| Titre : |
Michael Hamburger |
| Type de document : |
texte imprimé |
| Auteurs : |
Tacita Dean, Auteur |
| Editeur : |
London [rande-Bretagne] : Film and Video Umbrella |
| Année de publication : |
2013 |
| Importance : |
1 vol. (non paginé) |
| Présentation : |
ill. en noir & blanc, couv. ill. en coul. |
| Format : |
19 cm |
| ISBN/ISSN/EAN : |
978-1-904270-36-2 |
| Prix : |
13.77 EUR |
| Langues : |
Anglais (eng) Langues originales : Anglais (eng) |
| Index. décimale : |
VID vidéo |
| Résumé : |
Tacita Dean’s portrait of the poet and translator Michael Hamburger was filmed, at his home in rural Suffolk, in the last year of his life. Set against muted autumn colours, and with Hamburger performing an evocative, anecdotal inventory of the harvest from his apple orchard, the piece is a bittersweet reminder of time’s passing that deftly captures, and quietly honours, an exemplary 20th century literary figure. Featuring a new essay by Brian Dillon, Dean’s own notes on the making of the project, and a transcript of its central voiceover monologue, this publication looks back at the film, one that takes its place alongside a number of studies by Dean of other major creative and artistic figures, and one that remains one of her most enduring and affecting achievements. |
Michael Hamburger [texte imprimé] / Tacita Dean, Auteur . - London [rande-Bretagne] : Film and Video Umbrella, 2013 . - 1 vol. (non paginé) : ill. en noir & blanc, couv. ill. en coul. ; 19 cm. ISBN : 978-1-904270-36-2 : 13.77 EUR Langues : Anglais ( eng) Langues originales : Anglais ( eng)
| Index. décimale : |
VID vidéo |
| Résumé : |
Tacita Dean’s portrait of the poet and translator Michael Hamburger was filmed, at his home in rural Suffolk, in the last year of his life. Set against muted autumn colours, and with Hamburger performing an evocative, anecdotal inventory of the harvest from his apple orchard, the piece is a bittersweet reminder of time’s passing that deftly captures, and quietly honours, an exemplary 20th century literary figure. Featuring a new essay by Brian Dillon, Dean’s own notes on the making of the project, and a transcript of its central voiceover monologue, this publication looks back at the film, one that takes its place alongside a number of studies by Dean of other major creative and artistic figures, and one that remains one of her most enduring and affecting achievements. |
|  |
