Lucy Fischer es una distinguida académica cuyo trabajo profundiza en la intrincada relación entre el cine, la conciencia y el deseo. Sus amplios intereses abarcan el cine internacional de las épocas muda y sonora, incluyendo formas narrativas y experimentales. Fischer examina críticamente las perspectivas culturales y feministas, la teoría cinematográfica y la estética, revelando cómo las narrativas visuales dan forma a nuestra percepción del mundo y de nosotros mismos. Sus ensayos ofrecen profundas ideas sobre la interconexión de la historia del cine, la teoría y el contexto cultural.
Focusing on a selection of exceptional films, this book delves into how specific emotions—such as pity, lust, grief, and anxiety—are portrayed and explored in depth. It offers valuable insights for academics and practitioners across various psychology disciplines, including social work, psychiatry, and therapy, highlighting the intersection of cinema and emotional experience.
"Sunrise: A Song of Two Humans (1927) is one of the most historically pivotal of all films. The first American film of the celebrated German director F.W. Murnau, Sunrise tells the story of a love triangle between characters named only as The Man, The Wife, and The Woman From the City. Lucy Fischer's compelling study of the film shows how it mediates between German expressionism and American melodrama, the avant-garde and popular fiction, silent cinema and 'talkies'. A lavish and sumptuous production famous for its vast, specially-constructed sets, and one of the first feature films with a synchronized musical score and sound effects soundtrack, Sunrise was one of early Hollywood's most ambitious undertakings. In her foreword to this new edition, Lucy Fischer considers the film as an abiding classic of world cinema"-- Provided by publisher
A leading scholar in so many fields within cinema and media studies, Lucy Fischer demonstrates and celebrates here - intellectually and passionately - a topic that she owns: the architectural and design world of cinematic art nouveau. Timothy Corrigan, coeditor of Essays on the Essay Film