内容简介

Laura Rascaroli is Senior Lecturer and co-director of Film and Screen Media at University College Cork, Ireland. With Ewa Mazierska, she authored From Moscow to Madrid: European Cities, Postmodern Cinema (2003), The Cinema of Nanni Moretti: Dreams and Diaries (2004), and Crossing New Europe: Postmodern Travel and the European Road Movie (2006). She also edited the volumes The C...

()

作品目录

作者简介

Laura Rascaroli is Senior Lecturer and co-director of Film and Screen Media at University College Cork, Ireland. With Ewa Mazierska, she authored From Moscow to Madrid: European Cities, Postmodern Cinema (2003), The Cinema of Nanni Moretti: Dreams and Diaries (2004), and Crossing New Europe: Postmodern Travel and the European Road Movie (2006). She also edited the volumes The C...

(展开全部)

精彩摘录

豆瓣日记者们应当一读哇。

——引自章节：日记体；画外音；戈达尔。

传统来说,日记体的形式属于艺术的叙事的一端。而如果在叙事到非叙事之间有清晰分野的话，惯例来看应该是以主人公来判定：在叙事中有一位主人公。而非叙事形式则只有创造者的、艺术家的存在或自我。而每一个细节一天天正是通过我而得以呈现，随着我们且行且远你也得到关于我的更多认知。当然大多数时候，对那些能够“看见”我的人来说，我不过是在那里间接地存在着作者身份的流通与分散。换句话来说并不会改变一部电影是麦卡斯作品的鲜明印象。

——引自章节：日记体；画外音；戈达尔。