Leftist filmmakers of the 1960s revolutionized the art of documentary. Often inspired by the radical art of the Soviet 1920s, filmmakers in countries like France and Japan dared to make film form a powerful weapon in the fight against fascism, weaving fiction into nonfiction and surrealism with neorealism to rupture everyday ways of being, seeing, and thinking. Through careful readings of Matsumoto Toshio, Jean-Luc Godard, Chris Marker, Agnès Varda, Hani Susumu, and others, Julia Alekseyeva shows that avant-garde documentary films of the 1960s did not strive to inoculate the viewer with the ideology of Truth but instead aimed to unveil and estrange, so that viewers might approach capitalist, imperialist, and fascist media with critical awareness. Antifascism and the Avant-Garde thus provides a transnational ecology of antifascist art that resonates profoundly with our current age.
By:
Julia Alekseyeva Imprint: University of California Press Country of Publication: United States Dimensions:
Height: 229mm,
Width: 152mm,
Spine: 20mm
Weight: 590g ISBN:9780520415669 ISBN 10: 0520415663 Pages: 264 Publication Date:26 May 2025 Audience:
College/higher education
,
Further / Higher Education
Format:Hardback Publisher's Status: Active
Contents Acknowledgments Introduction 1. 1960 Japan: ANPO and Antifascism in the Neo-documentary 2. 1962 France: Dreamlike Communism and the Left Bank in a Decolonizing World 3. 1964 Japan: The Allegorical Semi-documentary in an Age of Neonationalism 4. 1969 France: Unpleasure and Radical Epistemology in Post-May Godard 5. 1969 Japan: Queer Self-Revolutions of the Art Theatre Guild Coda Notes Bibliography Index
Julia Alekseyeva is Assistant Professor of English and Cinema & Media Studies at the University of Pennsylvania and author-illustrator of the award-winning graphic memoir Soviet Daughter: A Graphic Revolution.