Titlebook: Landscape Allegory in Cinema; From Wilderness to W David Melbye Book 2010 David Melbye 2010 cinema.film.Hollywood

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Australian Outback Allegory,and cultural contexts. In these films, landscape allegory emerges similarly by way of peripheral wilderness locations. Simon Schama’s ideas about landscape inform this mode of film allegory. In his study ., Schama asserts:

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Italian Wasteland Allegory,assimilation into the larger pessimistic allegory of futility, the resulting films challenge narrative conventions by requiring closer intellectual involvement. The spectator must acknowledge that such landscapes are no longer mere backdrops, but characters in their own right.

人造

Introduction,ngly, cinematic locations serve as backdrops for characters that shape the story on their own. Consider Hollywood epics like Richard Fleischer’s . (1958), William Wyler’s . (1959), or Henry Levin’s . (1965): the magnificent locations do little more than set the stage for these films’ grand narrative

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Landscape Depiction before Cinema,to specific ideas within a wider cultural context. Scholars such as A. Bartlett Giamatti, Svetlana Alpers, Barbara Novak, Malcolm Andrews, and Leo Marx have thoroughly explored the rich Western tradition of depicting natural landscapes in drawing, painting, tapestry, and other artistic media. In ord

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Spiritualized Landscapes of the Nineteenth Century,kel refers to this Romantic sublime movement as ‘an attempt to revise the meaning of transcendence precisely when the traditional apparatus of sublimation—spiritual, ontological, and (one gathers) psychological and even perceptional—was failing to be exercised or understood.’. Derived from Longinus’

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Australian Outback Allegory,e time. Other national cinemas from the same period associate this spiritual crisis with one culture’s exploitation of another, in both environmental and cultural contexts. In these films, landscape allegory emerges similarly by way of peripheral wilderness locations. Simon Schama’s ideas about land