By Robert Stam, Alessandra Raengo
A spouse to Literature in movie provides state of the art examine on international literature, movie, and the advanced theoretical courting among them. 25 essays by means of overseas specialists conceal an important subject matters within the examine of literature and picture variations.
* Covers a wide selection of issues, together with cultural, thematic, theoretical, and style concerns
* Discusses movie diversifications from the beginning of cinema to the current day
* Explores a various diversity of titles and genres, together with movie noir, biblical epics, and Italian and chinese language cinema
Read or Download A Companion to Literature and Film (Blackwell Companions in Cultural Studies) PDF
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Additional resources for A Companion to Literature and Film (Blackwell Companions in Cultural Studies)
Calligraphy turned letters into a sensual visual medium, designing myriad geometric or vegetal forms created out of words, either through repetition or through sentences, often highlighting the greatness of God, his eternity and glory. Calligraphy had gradually become the most important Islamic art, deployed even in non-religious contexts, adorning coins, textiles, and pottery. The Judaic and Islamic censure of “graven images,” and the preference for abstract geometric designs, known as arabesques, cast theological suspicion on directly ﬁgurative representation and thus on the ontology of the mimetic arts.
In the wake of the modern colonial re-encounter between Europe and the Arab world, meanwhile, verism as a modern Western norm entered a new geopolitical semantics. It came to occupy a far more central role in Arab aesthetic practices, whose genealogy is clearly placed within ideologies of modernization – a discourse shared by both imperialist and nationalist ideologies. As appendages to the modernization project, art schools were founded in places like Istanbul, Alexandria, and Beirut. Artists of the “Orient” were learning to “disorient” traditional aesthetics by mimicking Western styles of mimesis.
The ﬁrst commandment – “Thou shalt have no other Gods before Me” (“Lo yihie lekha elohim aherim al panai”) – is immediately followed by the second commandment: “Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth” (“lo ta’ase lecha pesel kol tmuna asher bashamayim mima’al va-asher ba-aretz mitahat va-asher bamayim mitahat la-aretz)” (Exodus 20: 3–4). Yet Deuteronomy’s verbal mediation in the expression of the taboo on visual representation paradoxically elicits in the reader’s mind the very image of what is prohibited: Lest ye corrupt yourselves, and make you a graven image, the similitude of any ﬁgure, the likeness of male or female, the likeness of any beast that is on the earth, the likeness of any winged fowl that ﬂieth in the air, the likeness of any thing that creepeth on the ground, the likeness of any ﬁsh that is in the waters beneath the earth: and lest thou lift up thine eyes unto heaven, and when thou seest the sun, and the moon, and the stars, even all the host of heaven, shouldest be driven to worship them, and serve them, which the LORD thy God hath divided unto all nations under the whole heaven.