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- Author: Amir Cohen-Shalev
- Publisher: Liverpool University Press
- ISBN-10: 184519280X
- ISBN-13: 9781845192808
- Format: 15.8 x 22.9 x 1.5 cm, hardcover
- Language: English
- SAVE -10% with code: EXTRA
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Description
The interface of old age and cinema provides a fascinating yet uncharted territory in the humanities and social sciences. Two central perspectives are explored: movies on old age by old filmmakers; and movies on old age by younger artists. The first perspective focuses on the cinematic representation of ageing from within, whereas the second examines the ways ageing is viewed from the outside. The distinction is based on the schism between the phenomenology of ageing and its social representation: The one hinges on intrinsic qualities of 'old age style' or 'late style'; the second addresses attitudes towards old age in general as well as towards ageing artists and the reception (or rejection) of their late films. The author combines these general perspectives as it shifts between text and context, beginning with ageing from the outside in order to introduce the semantics and pragmatics of the context (reception and filmmaking stylistic change, midlife images of old age), and
continuing into the worl
EXTRA 10 % discount with code: EXTRA
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- Author: Amir Cohen-Shalev
- Publisher: Liverpool University Press
- ISBN-10: 184519280X
- ISBN-13: 9781845192808
- Format: 15.8 x 22.9 x 1.5 cm, hardcover
- Language: English English
The interface of old age and cinema provides a fascinating yet uncharted territory in the humanities and social sciences. Two central perspectives are explored: movies on old age by old filmmakers; and movies on old age by younger artists. The first perspective focuses on the cinematic representation of ageing from within, whereas the second examines the ways ageing is viewed from the outside. The distinction is based on the schism between the phenomenology of ageing and its social representation: The one hinges on intrinsic qualities of 'old age style' or 'late style'; the second addresses attitudes towards old age in general as well as towards ageing artists and the reception (or rejection) of their late films. The author combines these general perspectives as it shifts between text and context, beginning with ageing from the outside in order to introduce the semantics and pragmatics of the context (reception and filmmaking stylistic change, midlife images of old age), and
continuing into the worl
Reviews