The modern impulse gave us captivating technology and dark anxiety, rampant mobility and a world filled with strangers, the futuristic city and a fragmentation of experience. Motion pictures––the quintessence of modernism––entered into this cultural, technical, and philosophical richness with a vast public appeal and a jarring new vision of what life could be.
In Cinema and Modernity, Murray Pomerance brings together new essays by seventeen leading scholars to explore the complexity of the essential connection between film and modernity. Among the many films considered are Detour, Shock Corridor, The Last Laugh, Experiment in Terror, The Great Dictator, Leave Her to Heaven, The Talented Mr. Ripley, Eyes Wide Shut, Sunrise, The Crowd, The Shape of Things to Come, The War of the Worlds, The Day the Earth Stood Still, Scarlet Street, Shadow of a Doubt, Stella Dallas, The Blue Angel, Sullivan’s Travels, and Catch Me If You Can.
Identity Papers was first published in 1996. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
What does citizenship mean? What is the process of "naturalization" one goes through in becoming a citizen, and what is its connection to assimilation? How do the issues of identity raised by this process manifest themselves in culture? These questions, and the way they arise in contemporary France, are the focus of this diverse collection.
The essays in this volume range in subject from fiction and essay to architecture and film. Among the topics discussed are the 1937 Exposition Universelle; films dealing with Vichy France; François Truffaut's Histoire d'Adèle H.; the war of Algerian independence; and nation building under François Mitterrand.
Contributors: Anne Donadey, Elizabeth Ezra, Richard J. Golsan, Lynn A. Higgins, T. Jefferson Kline, Panivong Norindr, Shanny Peer, Rosemarie Scullion, David H. Slavin, Philip H. Solomon; Florianne Wild, .
Steven Ungar is professor of cinema and comparative literature at the University of Iowa and author of Scandal and Aftereffect: Blanchot and France since 1930 (Minnesota, 1995). Tom Conley is professor of French at Harvard University.
Think about some commercially successful film masterpieces--The Manchurian Candidate. Seven Days in May. Seconds. Then consider some lesser known, yet equally compelling cinematic achievements--The Fixer. The Gypsy Moths. Path to War. These triumphs are the work of the best known and most highly regarded Hollywood director to emerge from live TV drama in the 1950s--five-time Emmy-award-winner John Frankenheimer.
Although Frankenheimer was a pioneer in the genre of political thrillers who embraced the antimodernist critique of contemporary society, some of his later films did not receive the attention they deserved. Many claimed that at a midpoint in his career he had lost his touch. World-renowned film scholars put this myth to rest in A Little Solitaire, which offers the only multidisciplinary critical account of Frankenheimer's oeuvre. Especially emphasized is his deep and passionate engagement with national politics and the irrepressible need of human beings to assert their rights and individuality in the face of organizations that would reduce them to silence and anonymity.
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