Paul Schrader

With a new introduction, acclaimed director and screenwriter Paul Schrader revisits and updates his contemplation of slow cinema over the past fifty years. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This seminal text analyzes the film style of three great directors—Yasujiro Ozu, Robert Bresson, and Carl Dreyer—and posits a common dramatic language used by these artists from divergent cultures. The new edition updates Schrader’s theoretical framework and extends his theory to the works of Andrei Tarkovsky (Russia), Béla Tarr (Hungary), Theo Angelopoulos (Greece), and Nuri Bilge Ceylan (Turkey), among others. This key work by one of our most searching directors and writers is widely cited and used in film and art classes. With evocative prose and nimble associations, Schrader consistently urges readers and viewers alike to keep exploring the world of the art film.

Ozu, Bresson, Dreyer

Transcendental Style in Film

El estilo trascendental en el cine

Kevin Jackson

Schrader on Schrader is an essential set of dialogues with one of the most genuinely fascinating and uncompromising writer-directors in American film.Raised as a Calvinist and hence forbidden to partake of 'worldly pleasures' such as movies, Paul Schrader nevertheless defied his upbringing to become first a leading film critic, then a star pupil among the US 'movie brat' generation of the 1970s: writing the coruscating screenplays for Martin Scorsese's Taxi Driver and Raging Bull and directing such provocative pictures as Blue Collar, Hardcore and American Gigolo. Maturity has never sated his appetite for attacking 'difficult' material, from adapting Kazantzakis' The Last Temptation for Scorsese, to filming the singular lives of Mishima and Patty Hearst.Schrader on Schrader is a tour through this formidable body of work, including some of Schrader's finest critical essays.

Schrader on Schrader

Slavoj Žižek

Jean

Walter Siti

Julia Kristeva

Werner Herzog

Jacques Rancière

Roberto Esposito

Francesco Casetti

Marie

Richard Schechner

David Freedberg

Toni Servillo

Edgar Reitz

Paolo Jedlowski

Yervant Gianikian

Angela Ricci Lucchi

Julio Bressane

Roberto De Gaetano

Georges Didi

Huberman

Luc Nancy

Mario Martone

Francesco Ceraolo

Louis Comolli

Raoul Ruiz

Marco Bellocchio

José Mondzain

Shinya Tsukamoto

Amos Gitai

24 conversazioni apparse su Fata Morgana con grandi figure della contemporaneità, studiosi e artisti che parlano del cinema facendone un luogo del pensiero e una forma di vita. Un viaggio in cui il cinema e l’immagine, più di ogni altra forma d’arte, si riscoprono indissolubilmente legati alla complessità del nostro presente. Per la prima volta riunite e tradotte in inglese in un’unica pubblicazione, queste conversazioni offrono al lettore una costellazione unica di autori e temi per pensare il cinema a partire dal nostro presente e viceversa. 24 conversations originally published by Fata Morgana with important scholars and artists who have intended cinema as a place of thought and a form of life. A unique constellation of authors and themes in which cinema and the image, more than any other art form, are inextricably intertwined with the complexity of the contemporary. Edited and translated into English for the first time, these conversations offer to the reader a unique constellation of authors and themes, which leads one to reconsider cinema starting from our present and vice versa. Roberto De Gaetano is full professor of Filmology at the University of Calabria (Italy). He is the author of important books on the relationship between cinema and philosophy (Il cinema secondo Gilles Deleuze, Bulzoni, 1996; Il visibile cinematografico, Bulzoni, 2002; La potenza delle immagini, Ets, 2012), cinema and the contemporary (L’immagine contemporanea. Cinema e mondo presente, Marsilio, 2010), and authors and forms of Italian cinema (Il corpo e la maschera. Il grottesco nel cinema italiano, Bulzoni, 1999; Nanni Moretti. Lo smarrimento del presente, Pellegrini, 2015). He is the Editor of the three-volume edition Lessico del cinema italiano. Forme di rappresentazione e forme di vita (Mimesis, 2014-2016), and the Editor in Chief of Fata Morgana. Francesco Ceraolo (PhD, Qmul) teaches Film Analysis and Theater and Opera at the University of Calabria (Italy). His work mainly focuses on the relationship between philosophy, performing and visual arts. Among his recent publications are Verso un'estetica della totalità. Una lettura critico-filosofica del pensiero di Richard Wagner (Mimesis, 2013) and the chapter entitled ‘Opera’ in Lessico del cinema italiano. Forme di rappresentazione e forme di vita (Mimesis, 2015). He has edited and translated into Italian Alain Badiou’s writings on the theater (Rapsodia per il teatro. Arte, politica, evento, Pellegrini, 2015). In 2015 he was awarded the ‘Arthur Rubinstein – A Life In Music’ Prize by Teatro La Fenice for his musicological scholarship. He is a member of the Editorial Board of Fata Morgana.

CINEMA, THOUGHT, LIFE. Conversations with Fata Morgana

Louise Bourgeois

Wolfgang Tillmans

Pier Paolo Pasolini

Fiona Tan

Francesco Clemente

Chris Burden

Luigi Ontani

Or A Splendid Readiness For Death

Saint Sebastian

Taxi Driver (Faber Reel Classics)

Jean-Luc Nancy

Georges Didi-Huberman

Jean-Louis Comolli

De Gaetano Roberto

Eleven conversations taken from as many issues of Fata Morgana. Eleven conversations which synthesize the project behind the journal which was born in spring 2006. At the time it was decided against having an editorial comment because of the conviction that if the journal was going to succeed it would speak for itself. However, the time has come to say a few words. A journal is first and foremost a collective gesture whose outline creates a field. The gesture made by Fata Morgana, which at the beginning was only an intuition and then it slowly developed, is the same one that makes cinema a place and an opportunity to think about contemporaneity. It is not simply about what happens around us; it is what emerges from within the events which gather around a concept: from the concept of Bíos (issue No. 0) to the concept of the Sacred (issue No. 10). In this perspective, cinema needs to be interpreted and understood as having its own un-specific specificity. It needs to be interpreted and understood in its principal form where it is capable of categorizing its un-specificity, in other words, its autonomous form where it can categorize its heteronomy. This means thinking about a concept starting from cinema, and thinking about cinema starting from the concept. Thus, cinema becomes a special place and an opportunity to think about the universality of the concept (as a marker of contemporaneity) and the concept becomes the perspective from which to conceive cinema. By avoiding the double edged sword of a sterile specificity or of a self serving un-specificity cinema becomes the quintessential way of thinking about modernity where autonomy of aesthetical form is affirmed in its heteronomy, and its individuation imposes itself as a dis-individuation.

Conversations on Cinema

Anthea Sharp

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