Acknowledgments
Introduction
Part One: What Is the Modern?
1 THEORIZING MODERNISM
Modern
Modernism
Avant-garde
Cinema and Modernism: The First Encounter
The Institution of the Art Film
Modernist Art Cinema and the Avant-Garde
2 THEORIES OF THE CLASSICAL/MODERN DISTINCTION IN CINEMA
Style Analysts
Evolutionists
Modern Cinema and Deleuze
Modernism as an Unfinished Project
Part Two: The Forms of Modernism
3 MODERN ART CINEMA: STYLE OR MOVEMENT?
4 NARRATION IN MODERN CINEMA
Classical versus Modernist Art Films
The Alienation of the Abstract Individual
Who Is “the Individual” in Modern Cinema?
The Role of Chance
Open-Ended Narrative
Narrative Trajectory Patterns: Linear, Circular, Spiral
5 GENRE IN MODERN CINEMA
Melodrama and Modernism Excursus: Sartre and the Philosophy of Nothingness
A Modern Melodrama: Antonioni’s Eclipse (1962)
Other Genres and Recurrent Plot Elements
Investigation
Wandering/Travel
The Mental Journey
Closed-Situation Drama
Satire/Genre Parody
The Film Essay
6 PATTERNS OF MODERN STYLES
Primary Formation: Continuity and Discontinuity
Radical Continuity
Imaginary Time in Last Year at Marienbad
Radical Discontinuity
The Fragmented Form according to Godard
Serial Form
7 STYLES AND FORMS OF MODERNISM
Minimalist Forms
The Bresson Form
Abstract Subjectivity and the “Model”
Bresson and His Followers
Analytical Minimalism: The Antonioni Form
Psychic Landscape?
Continuity
Antonioni and His Followers
Expressive Minimalism
8 NATURALIST FORMS
Post-neorealism
Cinéma Vérité
The “New Wave” Style
9 ORNAMENTAL FORMS
10 THEATRICAL FORMS
11 MODERN CINEMA TRENDS
The Family Tree of Modern Cinema
Part Three: Appearance and Propagation of Modernism (1949–1958)
12 CRITICAL REFLEXIVITY OR THE BIRTH OF THE AUTEUR
The Birth of the Auteur
Historical Forms of Reflexivity
The Emergence of Critical Reflexivity: Bergman’s Prison
Reflexivity and Abstraction: Modern Cinema and the Nouveau Roman
13 THE RETURN OF THE THEATRICAL
Abstract Drama
14 THE DESTABILIZATION OF THE FABULA: NEOREALISM AND MODERNISM
Voice-Over Narration
The Dissolution of Classical Narrative: Film Noir and Modernism
Fabula Alternatives: Hitchcock
Alternative Subjective Narration: Rashomon
15 AN ALTERNATIVE TO THE CLASSICAL FORM
The End of Neorealism
Modernism in Story of a Love Affair: Neorealism Meets Film Noir
Rosselini: The “Neorealist Miracle”
Part Four: The Short Story of Modern Cinema (1959–1975)
16 THE ROMANTIC PERIOD, 1959–1961
Neorealism: The Reference
Eastern Europe: From Socialist Realism toward Neorealism
Heroism versus Modernism
Jerzy Kawalerowicz: The First Modern Polish Auteur
The Year 1959
Forms of Romantic Modernism
Genre and Narration in the Early Years
Sound and Image
Background and Foreground
From Hiroshima to Marienbad: Modernism and the Cinema of the Elite
The Production System of the “New Cinema”
17 ESTABLISHED MODERNISM, 1962–1966
Western Europe around 1962
The Key Film of 1962: Fellini’s 8 ½
Central Europe
Czechoslovak Grotesque Realism
The “Central European Experience”
Jancsó and the Ornamental Style
Summary
18 THE YEAR 1966
The Loneliness of the Auteur
19 POLITICAL MODERNISM, 1967–1975
The Year 1968
Conceptual Modernism: The Auteur’s New World
Reconstructing Reality
Counter-Cinema: Narration as a Direct Auteurial Discourse
The Film as a Means of Direct Political Action
Parabolic Discourse
Teorema
The Auteur’s Private Mythology
The Self-Critique of Political Modernism: Sweet Movie
Summary
20 “THE DEATH OF THE AUTEUR”
The Last of Modernism: Mirror
Mirror and Serial Structure
The Disappearance of Nothingness
Appendix: A Chronology of Modern Film
Bibliography
Index
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