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Landscapes of Loss Paperback – April 18, 1999


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Product Details

  • Paperback: 240 pages
  • Publisher: Princeton University Press; First Edition edition (April 18, 1999)
  • Language: English
  • ISBN-10: 0691004757
  • ISBN-13: 978-0691004754
  • Product Dimensions: 6 x 0.6 x 9 inches
  • Shipping Weight: 13.4 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #573,705 in Books (See Top 100 in Books)

Editorial Reviews

About the Author

Naomi Greene is Professor Emeritus of French and Film Studies at the University of California, Santa Barbara. She is the author of Pier Paolo Pasolini: Cinema as Heresy (Princeton) and Antonin Artaud: Poet without Words (Simon & Schuster) and is the translator of Marc Ferro's Cinema and History (Wayne State University Press). --This text refers to an out of print or unavailable edition of this title.

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Most Helpful Customer Reviews

Format: Hardcover
The way in which every European country after the WW2 reacted facing the inner and outer demons the bloody traces sealed in upon the collective unconscious, evidently varied from nation in nation. While Italy decided to make a profound revision of its own nature (The Italian Neo-realism) or Germany (supported by a marvelous literary movement and the extraordinary raising of memorable directors such as Fassbinder, Herzog, Wenders, Kluge, Schlondorff or Aldon), France due in great part to their multiple artistic tendencies, didn't' t react as it were, unanimously on the same way. United Kingdom bet for profound dramas (The 49th Parallel, The rocking horse winner, A brief encounter, The fallen idol, The third man, Great expectations, Nicolas Nickelby) and then during the fifties, bet for the comedy, obtaining marvelous results (The lavender hill mob, Kind hearts and cornets, The man in the white suit, The lady-killers or The Hobson's choice) with the raising trajectory of the most important British director David lean.

Marcel Carne, after his extraordinary cinematography before and during the WW2 with unforgettable films such as The night visitors, Port of shadows, Le jour se leve or his masterpiece The children of paradise) knew to maintain the poetic gaze with marked realist accent such Le ports de la nuit or Theresa Raquin (based on Emile Zola's novel).

On the other hand Jean Renoir turned his acidic works into major horizons (The river, Elena and the men, The French Can Can or the Elusive corporal).
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