One of the world's most erudite and entertaining film critics on the state of cinema in the post-digital—and post-9/11—age. This witty and allusive book, in the style of classic film theorists/critics like André Bazin and Siegfried Kracauer, includes considerations of global cinema's most important figures and films, from Lars von Trier and Zia Jiangke to WALL-E, Avatar and Inception.

motw/Film After Film_ (Or, What Became of 21st - J. Hoberman.epub

motw/Film After Film_ (Or, What Became of 21st - J. Hoberman.mobi

Hoberman, J.

Verso Books

United Kingdom and Ireland, United Kingdom

First Edition, First Printing, US, 2012

Brooklyn, NY, New York State, 2012

London, 2012

Memory of the World Librarian: Quintus

Includes bibliographical references and index.

How the digital turn and 9/11 have changed motion picture history.In this sly and thought-provoking volume, J. Hoberman turns an erudite eye to the study of twenty-first-century cinema and finds that, only a dozen years into the new millennium, the world of movies has already experienced a revolutionary transformation. The advent of new digital technology has displaced the medium of photographic film—and, perhaps, the reality on which it once depended. With locations, sets and cameras now optional, the history of motion pictures has become the history of animation. This sea change in filmmaking spanned the 2000 American presidential election and the trauma of 9/11, events that reshaped world politics and left an indelible imprint on the emerging aesthetic of the new century’s cinema. A rupture opened up in the evolution of film, presaging, as Susan Sontag forlornly predicted a few years earlier, the death of cinephilia, or at least cinephilia as we know it. Witty and allusive, in the style of classic film theorist/critics such as André Bazin and Siegfried Kracauer, Film After Film expands on a much-discussed era-defining Artforum article by Hoberman before moving on to a chronicle of the Bush years in cinema (featuring reviews from Hoberman’s final decade at the Village Voice). The book concludes with considerations of the twenty-one central movies of the twenty-first century, which include works by Lars von Trier and Jia Zhangke as well as the hi-tech spectacles WALL-E and Avatar.
Nonfiction,Performing Arts,History,Guides & Reviews,General,Film & Video,Computers,Digital Media,History & Criticism,NEJP15

<p><strong>How the digital turn and 9/11 have changed motion picture history.</strong></p>
<p>In this sly and thought-provoking volume, J. Hoberman turns an erudite eye to the study of twenty-first-century cinema and finds that, only a dozen years into the new millennium, the world of movies has already experienced a revolutionary transformation.</p>
<p>The advent of new digital technology has displaced the medium of photographic film—and, perhaps, the reality on which it once depended. With locations, sets and cameras now optional, the history of motion pictures has become the history of animation.</p>
<p>This sea change in filmmaking spanned the 2000 American presidential election and the trauma of 9/11, events that reshaped world politics and left an indelible imprint on the emerging aesthetic of the new century’s cinema. A rupture opened up in the evolution of film, presaging, as Susan Sontag forlornly predicted a few years earlier, the death of cinephilia, or at least cinephilia as we know it.</p>
<p>Witty and allusive, in the style of classic film theorist/critics such as André Bazin and Siegfried Kracauer, Film After Film expands on a much-discussed era-defining <em>Artforum</em> article by Hoberman before moving on to a chronicle of the Bush years in cinema (featuring reviews from Hoberman’s final decade at the <em>Village Voice</em>). The book concludes with considerations of the twenty-one central movies of the twenty-first century, which include works by Lars von Trier and Jia Zhangke as well as the hi-tech spectacles <em>WALL-E</em> and <em>Avatar</em>.</p>

"A post-photographic cinema. The myth of "the myth of total cinema"--The matrix: "a prison for your mind" -- The new realness -- Quid est veritas: the reality of unspeakable suffering -- Social network -- Postscript: total cinema redux -- A chronicle of the Bush years. 2001: after September 11 -- 2002: the war on terror begins -- 2003: invading Iraq -- 2004: Bush's victory -- 2005: looking for the Muslim world -- 2006: September 11, the anniversary -- 2007: what was Iraq and where? -- 2008: the election -- Notes toward a syllabus. In praise of love (Jean-Luc Godard, 2001) -- Avalon (Mamoru Oshii, 2001) -- Avant-garde goes digital: Corpus callosum, Cotton Candy, and Razzle Dazzle -- Russian ark (Alexander Sokurov, 2002) -- Ten (Abbas Kiarostami, 2002) -- Goodbye Dragon Inn (Tsai Ming-Liang, 2002) -- Dogville (Lars Von Trier, 2003) -- The world (Jia Zhangke, 2004) -- Battle in heaven (Carlos Reygadas, 2005) -- The death of Mr. Lazarescu (Cristi Puiu, 2005) -- Day night day night (Julia Loktev, 2006) -- Southland tales (Richard Kelly, 2006) -- Inland empire (David Lynch, 2006) -- Between darkness and light (after William Blake) (Douglas Gordon, 1997/2006) -- LOL (Joe Swanberg, 2006) -- Flight of the red balloon (Hou Hsiao-Hsien, 2007) -- Hunger (Steve McQueen, 2008) -- Opening ceremonies, Beijing Olympics (August 8, 2008) -- Carlos (Olivier Assayas, 2010) -- The strange case of Angelica (Manoel de Oliveira, 2010) -- Once upon a time in Anatolia (Nuri Bilge Ceylan, 2011)."

A post-photographic cinema. The myth of "the myth of total cinema"
The matrix: "a prison for your mind"
The new realness
Quid est veritas: the reality of unspeakable suffering
Social network
Postscript: total cinema redux
A chronicle of the Bush years. 2001: after September 11
2002: the war on terror begins
2003: invading Iraq
2004: Bush's victory
2005: looking for the Muslim world
2006: September 11, the anniversary
2007: what was Iraq and where?
2008: the election
Notes toward a syllabus. In praise of love (Jean-Luc Godard, 2001)
Avalon (Mamoru Oshii, 2001)
Avant-garde goes digital: Corpus callosum, Cotton Candy, and Razzle Dazzle
Russian ark (Alexander Sokurov, 2002)
Ten (Abbas Kiarostami, 2002)
Goodbye Dragon Inn (Tsai Ming-Liang, 2002)
Dogville (Lars Von Trier, 2003)
The world (Jia Zhangke, 2004)
Battle in heaven (Carlos Reygadas, 2005)
The death of Mr. Lazarescu (Cristi Puiu, 2005)
Day night day night (Julia Loktev, 2006)
Southland tales (Richard Kelly, 2006)
Inland empire (David Lynch, 2006)
Between darkness and light (after William Blake) (Douglas Gordon, 1997/2006)
Lol (Joe Swanberg, 2006)
Flight of the red balloon (Hou Hsiao-Hsien, 2007)
Hunger (Steve McQueen, 2008)
Opening ceremonies, Beijing Olympics (August 8, 2008)
Carlos (Olivier Assayas, 2010)
The strange case of Angelica (Manoel de Oliveira, 2010)
Once upon a time in Anatolia (Nuri Bilge Ceylan, 2011).

In this sly and thought-provoking essay, Village Voice film critic J. Hoberman suggests that it's possible to speak of a distinctive twenty-first century cinema, only a decade into the new millennium. The advent of a new digital technology has led to the displacement of the medium of film - and of the real, as digital image-making ends the necessity of having an actual world, let alone the need for a camera. The future history of motion pictures, Hoberman asserts, will be the history of animation. Meanwhile, the 2000 American presidential election and the trauma of 9/11 have reshaped the movies politically. The two events have combined to create a rupture in film history, perhaps presaging, as Susan Sontag forlornly predicted at the close of the century, the death of cinema, or at least cinephilia. This witty and allusive book, in the style of classic film theorist/critics like Andre Bazin and Siegfried Kracauer, expands on a much-discussed article by Hoberman from Artforum and includes considerations of global cinema's most important figures and films, from Lars von Trier and Zia Jiangke to WALL-E, Avatar, and Inception

One of the worlds most erudite and entertaining film critics on the state of cinema in the post-digitaland post-9/11age. This witty and allusive book, in the style of classic film theorists/critics like Andr Bazin and Siegfried Kracauer, includes considerations of global cinemas most important figures and films, from Lars von Trier and Zia Jiangke to WALL-E , Avatar and Inception .

2025-10-27