[Column] Postwar Cinema, Post-cinema (Chris Fujiwara)

This year, when Europeans and Americans are commemorating the 100th anniversary of the beginning of the First World War, it is a good time to reflect on some of the ways in which cinema, throughout its history, and by its nature as a technology of encountering reality, is, or has been, post-war.

As is well known, major developments in cinema were caused by the effects of wars. Fritz Langtraced the turning point in his personal destiny and the path that led him to cinema to the time he spent as a soldier in the Austrian Army during World War One. The experience of war was so central to the life of Samuel Fuller that all his films are in some sense war films, and he saw all human conflicts in terms of war.During the 1940s, the cinema not only made the war and its aftermath visible to large audiences but found its own urgency, mission, and motor in this function, as is clear in the work of numerous filmmakers, among them Roberto Rossellini, John Ford, Aleksandr Dovzhenko, and Jean Grémillon.

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『인문예술잡지 F』 제15호(2014년 가을호)가 발간되었습니다. 판매처 및 정기구독 안내

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