Cocteau, la belle et la bête. Rainer Werner Fassbinder, petra von Kant. Chris Marker, la jetée. Fassbinder, Chinese roulette. Renoir, la grande Illusion. Max Ophüls, The earrings of Madame. Iosif Kheifits, The lady with the little dog.
Susan sontag on style essay
Bellocchio, pugni in Tasca. Marcel Carné, les Enfants du paradis. Kurosawa, the seven Samurai. Jacques Tati, playtime. Truffaut, lenfant sauvage. Jacques rivette, lamour fou. Von Stroheim, Greed. Straub, Anna magdalena bach. Taviani brothers, outdoor padre padrone. Jacques Becker, le trou.
Renoir, la règle du jeu. Ozu, tokyo story. Von Sternberg, apple The Blue angel. Bresson, Un Condamné à mort. Vertov, the man with the movie camera. Louis feuillade, judex. Anger, Inauguration of the Pleasure dome. Godard, vivre sa vie.
Reading over the top fifty films she considered the greatest back in 1977 (and published in her volume of journals. As Consciousness is Harnessed to Flesh we find plenty of evidence sontag herself, unsurprisingly, had such a cinephilic love of and vast appetite for movies, especially for European filmmakers but also the best-known Japanese ones of the day:. Vidor, The big Parade. Kurosawa, high and Low. Hans-Jürgen Syberberg, hitler. Godard, 2 ou 3 Choses. Rossellini, louis xiv.
Brother Carl takes place, suitably, at a swedish island resort. And her debut, duet for Cannibals, according to dangerous Minds, embodies — or, if you like, cinematizes — her touted distaste for the interpretation of artworks. Sontag, they say, "sought to liberate art from interpretation (which is a bit ironic, of course, for someone who was essentially an exalted critic). When it came to her own film, she made something that intended to deliberately confound the notion that there was any sort of underlying meaning beyond exactly what the audience was seeing on the screen directly in front of them.". Sontag's famous 1966 essay against Interpretation " counts here as essential reading, not just before you watch her own films, but also before you watch through her list of favorite films. Richard Brody, posting in the, new Yorker, recommends accompanying it with ". The decay of Cinema which Sontag wrote three decades later in the, new York times, and in which she declares that "you hardly find anymore, at least among the young, the distinctive cinephilic love of movies that is not simply love of but a certain taste.
Sontag, essay, against, interpretation
The history of the decline and Fall of the roman Empire by Edward Gibbon (1776) The first modern historian of the roman Empire went back to ancient sources to argue that moral decay made downfall inevitable The history of England by Thomas Babington Macaulay (1848). Help fill in the gaps and join the debate on the blog This article was amended on The original entry for Truman Capote's In Cold Blood referred to an account of a brutal murder in Kansas city. This has been corrected. The article was further amended on 27 november 2012. The original said issue Durkheim argued that less vigilant social control within catholic societies lowered the rate of suicide. Susan Sontag's fans would each describe her a little differently: many would call her a writer, of course, though some would opt for more specificity, calling her a novelist if they like her fiction or a critic if they don't.
Others, speaking more grandly, might prefer to simply call her an "intellectual." Under this wide umbrella sontag produced a variety of works for the page, the stage, and even the screen. Between 19, she made four films: 1969's. Duett för kannibaler (Duet for Cannibals 1971's, broder Carl brother Carl 1974's, promised Lands, and, above, 1983's, unguided tour, also known. Sontag adapted the Italian-language feature from her story of the same name, originally published in 1977 in the, new Yorker. Promised Lands, her only documentary, meditates on Arab-Israeli relations at the end of the yom Kippur War.
The Story of Art by Ernst Gombrich (1950 the most popular art book in history. Gombrich examines the technical and aesthetic problems confronted by artists since the dawn of time. Ways of seeing by john Berger (1972 a study of the ways in which we look at art, which changed the terms of a generation's engagement with visual culture. Biography, lives of the most Excellent painters, Sculptors, and Architects by giorgio vasari (1550 biography mixes with anecdote in this Florentine-inflected portrait of the painters and sculptors who shaped the renaissance. The life of Samuel Johnson by james Boswell (1791 boswell draws on his journals to create an affectionate portrait of the great lexicographer. The diaries of Samuel Pepys by samuel Pepys (1825) "Blessed be god, at the end of the last year I was in very good health begins this extraordinarily vivid diary of the restoration period.
Eminent Victorians by lytton Strachey (1918 strachey set the template for modern biography, with this witty and irreverent account of four Victorian heroes. Goodbye to All That by robert Graves (1929 graves' autobiography tells the story of his childhood and the early years of his marriage, but the core of the book is his account of the brutalities and banalities of the first world war. The autobiography of Alice b toklas by gertrude Stein (1933 stein's groundbreaking biography, written in the guise of an autobiography, of her lover. Culture, notes on Camp by susan Sontag (1964 sontag's proposition that the modern sensibility has been shaped by jewish ethics and homosexual aesthetics. Mythologies by roland Barthes (1972 barthes gets under the surface of the meanings of the things which surround us in these witty studies of contemporary myth-making. Orientalism by Edward said (1978 said argues that romanticised western representations of Arab culture are political and condescending. Environment, silent Spring by rachel Carson (1962 this account of the effects of pesticides on the environment launched the environmental movement in the. The revenge of gaia by james lovelock (1979 lovelock's argument that once life is established on a planet, it engineers conditions for its continued survival, revolutionised our perception of our place in the scheme of things. History, the histories by herodotus (c400 bc history begins with Herodotus's account of the Greco-persian war.
Against, interpretation (1964), susan
11 susan Sontag, Against Interpretation and Other Essays, (New York: Farrar, apple Straus and Giroux, 1961. 14 demott, benjamin (January 23, 1966). The new York times. Retrieved April 14, 2016. robshaw, Brandon remote (26 September 2009). "Against Interpretation, by susan Sontag". External links edit retrieved from " ". Art, the Shock of the new by robert Hughes (1980 hughes charts the story of modern art, from cubism to the avant garde.
asserts that inevitably, the modern style of interpretation separates form and content in a manner that damages an artwork and one's own sensorial appreciation of a piece. Though she claims that interpretation can be stifling, making art comfortable and manageable and thus degrading the artists original intention, sontag equally presents a solution to the dilemma she sees as an abundance of interpretation on content. That is, to approach art works with a strong emphasis on form, to reveal the sensuous surface of art without mucking about. 5, reception edit, in a contemporary review of the book, benjamin demott of The new York times praised Against Interpretation as "a vivid bit of living history here and now, and at the end of the sixties it may well rank among the invaluable cultural. Though they bear the stamp of their time, sontag was remarkably prescient; her project of analysing popular culture as well as high culture, the doors as well as Dostoevsky, is now common practice throughout the educated world. And the artists and intellectuals she discusses nietzsche, camus, godard, barthes etc demonstrate that she knew which horses to back." 7 see also edit references edit national book foundation ml#.WI9vblyrL8M. Retrieved missing or empty title ( help ) susan Sontag, Against Interpretation and Other Essays, (New York: Farrar, Straus and Giroux, 1961. 7 susan Sontag, Against Interpretation and Other Essays, (New York: Farrar, Straus and Giroux, 1961. 13 susan Sontag, Against Interpretation and Other Essays, (New York: Farrar, Straus and Giroux, 1961.
She believes that interpretation of the modern style has a particular taming effect: reducing the freedom of a subjective response and placing limitations or certain rules upon a responder. The modern style of interpretation is particularly despised by sontag in relation to the previous classical style of interpretation that sought to bring artworks up to date, to meet modern interests and apply allegorical readings. Where this type of interpretation was seen to resolve conflict between past and present by revamping an art work and maintaining a certain level of respect and honour, sontag believes that the modern style of interpretation has lost sensitivity and rather strives to stroy. Sontag asserts that the modern style is quite harmful; to art and to audiences alike, enforcing hermeneutics - fallacious, complicated readings that seem to engulf an artwork, to the extent that analysis write of content begins to degrade, to destroy. Reverting to a more primitive and sensual, almost magical experience of art is what Sontag desires; even though that is quite impossible due to the thickened layers of hermeneutics that surround interpretation of art and that have grown to be recognised and respected. Marxian and, freudian theories, claiming they are aggressive and impious. 3, sontag also refers to the contemporary world as one of overproduction. Material plentitude sic, 4 where one's physical senses have been dulled and annihilated by mass production and complex interpretation to the extent that appreciation of the form of art has been lost.
Sontag, online Only
From wikipedia, the free encyclopedia, jump to navigation, jump to search. Against Interpretation is a collection of essays by, susan Sontag published in 1966. It includes some of Sontag's best-known works, including "On Style and roles the eponymous essay "Against Interpretation." In the last, sontag argues that in the new approach to aesthetics the spiritual importance of art is being replaced by the emphasis on the intellect. Rather than recognizing great creative works as possible sources of energy, she argues, contemporary critics were all too often taking art's transcendental power for granted, and focusing instead on their own intellectually constructed abstractions like "form" and "content." In effect, she wrote, interpretation had become. The book was a finalist for the Arts and Letters category of the. National book award 1, contents, summary edit "Against Interpretation" is Sontag's influential essay within. Against Interpretation and Other Essays that discusses the divisions between two different kinds of art criticism and theory: that of formalist interpretation, and that of content-based interpretation. Sontag is strongly averse to what she considers to be contemporary interpretation, that is, an overabundance of importance placed upon the content or meaning of an artwork rather than being keenly alert to the sensuous aspects of a given work and developing a descriptive vocabulary.