There Is No Pperiphery: Globalising Culture and the Cinematographic Language of Cultural Mediation in Modern European Film

Sascha Harris

doi:10.21427/d7r18d

There Is No Pperiphery: Globalising Culture and the Cinematographic Language of Cultural Mediation in Modern European Film

Sascha Harris

Technological University Dublin

Research output: Contribution to conference › Paper › peer-review

Abstract

The paper investigates the various narrative and cinematographic strategies employed in Pasolini's 'The Gospel According to St Matthew' (1964), Tarkovsy's 'Andrei Rublev' (1966) and Kieslowski's 'A Short Film about Love' (1988) to correct and undermine a decentred representation which is structured around power-informed centre-periphery relations. It discusses the issue of assumed centrality and modern alienation through instrumentalised, detached perception.

Original language	English
DOIs	https://doi.org/10.21427/d7r18d
Publication status	Published - 2003
Event	Royal Irish Academy Symposium - Dublin, Ireland Duration: 1 Jan 2003 → 31 Dec 2003

Conference

Conference	Royal Irish Academy Symposium
Country/Territory	Ireland
City	Dublin
Period	1/01/03 → 31/12/03

Keywords

narrative strategies
cinematographic strategies
Pasolini
The Gospel According to St Matthew
Tarkovsky
Andrei Rublev
Kieslowski
A Short Film about Love
decentred representation
power-informed centre-periphery relations
assumed centrality
modern alienation
instrumentalised perception
detached perception

Access to Document

10.21427/d7r18dLicence: CC BY-NC-SA

Cite this

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abstract = "The paper investigates the various narrative and cinematographic strategies employed in Pasolini's 'The Gospel According to St Matthew' (1964), Tarkovsy's 'Andrei Rublev' (1966) and Kieslowski's 'A Short Film about Love' (1988) to correct and undermine a decentred representation which is structured around power-informed centre-periphery relations. It discusses the issue of assumed centrality and modern alienation through instrumentalised, detached perception.",

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AB - The paper investigates the various narrative and cinematographic strategies employed in Pasolini's 'The Gospel According to St Matthew' (1964), Tarkovsy's 'Andrei Rublev' (1966) and Kieslowski's 'A Short Film about Love' (1988) to correct and undermine a decentred representation which is structured around power-informed centre-periphery relations. It discusses the issue of assumed centrality and modern alienation through instrumentalised, detached perception.

KW - narrative strategies

KW - cinematographic strategies

KW - Pasolini

KW - The Gospel According to St Matthew

KW - Tarkovsky

KW - Andrei Rublev

KW - Kieslowski

KW - A Short Film about Love

KW - decentred representation

KW - power-informed centre-periphery relations

KW - assumed centrality

KW - modern alienation

KW - instrumentalised perception

KW - detached perception

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M3 - Paper

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Y2 - 1 January 2003 through 31 December 2003

ER -

There Is No Pperiphery: Globalising Culture and the Cinematographic Language of Cultural Mediation in Modern European Film

Abstract

Conference

Keywords

Access to Document

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Cite this