It’s always fruitful to go back to Bazin’s writings, less as a theoretician than as a critic (with theoretical intuitions that are sometimes hazardous). This book is easy to undervalue. But while this is fascinating, I sometimes find his statements frustratingly evasive. There is no better stimulus to look at films seriously. Iampolski, a pre-eminent contemporary Russian theorist, gives a dazzling demonstration of how, when, where and why films quote other films (and other media) and why we should care. Should I opt for something from my collection written by Geoffrey O’Brien? Finally, the Sound Of Music script is here for all you quotes spouting fans of the movie starring Julie Andrews. I haven’t included André Bazin’s What is Cinema? An indeterminate speaker begins by describing the Thames River in the present and the way it used to look. Connect with friends, family and other people you know. The best autobiography (with Bergman’s) of a theatre and film director. I first encountered Durgnat’s seminal book by proxy in the stirring poetic quotes from it that turned up regularly in the reviews of old British films in London listings magazines. Millions of students use StudyMode to jumpstart their assignments. This was the volume that made a god awful 26-hour greyhound bus trip to New York seem bearable – in fact, time well spent. He says. The opening revelation in my case was the discovery of the late Robin Wood’s writings, specifically the five or six beautiful monographs he wrote around that time on contemporary film-makers, so let me single out Bergman (Praeger, 1969). Encompasses all film book categories: interview, yes, but also memoir, monograph, theory, picture book…. Agee on Film: Reviews and CommentJames Agee. Outstrips even Steven Bach’s Final Cut as an appalled account of big-budget catastrophe. Ealing StudiosCharles Barr, Cameron & Tayleur/David & Charles, 1977. For ‘The Work of Art in the Age of Mechanical Reproduction’ (1936), a jazz standard of an essay that writers have riffed on (and ripped off) ever since. On the other hand, it is also a self-portrait by a brilliant and uncompromising English film-maker. —but also no remnants of a primal, ancient eroticism: "The nymphs are departed," as the speaker repeats twice. The peerless lucidity of his writing about cinema is underscored by a profound moral passion. Adventures of a Suburban BoyJohn Boorman, Faber & Faber, 2003. introduced me to a different way of thinking about film and Christian Metz’s [two-volume] Essais sur la signification au cinéma (Klincksieck, 1968 and 1972) took things to a whole new level – even if the air up there was sometimes a little too thin to breathe. Describe "The Waste Land" by T.S Eliot as a modern poem. Dirk Bogarde: The Authorised BiographyJohn Coldstream, Weidenfeld & Nicolson, 2004. [1] The film is based on the 1952 short story of the same name by Ray Bradbury. The most candid and complete account of a film, and a famous disaster – which looks better every time you see it. Plus two: it is also an achingly serious discussion about why movies can be so potent, about the way they shape our fantasy lives and so our real lives, about how it really does matter whether or not you can love Withnail & I. Five is not enough! The Pleasure DomeGraham Greene, Secker & Warburg, 1972. Call it deferred gratification. I started reading about cinema in the late 1960s, the heyday of auteurism: the books that I read then formed my taste and have marked me as a certain kind of cinephile and, 40 years on, after the great adventure (or misadventure) of theory, that is still how I would define myself. ABS-CBN News Feb 28 11:14 AM. Four little volumes of essays and reviews written in the 1940s and 1950s, published posthumously, that were absolutely formative for the film-makers of the nouvelle vague and for critics ever after. Or almost any of her collections, really, but wasn’t she at her best when she had plenty of movies to love? Man vs. nature= goes against a t-Rex and time and when he kills the butterfly Man vs. man= Eckles and Travis Man vs. fate= when he changes who is voted president Minor: Man vs. society= going against what the government Warner Bros. Home Entertainment has officially announced that it will release on 4K Blu-ray and Blu-ray Justice Society: World War II.The two releases will be available for purchase on May 11. I had the photo of Francis Ford Coppola pointing a revolver at his head up on my office wall the whole time I was writing Corpsing. The stanza and the section end with lines in French, from a poem in Charles Baudelaire's The Flowers of Evil, translated as: "hypocrite reader!—my fellow,—my brother!". He also alludes to the infamous sexual relationship between Queen Elizabeth I and the Earl of Leicester and refers to various religious texts that ask for aid against the pull of lust (e.g., Saint Augustine's Confessions and the Buddha's Fire Sermon), as in the section's end: By this cascade of allusions, Eliot draws further attention to how those in the modern era are sexually tempted in ways that are, ultimately, empty and unconnected—and which lead to moral ruin. For metric-system conversions, follow this method: Sound travels at about 340 m/s, so multiply the number of seconds you counted by 340, and you'll know how many meters away lightning struck. knew all men. The Phantom Empire Geoffrey O’BrienDurgnat on Film Raymond DurgnatScience Fiction Movies Philip StrickThe Hollywood Hallucination Parker TylerNegative Space: Manny Farber on the Movies Manny FarberThe Shadow of an Airplane Climbs the Empire State Building Parker TylerFilm as a Subversive Art Amos VogelDictionary of Films Georges SadoulCinema: A Critical Dictionary Edited By Richard RoudOn the History of Film Style David BordwellCity of Nets Otto FriedrichVisionary Film P. Adams SitneyHitchcock François TruffautWho the Devil Made It Peter BogdanovichSigns and Meaning in the Cinema Peter Wollen, The Genius of the System: Hollywood Filmmaking in the Studio EraThomas Schatz, Pantheon Books, 1988, I Lost It At the MoviesPauline Kael, Little, Brown, 1965, Final CutSteven Bach, William Morrow, 1985, Indecent ExposureDavid McClintick, William Morrow, 1982, Signs and Meaning in the CinemaPeter Wollen. The speaker also refers to "the king my brother's wreck," an allusion to when Prospero of The Tempest calls up a storm to wreck his brother's boat in revenge for his having abandoned Prospero on an island many years before. In these ornaments, however, her unhappiness and uncertainties are reflected, as in the personification of her perfumes: The trappings of her social class and the ideal of femininity, which she is determined to embody, press claustrophobically close, seeming to act on her body independently of her will. This is the book of books that helped me develop a cinematic eye. Registered charity 287780. Sarris’ classification of directors on different levels – from the ‘Pantheon’ to ‘Lightly Likeable’, via ‘Expressive Esoterica’ and ‘Less than Meets the Eye’ is imprinted on my attitude to American cinema, and I still have to argue in my head with Sarris’ unforgettably snappy put-downs. Leyda spent several years in the USSR in the mid-30s, studying at the world’s first film school, and assisting Eisenstein on his eventually banned film, Bezhin Meadow. A Discovery of CinemaThorold Dickinson, OUP, 1971, Reeling By Pauline KaelFilm as a Subversive Art By Amos Vogel. Because he has spent the past 60 years opening up new worlds to us. Surrealism, not as a set of dogmas, but as a life lived. Thunder is the sound caused by lightning. Perhaps, then, the speaker grieves the loss of the beauty of his home near the Thames. Back in 1969 when it was first published, it was, like Martin Peters, ten years ahead of its time. This was one of a series of disposable illustrated books, but proved that the wordage between the stills needn’t just be rehashed press releases. Professor of Cinema and Media Studies, University of Chicago, USA, Film FormSergei Eisenstein, edited and translated by Jay Leyda, Harcourt Brace, 1949, From Caligari to Hitler: A Psychological History of the German FilmSiegfried Kracauer, Princeton University Press, 1947, Prater VioletChristopher Isherwood, Methuen, 1945. Fun in a Chinese LaundryJosef von Sternberg, Secker & Warburg, 1965, My Last BreathLuis Buñuel, Jonathan Cape, 1983, Beauty and the Beast: Diary of a FilmJean Cocteau, J.B. Janin, 1946. Ever the disappointed idealist, Agee offered grudging praise to such compromised efforts as Meet Me in St. Louis and Double Indemnity in long, delicately cadenced sentences that would never survive the copy editor now. At the end I felt it had said practically everything it needed to say. However, votes for a particular title are collected together no matter what the edition (with the exception of Geoff Dyer’s voting for all five editions of David Thomson’s A Biographical Dictionary of Film). Here, Eliot includes references to Germany, such as a lake called the Starnbergerse, and uses German speech excerpts, such as the following (which means "I'm not Russian at all, I'm from Lithuania, really German"): Marie speaks of the changes from winter (on which she looks back) to spring, as represented by April, which she calls "the cruellest month." Bresson’s notorious contempt for acting is explained here in the distinction he draws between cinematography (pure writing with images) and mere cinema (still beholden to the mimetic fakery of theatre). Type: Nature spirit, thunder, giant bird Related figures in other tribes: Thunders (Iroquois), Thunder Beings (Lenape), Thunderers (Cherokee) The Thunderbird is a widespread figure in Native American mythology, particularly among Midwestern, Plains, and Northwest Coast tribes. Ichigo has no way to counter TSB. Dayadhvam. These are the books that I’ve lived with the longest (excepting Farber On Film), so I suppose they’re the ones that have had the most profound effect on me. Forget that you’re making a film”; “Slow films in which everyone gallops and gesticulates; quick films in which people hardly move”; “Your film must be like the one you see while shutting your eyes.”. The Resistance: Ten Years of Pop Culture That Shook the WorldArmond White, Overlook Press, 1995. The only reason I list this edition instead of 2009’s Farber on Film: The Complete Film Writings is that the smaller collection is the one I spent years marveling at, puzzling over and taking comfort from as from a favourite food. Qu’est-ce que le cinéma? Stars back then embodied vital social contradictions – one doubts whether the featureless pretty people of contemporary celebrity would repay so subtle and scrupulous a treatment. The next lines seem to reference the soldiers of the Great War, "hooded hordes swarming / Over endless plains, stumbling in cracked earth," and how their movements destroyed Europe. IlluminationsWalter Benjamin, Suhrkamp Verlag, 1955. It launched and defined an era of cinephilia in the United States. A monumental achievement, and it’s only the first part. Gives a whole new perspective on the phenomenon of male stardom in British film, wears its theory lightly and is written with wit and perception. Thirteen years on, many of the 180 interviewees have died. In that context, even Thomson’s diminishing interest in cinema – or current cinema at any rate – becomes a source of fascination. Bioy Casares was a friend and collaborator of Borges, and his 1940 fantasy shares his quizzically metaphysical character and was inspired by the author’s Louise Brooks fixation. In his clarity of expression and the way he develops theoretical ideas from specific examples, Bazin was a truly great writer on cinema. Im/Off: FilmartikelFrieda Grafe and Enno Patalas, Hanser, 1974. La Maison et le monde by Serge Daney Already a member? Sul cinema By Roland Barthes, edited by Sergio Toffetti Welcome to Rainy Mood, the internet's most popular rain sounds. A groundbreaking interview book and a model of its kind. Although only covering developments prior to the 1960s, this is still the most essential publication out there on Japanese film. I’m sure some future scholar will produce an admirable thesis comparing the changes in – and evolution of – what has come to be, along with everything else, a vicarious and incremental autobiography.
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