The Cinema of Wim Wenders: The Celluloid Highway is a new study of the films of this most prominent of German directors, and penetrates the seductive sounds and images for which he is best known. The book analyses the individual films in the context of a preoccupation central to all of Wenders' work and writings: why modern cinema - a recording art, solely composed of sounds and images - naturally developed into a primarily narrative medium, a domain traditionally associated with words and sentences? With its emphasis on analysing the films themselves, this book identifies and critically elucidates Wenders' chief artistic motivation: that the act of seeing can constitute a creative act in its own right.
Globetrotting filmmaker Wim Wenders always takes his old panorama camera with him, using it whenever the sheer wealth of what he sees and the impression it leaves on him breaks the normal scale of things. Infinite landscapes, endless horizons, deserts, and mountain ranges overwhelm by their emptiness and silence, street fronts in Havana, Houston, Berlin, or Jerusalem offer deep insights into the shallows of civilization. Wenders' photographs are pictures of a world almost devoid of humans, a natural or man-made world viewed from a distance. They shed light on the many guises the surface of the earth dons and attest to Wenders' contemplative and amazed gaze. This gaze, of course, didn't stop at September 11 and delivered haunting photos of Ground Zero taken shortly after the attack. With poetic comments by the artist on all the pictures, the book is both a portrait of the world as encountered by the photographer and a portrait of the photographer as reflected in his vision of the world.
Counter The twenty-five contributors to this volume - who include such influential thinkers as Jacques Derrida, Jean-Luc Nancy, Talal Asad, and James Siegel - confront the conceptual, analytical, and empirical difficulties involved in addressing the complex relationship between religion and media. The book's introductory section offers a prolegomenon to the multiple problems raised by an interdisciplinary approach to these multifaceted phenomena. The essays in the following part provide exemplary approaches to the historical and systematic background to the study of religion and media. The third part presents case studies by anthropologists and scholars of comparative religion. The book concludes with two remarkable documents: a chapter from Theodor W. Adorno's study of the relationship between religion and media in the context of political agitation (The Psychological Technique of Martin Luther Thomas's Radio Addresses) and a section from Niklas Luhmann's monumental Die Gesellschaft der Gesellschaft (Society as a Social System).
Although firmly rooted in the real, Lillian Necakov's evocations of 'movie magic' prove irresistible in these forty poems and five collages. Ranging across dozens of films,�- from Wim Wenders's Wings of Desire and Jim Jarmusch's Down By Law to Hitchcock's Rope and Hawks's To Have and Have Not, Lillian Necakov's language, steeped in the comic of the banal, has absurdity for breakfast.
The Cinema of Wim Wenders, the first anthology of scholarly work on Wenders, is a unique anthropology of source materials and selected critical essays on the films of Wim Wenders, a major filmmaker in the so-called New German Cinema movement. His work, probably more than that of any other European director, reflects the tension between the European auteur tradition and the increasing dominance of the American media industry. In both his filmmaking and his critical writing, he explores how the relationship between image and narrative manifests the basic opposition between these two film traditions. This book serves as an introduction to the central concerns of his cinema while situation his work within German film history and the contemporary debates about postmodern film and media theory.
Wim Wenders ranks among the greatest artistic minds of contemporary film: over the past thirty years his films have displayed such wisdom, creativity, and sensitivity that they have transcended boundaries of language and nationality. Wenders brings to this collection of photographic essays the same literary and cinematic talents, the same command of the art of storytelling that we find in his films. In the tradition of Paris, Texasand Faraway, So Close, the texts and pictures in Onceweave ambiguous and moving narratives in fits of rhythmic prose and inventive imagery. Prefaced by Wenders' poetic meditations on the metaphysics of photography and film, Onceconsists of short, autobiographical sketches relating Wenders' experiences-both meaningful and apparently trivial-on his trips across the world scouting locations for his films, as well as photographs taken during these excursions. The resulting book is at once travel diary, photo album, and a series of short films or short stories-revealing the views and sentiments of an auteur inspired by the poetry of the eye and the melody of speech. Fascinating and revelatory, Oncegives us a unique look at the universe Wenders has created out of the hidden pieces of everyday life.
Internationally lauded for his often ground-breaking camera work (for directors like Wim Wenders, Lars von Trier and Jim Jarmusch), the Dutch cinematographer Robby Müller has contributed greatly to the success of an entire generation of independent filmma