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008 220629t20222017stk fo d z eng d
010 _a2016478502
020 _a9781474409391
_qprint
020 _a9781474409407
_qPDF
024 7 _a10.1515/9781474409407
_2doi
035 _a(DE-B1597)9781474409407
035 _a(DE-B1597)615080
035 _a(OCoLC)1306541051
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aPN1998.3.S57
_bE93 2017
050 4 _aPN1998.3.S57
_bE93 2017
072 7 _aPER004010
_2bisacsh
084 _aonline - DeGruyter
100 1 _aEvans, Victoria L.
_eautore
245 1 0 _aDouglas Sirk, Aesthetic Modernism and the Culture of Modernity /
_cVictoria L. Evans.
264 1 _aEdinburgh :
_bEdinburgh University Press,
_c[2022]
264 4 _c©2017
300 _a1 online resource (208 p.) :
_b12 B/W illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tFigures --
_tAcknowledgements --
_tIntroduction --
_tPart One. Sirk and the Visual Arts --
_tCHAPTER ONE Thinking with the Heart: Sirk and Pictorial Reception --
_tCHAPTER TWO Concerning the Spiritual in Art: Magnificent Obsession and the Influence of Modernist Painting --
_tPart Two. The Shock of the New: Traces of Modernity --
_tCHAPTER THREE The Invasion of Machines and Machine Culture --
_tCHAPTER FOUR Imitation of Life and the Depiction of Suburban Space --
_tPart Three. Two Architectural Case Studies --
_tCHAPTER FIVE Final Chord and ‘Die Neue Welt’: The Mise-en-scène of Aufbruch --
_tCHAPTER SIX Back to the Future: Modernist Architecture and All That Heaven Allows --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aExamines the influence of modernist art and architecture on the work of American director Douglas SirkThe first truly interdisciplinary analysis to link Douglas Sirk's striking visual aesthetic to key movements in twentieth century art and architecture, this book reveals how the exaggerated artifice of Sirk’s formal style emerged from his detailed understanding of the artistic debates that raged in 1920s Europe and the post-war United States. With detailed case studies of Final Chord and All That Heaven Allows, Victoria Evans demonstrates how Sirk attempted to dissolve the boundaries of cinema by assimilating elements of avant-garde art, architecture and design into the colour, composition and setting of many of his most well-known films. Treating Sirk’s oeuvre as a continuum between his German and American periods, Evans argues that his mise-en-scène was the result of an interdisciplinary, transnational dialogue, and illuminates the broader cultural context in which his films appeared by establishing links between archival documents, Modernist manifestos and the philosophical writings of his peers.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)
650 4 _aFilm, Media & Cultural Studies.
650 7 _aPERFORMING ARTS / Film & Video / Direction & Production.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781474409407?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9781474409407
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781474409407/original
942 _cEB
999 _c216520
_d216520