期刊名称：Cinema : Journal of Philosophy and the Moving Image
电子版ISSN：1647-8991
出版年度：2013
期号：4
页码：210-215
出版社：New University of Lisbon
关键词：The film studies community know you mainly from your authoritative work on avant-garde cinema. ; Your work on religion and film is often forgotten or unknown; even if these strands are sometimes in- ; tertwined in your books on avant-garde films and filmmakers. How do you look at this split and con- ; nection as author and scholar. ; It is reasonable that my writings on film and religion would be little known. I have writ- ; ten five books on cinema. Two of them; Visionary Film: The American Avant-Garde (1974; 1979; ; 2002) and Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson (2008) are explic- ; itly studies of American avant-garde cinema. The other three; Modernist Montage: The Obscu- ; rity of Vision in Cinema and Literature (1992); Vital Crises in Italian Cinema: Iconography; Stylis- ; tics; Politics (1995; 2013); and The Cinema of Poetry (forthcoming) touch occasionally on aspects ; of religion (i.e.; Dreyer; Bresson; Rossellini; Fellini; Olmi; Pasolini; Tarkovsky; Cornell; Dor- ; sky) but never as a thematic thread to delineate the chapters of a book. My essays on religion ; in the work of Hitchcock; Scorsese; Allen; and my general essay for Eliade's Encyclopedia of ; Religion were written intermittently over thirty years and have not been collected in a single ; volume. Therefore; this persistent strain in my writing might well escape attention
