| Full Text |
- The film experience
- The world view of subversive cinema
- pt. 1. Weapons of subversion : the subversion of form.
- The revolutionary film avant-garde in Soviet Russia
- Aesthetic rebels and rebellious clowns. Expressionism: the cinema of unrest ; Surrealism: the cinema of shock ; Dada and Pop: anti-art? ; The comic tradition
- The destruction of time and space
- The destruction of plot and narrative
- The assault on montage
- The triumph and death of the moving camera. The camera moves ; Minimal cinema
- The devaluation of language
- Straining towards the limits. The elimination of reality ; The subversion of illusion ; The elimination of the image ; The elimination of the screen ; The elimination of the camera ; The elimination of the artist
- pt. 2. Weapons of subversion : the subversion of content.
- International left and revolutionary cinema. The West: rebels, Maoists, and the new Goddard ; Subversion in Eastern Europe: Aesopian metaphors ; The Third World: a new cinema ; East Germany : against the West
- The terrible poetry of Nazi cinema
- Secrets and revelations
- Pt. 3. Weapons of subversion : forbidden subjects of the cinema.
- The power of the visual taboo
- The attack on puritanism : nudity
- The end of sexual taboos : erotic and pornographic cinema
- The end of sexual taboos : homosexuality and other variants
- The first mystery : birth
- The ultimate secret : death. Death ; Concentration camps
- The attack on God : blasphemy and anti-clericalism
- Trance and witchcraft
- pt. 4. Towards a new consciousness.
- Counterculture and avant-garde
- The subversion of subversion
- The eternal subversion.
|
Add new comment