التفاصيل البيبلوغرافية
| العنوان: |
Delezova filmozofija i trijumfalni narativ američkog ratnog filma. (Bosnian) |
| Alternate Title: |
Deleuze’s filmosophy and the triumphant narrative of the American war film. (English) |
| المؤلفون: |
Nikolić, Sandra |
| المصدر: |
Hrvatski Filmski Ljetopis; Spring2020, Issue 101, p55-62, 8p |
| مصطلحات موضوعية: |
INTERNATIONAL trade, WAR films, FRENCH films, AMERICAN films, TERRORISM, IMPERIALISM, AFGHAN War, 2001-2021 |
| People: |
DELEUZE, Gilles, 1925-1995 |
| Abstract (English): |
The paper written by Sandra Nikolić, film and media professor, explores the basic thesis of a very influential philosophy of film (filmosophy) by French thinker Gilles Deleuze, such as the “movement image” (L’image-mouvement) and the “time image” (L’imagetemps), on the example of the American narrative cinema thematising war and similar issues. Explaining how film in the US changed over time, for example because of the attack on the World Trade Centre on September 11, 2001, the author applies Deleuze’s categories as a fruitful manner of understanding the cinematic presentation of war and destruction in the most influential cinema of the West. She also explains the motifs such as “terrorism” and the “war on terror”, relying in addition on the examples of films by non-American authors that mirror the mentioned tendencies or that have their themes and ideas created in contrast to the American model (for example, to the presentation of war in small-scale, European cinema). With series (such as 24) and films ranging from works by Adrian Lyne and Oliver Stone to films by J. J. Abrams and Steven Spielberg, the American culture, considers the author, has managed to dominate on global level, creating new forms of global consumption and a new, contemporized culture of imperialism. [ABSTRACT FROM AUTHOR] |
| Abstract (Bosnian): |
Rad profesorice filma i medija Sandre Nikolić obrazlaže temeljne teze veoma utjecajne filozofije filma (filmozofije) francuskog mislioca Gillesa Deleuza, kao što su “slika pokreta” (L’image-mouvement) i “slika vremena” (L’image-temps), na primjeru američke narativne kinematografije ratne i srodne tematike. Obrazlažući kako se film u SAD-u mijenjao kroz vrijeme, primjerice zbog prijelomnog napada na Svjetski trgovački centar 11. rujna 2001, autorica primjenjuje Deleuzove kategorije kao plodan način razumijevanja prikaza rata i razaranja u filmovima najutjecajnije kinematografije Zapada. Pritom obrazlaže i motive poput “terorizma” i “rata protiv terorizma”, a poziva se i na primjere filmova neameričkih autora u kojima se ogledaju navedene tendencije, ili se njihove teme i ideje formiraju u kontrastu prema američkom modelu (npr. u prikazu rata u manjim, europskim kinematografijama). Serijama (primjerice 24 sata) i filmskim djelima u rasponu od radova Adriana Lynea i Olivera Stonea do filmova J. J. Abramsa i Stevena Spielberga, američka kultura, smatra autorice, uspjela je dominirati na globalnoj razini, stvarajući nove oblike globalne potrošnje i novu, osuvremenjenu kulturu imperijalizma. [ABSTRACT FROM AUTHOR] |
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| قاعدة البيانات: |
Complementary Index |
