Film Art: An Introduction

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The shorter English version of this seminal collection of criticism and interviews may be only 292 pages, but Tom Milne’s translation and commentary are exemplary, and there’s no other volume of criticism from Cahiers du cinéma that has influenced me as deeply. A product and record of the years when cinema first came to be ‘taken seriously’ in Britain, to use the conventional phrase.

Taking him as a director trying to fuse theory and practice, I analyze his theoretical writings and all of his films. Dust Jackets are not guaranteed and when still present, they will have various degrees of tear and damage.Conceivably more ideas per page can be found here than in the work of any other English-language critic, and Durgnat’s grounding in surrealism and the school of Positif is merely one of the starting points for an exploratory critical intelligence that is nonetheless quintessentially English.

Spider-Man: Homecoming Art Book curates all the best film production art into one massive collection. This anthology was an effort to gather a range of work in film theory, film analysis, film history, and the philosophy of film which seemed not to fit into the agenda canonized in academic cinema studies. Wood’s patient, unpedantic, exegetical prose remains for me the permanent model of how to do these things. Finally, the film illustrates how narration can manipulate the audience’s knowledge, sometimes making drastic shifts from moment to moment.In recent decades there has been no more cogent a rethinking of the physical and psychological experience of film as it evolved, both as a technology and as an artform. Bazin, Daney, Rosenbaum and a dozen others fill this role admirably, but my vote is for Britain’s own Judith Williamson, whose books of collected reviews from the 1980s and ’90s are an unending inspiration.

Although it’s hard to arrive at a single title by my favourite academic film critic (my second choice would probably be the updated edition of The Magic World of Orson Welles), this is probably the most enjoyable, edifying, and rereadable of Naremore’s books – and certainly the best study of noir ever published. And if it was as puzzling in its way as some of the films seemed at the time, then that only intrigued me more, as any introduction to so important a subject should. The books that most influence you tend to come early in one’s life – whether one likes it or not, everyone is a product of their generation. Sometimes, especially after you’ve just stumbled out of the remake of Clash of the Titans, that seems an intellectually responsible position.

One that got away: Hugh Fordin’s MGM’s Greatest Musicals: The Arthur Freed Unit (Da Capo, 1996), which I lent to someone in 1976 and never saw again. I could as easily have picked William Rothman’s Documentary Film Classics, Robin Wood’s Hitchcock’s Films Revisited, Stanley Cavell’s Pursuits of Happiness: The Hollywood Comedy of Remarriage or Paul Schrader’s Transcendental Style in Film: Ozu, Bresson, Dreyer. full sizeThis ought to have been the most controversial book I produced, but although many have dismissed what they take to be its conclusions, I’m aware of only one sustained critique (by V.

But even if you’ve never seen this movie you can still learn a lot by reading through the interviews and picking up tips/tricks from pros in the entertainment industry. There was only a handful of books on the cinema when I and my contemporaries (now aged 70+) became cinephiles after World War II: Paul Rotha’s seminal The Film Till Now (1930 and never updated by its author); Alistair Cooke’s lively anthology of criticism, Garbo and the Night Watchmen; several theoretical works (Eisenstein, Pudovkin, Spottiswoode, Balázs, Arnheim); some dull sociological studies; and Manvell’s Pelican paperback Film. There are also two more “interludes,” one devoted to the Infernal Affairs trilogy, the other to Johnnie To’s crime films as carrying forward particular traditions in local filmmaking.Seiten Cover etwas anderes gestaltet (Bild in Farbe mit breitem weißem Rahmen), Buch ist leicht verlagert (längs durchgebogen), alles aber noch in Folie, daher Inhalt einwandfrei und ungelesen 440461 Sprache: Englisch Gewicht in Gramm: 1255 26,0 x 21,6 x 2,4 cm, Taschenbuch.