20050131mulvey.pdf

The Complete History of American Film Criticism.pdf

From the first published movie review in the late 1800s to the 21st-century era of the "great movie critics' wake," this chronicle reviews the nature, scope, and controversies in American film criticism. Moving through the Silent Era, the pre- and post-war years, the golden age of the 1970s, and the eventual decline of the 1980s and 1990s, this exhaustive overview includes biographical information on some of the most influential film critics--including Leonard Maltin, Roger Ebert, Pauline Kael, and James Agee--as well as a historical record and critical assessment of their work. Illuminating various past controversies, this invaluable reference documents the battles between auteur theorists and their opposing critics as well as between the critics and studios, filmmakers, and even themselves. Little-known aspects of film criticism lore are also related, such as the epic battles waged in print by Pauline Kael and Andrew Sarris, the studio boycotts of the "New York Times" and "New York Herald Tribune" over unflattering press, and the critics barred from attending premieres by studios for writing "negative" reviews. Honoring those who shed light on the artistic visions and storytelling sensibilities that have graced the big screen, this authoritative guide is a must-have for industry professionals, film historians, and movie buffs.

African Filmmaking North and South of the Sahara.pdf

M. Hopfinger, Adaptacja jako przejaw relacji między li....pdf

Bad Women Regulating Sexuality in Early American Cinema.pdf

The Films of Carl-Theodor Dreyer - David Bordwell.pdf

Play It Again, Sam_ Retakes on Remakes - Andrew Horton.pdf

Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well.The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory. Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well.The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory.

Placing Movies The Practice of Film Criticism.pdf

Jonathan Rosenbaum, longtime contributor to such publications as Film Quarterly, Sight and Sound, and The Village Voice, is arguably the most eloquent, insightful film critic writing in America today. Placing Movies, the first collection of his work, gathers together thirty of his most distinctive and illuminating pieces. Written over a span of twenty-one years, these essays cover an extraordinarily broad range of films--from Hollywood blockbusters to foreign art movies to experimental cinema. They include not just reviews but perceptive commentary on directors, actors, and trends; and thoughtful analysis of the practice of film criticism.It is this last element--Rosenbaum's reflections on the art of film criticism--that sets this collection apart from other volumes of film writing. Both in the essays themselves and in the section introductions, Rosenbaum provides a rare insider's view of his profession: the backstage politics, the formulation of critical judgments, the function of film commentary. Taken together, these pieces serve as a guided tour of the profession of film criticism.They also serve as representative samples of Rosenbaum's unique brand of film writing. Among the highlights are memoirs of director Jacques Tati and maverick critic Manny Farber, celebrations of classics such as Gentlemen Prefer Blondes and The Manchurian Candidate, and considered reevaluations of Orson Welles and Woody Allen. Jonathan Rosenbaum, longtime contributor to such publications as Film Quarterly, Sight and Sound, and The Village Voice, is arguably the most eloquent, insightful film critic writing in America today. Placing Movies, the first collection of his work, gathers together thirty of his most distinctive and illuminating pieces. Written over a span of twenty-one years, these essays cover an extraordinarily broad range of films--from Hollywood blockbusters to foreign art movies to experimental cinema. They include not just reviews but perceptive commentary on directors, actors, and trends; and thoughtful analysis of the practice of film criticism.It is this last element--Rosenbaum's reflections on the art of film criticism--that sets this collection apart from other volumes of film writing. Both in the essays themselves and in the section introductions, Rosenbaum provides a rare insider's view of his profession: the backstage politics, the formulation of critical judgments, the function of film commentary. Taken together, these pieces serve as a guided tour of the profession of film criticism.They also serve as representative samples of Rosenbaum's unique brand of film writing. Among the highlights are memoirs of director Jacques Tati and maverick critic Manny Farber, celebrations of classics such as Gentlemen Prefer Blondes and The Manchurian Candidate, and considered reevaluations of Orson Welles and Woody Allen.

And the Mirror Cracked Feminist Cinema and Film Theory.pdf

And the Mirror Cracked explores the politics and pleasures of contemporary feminist cinema. Tracing the highly productive ways in which feminist directors create alternative film forms, Anneke Smelik highlights cinematic issues which are central to feminist films: authorship, point of view, metaphor, montage and the excessive image. In a continuous mirror game between theory and cinema, this study explains how these cinematic techniques are used to represent female subjectivity positively and affirmatively. Among the films considered are: A Question of Silence, Bagdad Cafe, Sweetie, and The Virgin Machine .

If... Turner Classic Movies British Film Guide.pdf

Lindsay Anderson's provocative, savage and wickedly funny 1968 masterpiece, If..., deals fundamentally--and controversially--with England and quintessential "Englishness." If... was the first film ever with a British setting and cast to win the Palme d'Or for Best Film at Cannes. The fruit of Anderson's first-hand studies of the Czech, Polish and Indian New Waves led by Milos Forman, Andrzej Wajda and, most famously, Satyajit Ray, it prophesied--and then mirrored--an international outbreak of youthful rebellion. An authority on Lindsay Anderson and his films, Sutton here draws on massive quantities of original material: Anderson's private archive, which illuminates the film's autobiographical elements; the original script Crusaders; the sequel on which he was working at the time of his death; interviews with key members of cast and crew including lead Malcolm McDowell, all are here explored to unravel the mysteries of a film which continues to delight, enrage and inspire.

20050131mulvey.pdf

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