The major Italian filmmaker Pier Paolo Pasolini was also a poet, novelist, essayist, and iconoclastic political commentator. Naomi Greene reveals to English-speaking readers the diverse talents that made him one of the most controversial European intellectuals of the postwar era, at the center of political and cultural debates still vital to our time. Greene presents Pasolini's...(展开全部)

The major Italian filmmaker Pier Paolo Pasolini was also a poet, novelist, essayist, and iconoclastic political commentator. Naomi Greene reveals to English-speaking readers the diverse talents that made him one of the most controversial European intellectuals of the postwar era, at the center of political and cultural debates still vital to our time. Greene presents Pasolini's...(展开全部)

【美】内奥米·格林（Naomi Greene），加州大学圣芭芭拉分校法语及电影研究荣誉教授，主要著作包括《法国新浪潮：新的面貌》《阿尔托：无言的诗人》等。

The major Italian filmmaker Pier Paolo Pasolini was also a poet, novelist, essayist, and iconoclastic political commentator. Naomi Greene reveals to English-speaking readers the diverse talents that made him one of the most controversial European intellectuals of the postwar era, at the center of political and cultural debates still vital to our time. Greene presents Pasolini's...(展开全部)

The major Italian filmmaker Pier Paolo Pasolini was also a poet, novelist, essayist, and iconoclastic political commentator. Naomi Greene reveals to English-speaking readers the diverse talents that made him one of the most controversial European intellectuals of the postwar era, at the center of political and cultural debates still vital to our time. Greene presents Pasolini's...(展开全部)

【美】内奥米·格林（Naomi Greene），加州大学圣芭芭拉分校法语及电影研究荣誉教授，主要著作包括《法国新浪潮：新的面貌》《阿尔托：无言的诗人》等。

"Studio" assesses nearly two decades of Paolo Roversi's hugely influential studio portraiture. Within the confines of his Paris studio, Roversi photographs using an 8 x 10 Polaroid format, often allowing the images to fade before affixing them to their substrate. His long exposures at close range harness an aesthetic that dates back to the earliest days of studio photography, b...(展开全部)

Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the 'death of cinema' debate, Film History as Media Archaeology presents a robust argument for the cinema's current status as a new epistemological object, of interest to philosophers, while also examining the presence of moving images in the museum and art spaces as a challeng...(展开全部)

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiou's account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value ...(展开全部)