Screening the Face [electronic resource] /
Coates, P.author.
Coates presents the face in film as a place where transformations begin, reflecting both the experience of modernity and such influential myths as that of Medusa. This is exemplified by a wide range of European and American films, including Ingmar Bergman's Persona .
Description based upon print version of record.
Cover; Contents; Acknowledgements; Introduction; I.1 The face, the mask and the Thing; I.2 Reading faces: Word, image and allegory in pre-sound film; 1 Faces and 'Faciality'; 1.1 The close-up; 1.2 Profile or full-face?; 1.3 'A face in the crowd': The 'young man' of Kieślowski's Dekalog; 1.4 The Passion of Joan of Arc: The 'documentary of faces'; 1.5 'The moment of truth': The face, the close-up, suffering and documentary; 1.6 Postscript: Kierkegaard and the close-up; 2 The Fate of Contemplation: Closeness and Distance; 2.1 Stardom, contradiction and syncretization
2.2 The crowd and the star: Benjamin's 'Age of Mechanical Reproduction' and Riefenstahl's Triumph of the Will2.3 Testing and transcendence: Kurosawa's The Idiot (1951); 2.4 Forms and functions of veiling; 2.5 The eyes of Garbo and the face of Garbo; 3 Masks and Metaphor: Doubles and Animals; 3.1 Introduction; 3.2 Visor and visage: The Dark Knight (2008); 3.3 Adaptation, dream and mask: Eyes Wide Shut (1999); 3.4 The Conversation (1974): De-personalized pronouns; 3.5 The animal mask; 3.6 Mirror relationships: Animals and sacrifice in Eisenstein and Renoir
3.7 Animals, allegory and the death's head of sin: Greed (1924) and Cat People (1942)3.8 The animal mask between fairytale, myth and metaphor: La Belle et la bête; 3.9 Animals, eyes and masks: Chris Marker's Zone; 4 Invisibility, Medusa and the Mask; 4.1 Some introductory theses; 4.2 Trauma and the invisible; 4.3 The face of genocide and the unseeable; 4.4 Medusa and her deconstruction: Dekalog 6 (1989); 4.5 The skull beneath the skin: The Face of Another (1966); 5 Dissonance and Synthesis: Persona, the Face, the Mask and the Thing
5.1 Towards Persona (1966): Sawdust and Tinsel (1953) and the meaning of shame5.2 Both sides now: Framing the face in Persona; 5.3 'The human face divine': Face and/as mystery in Persona; 5.4 Persona mirrored in reality and fiction; 5.5 Hierarchy and the mask: Two prisons; Works Cited; Index of Names; Index of Themes
Includes bibliographical references and indexes.
Coates presents the face in film as a place where transformations begin, reflecting both the experience of modernity and such influential myths as that of Medusa. This is exemplified by a wide range of European and American films, including Ingmar Bergman's Persona .
Motion pictures-History.
Motion pictures and television.
Film genres.
Motion pictures-Production and direction.
Film History.
Screen Studies.
Genre.
Directing.