Hamish Ford
Biographic Data
| ID | 6754403 |
|---|---|
| NAME | Hamish Ford |
| GIVEN NAMES | Hamish |
| FAMILY NAME | Ford |
| SIGNATURE | FORD H |
| AFFILIATIONS | University of Newcastle Australia |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Situating Ingmar Bergman and world cinema
Introducing four essays and a stage play that make up the “Bergman World” special issue of Popular Communication, the authors argue for an expanded understanding of world cinema, one that attends to critical and scholarly voices beyond the hegemon of the United States, the United Kingdom, and Western continental Europe, one that, indeed, attends to “their” (the non-West’s) perspective on “us” (Western filmmakers, film scholars, and films) as much…
The return of 1960s modernist cinema
This article concerns the complex nature of post-war European film modernism's historicity. According to András Bálint Kovács, this cinema rose in an arc starting from the mid-1950s, peaking in the 1960s, and slowly petering out by 1980. At its best such historicizing produces precise contextual detailing, rather than romantic-hermetic affirmation or subsequent backlash dismissal, in the process creating room for new accounts of films and filmmak…
No prominent works on this page.
The return of 1960s modernist cinema
This article concerns the complex nature of post-war European film modernism's historicity. According to András Bálint Kovács, this cinema rose in an arc starting from the mid-1950s, peaking in the 1960s, and slowly petering out by 1980. At its best such historicizing produces precise contextual detailing, rather than romantic-hermetic affirmation or subsequent backlash dismissal, in the process creating room for new accounts of films and filmmak…
Situating Ingmar Bergman and world cinema
Introducing four essays and a stage play that make up the “Bergman World” special issue of Popular Communication, the authors argue for an expanded understanding of world cinema, one that attends to critical and scholarly voices beyond the hegemon of the United States, the United Kingdom, and Western continental Europe, one that, indeed, attends to “their” (the non-West’s) perspective on “us” (Western filmmakers, film scholars, and films) as much…
Art (2 works) · Art history (2 works) · History (2 works) · Law (2 works) · Movie theater (2 works) · Political science (2 works) · Sociology (2 works) · Aesthetics (1 work) · Archaeology (1 work) · Central European national history (1 work)