. ‘An Act of Confidence in the Freedom of Men’: Jean-Paul Sartre and Ousmane Sembene<br> <em>Patrick Williams</em></p>
<p> <strong>Chapter 10. </strong>Cédric Klapisch’s <em>The Spanish Apartment</em> and <em>Russian Dolls in Nausea’s Mirror<br> Jean-Pierre Boulé</em></p>
<p> <strong>Chapter 11. </strong>Baz Luhrmann’s <em>William Shakespeare’s Romeo + Juliet</em>: The Nauseous Art of Adaptation<br> <em>Alistair Rolls</em></p>
<p> Notes on Contributors<br> Index</p>
<p> <strong><a>Introduction</a></strong><br> <em>Jean-Pierre Boulé</em> and <em>Enda McCaffrey</em></p>
<p> <strong>PART I: THE CALL TO FREEDOM</strong></p>
<p> <strong>Chapter 1. </strong>Peter Weir’s <em>The Truman Show</em> and SartreanFreedom<br> <em>Christopher Falzon</em></p>
<p> <strong>Chapter 2. </strong>Michael Haneke and the Consequences of Radical Freedom<br> <em>Kevin L. Stoehr </em></p>
<p> <strong>Chapter 3. </strong>Naked, Bad Faith and Masculinity<br> <em>Mark Stanton</em></p>
<p> <strong>Chapter 4. </strong>Pursuits of Transcendence in <em>The Man Who Wasn’t There<br> Tom Martin</em></p>
<p> <strong>Chapter 5. </strong>Lorna’s Silence: Sartre and the Dardenne Brothers<br> <em>Sarah Cooper</em></p>
<p> <strong>PART II: FILMS OF SITUATION</strong></p>
<p> <strong>Chapter 6. </strong>Being–<em>Lost in Translation</em><br> <em>Michelle R. Darnell</em></p>
<p> <strong>Chapter 7. </strong>If I Should Wake Before I Die: Existentialism as a Political Call to Arms in <em>The Crying Game</em><br> <em>Tracey Nicholls</em></p>
<p> <strong>Chapter 8</strong>. Crimes of Passion, Freedom and a Clash of Sartrean Moralities in the Coen Brothers’ <em>No Country for Old Men<br> Enda McCaffrey </em></p>
<p> <strong>Chapter 9</strong>. ‘An Act of Confidence in the Freedom of Men’: Jean-Paul Sartre and Ousmane Sembene<br> <em>Patrick Williams</em></p>
<p> <strong>Chapter 10. </strong>Cédric Klapisch’s <em>The Spanish Apartment</em> and <em>Russian Dolls in Nausea’s Mirror<br> Jean-Pierre Boulé</em></p>
<p> <strong>Chapter 11. </strong>Baz Luhrmann’s <em>William Shakespeare’s Romeo + Juliet</em>: The Nauseous Art of Adaptation<br> <em>Alistair Rolls</em></p>
<p> Notes on Contributors<br> Index</p>
<p> <strong>Jean-Pierre Boulé </strong> is Professor of Contemporary French Studies at Nottingham Trent University and the author of a number of books, notably on Sartre, including <em>Sartre médiatique</em> (1992) and <a href="http://www.berghahnbooks.com/title.php?rowtag=BouleSartre"><em>Sartre, Self-Formation and Masculinities</em></a> (2005). He is the co-founder of the U.K. Sartre Society and executive editor of <em>Sartre Studies International</em>. He is coediting with Benedict O’Donohoe, <em>Jean-Paul Sartre: Mind and Body, Word and Deed </em>(2011) and preparing with Ursula Tidd a companion volume, <em>Existentialism and Contemporary Cinema</em>. <em>A Beauvoirian Perspective</em> (2013).</p>
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