內容簡介 · · · · · ·
費里尼的《八部半》在半世紀之前首映時，以其大膽的風格震驚了全世界，電影的主角與本片導演費里尼構成了鏡像關係，而影片故事則映身了本片的拍攝過程。攻擊者撻伐《八部半》的自我沉溺，讚美者則稱頌它的自覺意識。無論如何，作為集體創作的電影而位列個人創制的藝術品，《八部半》早已成為典範之作。眾多大導演也從中吸取靈感，並通過自己的作品向其致敬。
本書闡釋了《八部半》歷久彌新的意義，並把它還原到各種語境之中，在條縷分析之後，力證了它的不朽價值。
作者簡介 · · · · · ·
DA 米勒（DA Miller），加州大學伯克利分校英文系約翰•F. 霍奇斯（John F. Hotchkis）教授，其他著述有《簡•奧斯丁，或風格的秘密》（2003）等，他還為《電影季刊》撰寫專欄。
韋松，男，1966年出生於上海。華東師範大學中文系畢業，此後一直在出版社從事編輯工作。愛好隨便翻翻、讀讀寫寫，看電影而無研究，勤思考而少寫作。
目錄 · · · · · ·
序言
第一章從無人到有人
第二章從作者導演到普通人
第三章從內容到風格
尾聲
致謝
文獻註釋
演職員表
譯後記
第一章從無人到有人
第二章從作者導演到普通人
第三章從內容到風格
尾聲
致謝
文獻註釋
演職員表
譯後記
D.A. Miller - UC Berkeley English
english.berkeley.edu/profiles/55D. A. Miller is the John F. Hotchkis Professor of English. He received his Ph.D. in Comparative Literature from Yale University in 1977 and has taught at ...
| ISBN | 9781844572311 |
| Publication Date | June 2008 |
| Formats | Paperback Ebook (EPUB) Ebook (PDF) |
| Publisher | British Film Institute |
Federico Fellini's masterpiece 8 1/2 (Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini's mirror image, and the story to reflect the making of 8 1/2 itself. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal filmmaking, and numerous directors, including Martin Scorsese, Woody Allen and Bruce LaBruce, paid homage to it in their own work.
Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellin's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man – and the artist – who fails his appointed social responsibilities.
Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellin's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man – and the artist – who fails his appointed social responsibilities.
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