000			03083cam a2200373Mi 4500
001			ocn818830919
003			OCoLC
005			20240726105309.0
008			121021s2012 xx ob 001 0 eng d
040			_aIDEBK _beng _epn _erda _cIDEBK _dOCLCQ _dCDX _dOCLCO _dOCLCF _dE7B _dNT _dYDXCP _dJSTOR _dDKDLA _dCOO _dMERUC _dEBLCP _dCN3GA _dAZU _dNLE _dP@U _dDEBSZ _dS9I _dKCP _dOCLCQ _dIOG _dOCLCO _dZCU _dVTS _dICG _dVGM _dOCLCQ _dAGLDB _dWYU _dLVT _dYOU _dSTF _dDKC _dOCLCQ _dDEGRU _dOCLCQ _dAJS _dOCLCO _dOCLCA
020			_a9781283695947
020			_a9780520953963
050	0	4	_aPN1998 _b.L384 2012
049			_aMAIN
100	1		_aMorgan, Daniel, _d1977- _e1
245	1	0	_aLate Godard and the Possibilities of Cinema.
260			_bUniversity of California Press _c2012.
300			_a1 online resource (651 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aIntroduction -- _tThe work of aesthetics -- _tNature and its discontents -- _tPolitics by other means -- _tCinema without photography -- _tWhat projection does -- _tCinema after the end of cinema (again).
520	0		_aWith Late Godard and the Possibilities of Cinema, Daniel Morgan makes a significant contribution to scholarship on Jean-Luc Godard, especially his films and videos since the late 1980s, some of the most notoriously difficult works in contemporary cinema. Through detailed analyses of extended sequences, technical innovations, and formal experiments, Morgan provides an original interpretation of a series of several internally related films--Soigne ta droite (Keep Your Right Up, 1987), Nouvelle vague (New Wave, 1990), and Allemagne 90 neuf zéro (Germany 90 Nine Zero, 1991)--and the monumental late video work, Histoire(s) du cinéma (1988-1998). Taking up a range of topics, including the role of nature and natural beauty, the relation between history and cinema, and the interactions between film and video, the book provides a distinctive account of the cinematic and intellectual ambitions of Godard's late work. At the same time, Late Godard and the Possibilities of Cinema provides a new direction for the fields of film and philosophy by drawing on the idealist and romantic tradition of philosophical aesthetics, which rarely finds an articulation within film studies. In using the tradition of aesthetics to illuminate Godard's late films and videos, Morgan shows that these works transform the basic terms and categories of aesthetics in and for the cinema.
530			_a2 _ub
600	1	0	_aGodard, Jean-Luc, _d1930-2022 _xCriticism and interpretation.
650		0	_aMotion pictures _xAesthetics.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=495768&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN.. _m2012 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c95639 _d95639
902			_a1 _bCynthia Snell _c1 _dCynthia Snell