on animation and on directors like Joseph Mankiewicz (who’s much more deserving of a biopic than his brother, in my view). Considering them alongside the Seitz books, we can spell out some conventions of the new model–some inherited from classic auteurism, some in the process of emerging. D. W. Griffith: American Film Master, a catalogue of an influential Museum of Modern Art exhibition of 1940, brought together a critical essay by Iris Barry, an interview with Billy Bitzer, and a filmography with commentary by Eileen Bowser. I can’t exaggerate the importance of such dossiers through the decades. Pabst, like other filmmakers, uses the visit home on leave as a way to emphasize the war’s impact on the home front. He intends to turn himself in after the daughter’s crisis passes, but a gruff detective who has posed as a cabby to find out where he lives, appears. Sorkin delivers it consistently. (Photo by Marla DG on Twitter.). The Off-Broadway production of A Few Good Men used that linear, present-tense premise, in the vein of earlier plays like The Caine Mutiny Court-Martial (1954) and Inherit the Wind (1955). David Bordwell (Rochester, 23 luglio 1947) è uno storico, critico cinematografico e blogger statunitense. Again, from the sixties auteur criticism always straddled belletristic writing (call it haute journalism) and academic studies. He will take the same punishment meted out to the others. This isn’t showboating. A video lecture, I suppose. James Sibley Watson’s Tomatos Another Day (on Kino International’s “Avant-garde 3” set) is a pretty dreadful film, a sort of “theater of the absurd” before its time. Flicker Alley’s Blu-ray disc, “Dziga Vertov: Books worth fondling, if you can lift them: The rise of the Massive Auteur Monograph, the Taschen boxed set devoted to Jacques Tati, The Seghers “Cinéma d’Aujourd’hui” series. *Personality plus. At a moment when America is one IS attack away from a Trump or Cruz presidency, it’s good to be reminded how the well-funded Hitler exploited Us vs. Other subplots, including an investigation of Charlie’s partying ways, are interwoven. L’Argent showed the harm done by large banks, while Au Bonheur des Dames deals with the damage wrought on traditional small shops by the rise of huge, corporate-level department stores. As with Molly’s Game, this cluster of parallel timelines is intelligible and forceful as a revision of a schema (present/ past/ present) that we know well. As in Sunrise, City Girl creates a contrast of city and country, though on the whole the city here comes across as more oppressive than the relatively friendly treatment the couple in Sunrise receive there. It seems to me that the film version of A Few Good Men makes Kaffee the protagonist, with Joanne and Sam Weinberg as helpers–just as Jessep is the ultimate antagonist, with Kendrick as his helper. Volume 1, Tati Shoots, consists of production stills of scenes, each one given a separate page, as if it were a painting. 5e Autori: Kristin Thompson, David Bordwell ISBN Bundle con Connect and Smartbook : 9788838615498 Similarly, just as museums published volumes commemorating major exhibitions, film archives began to finance catalogues derived from their programs. Tom can half-humorously admit that he got a haircut to impress the judge, and clearly Abbie admires Tom. (A Facets release in the US is out of print.) Some of the films on my top-ten list this year may raise eyebrows, but Earth is probably my least controversial choice. Arguably, the handsome interview book Truffaut/Hitchcock (1966) also paved the way for the large-scale auteur study. Taschen’s auteur campaign was part of its “Archives” series. 6, to “Los Verderomes fandango,” by Jacinto Guerrero (below). . (asking his son what to do in the face of police:) “What are the real projections?” Although it’s heavy-duty (2.6 pounds), it doesn’t need a big form factor. The Off-Broadway production of A Few Good Men used that linear, present-tense premise, in the vein of earlier plays like The Caine Mutiny Court-Martial (1954) and Inherit the Wind (1955). In a 1934 article, Hurwitz called The Man with a Movie Camera “the textbook of technical possibilities,” and he isn’t shy about mimicking the master. Reproducing the yearbook montage from Rushmore, Seitz supplies “activity cards” drawn from shots from the film. Sorkin shrewdly postpones the question in the opening montage that brings some main players together through crosscutting. Instead, like Molly’s Game, The Social Network starts its plot in the past, skips ahead to the future, and then fills in more of the past. In their quarrel the two Steves compare themselves to the Beatles, and Bob Dylan’s image and songs float through the movie. That knowingness, steeped in authentic love, is central to fandom. There is often remarkable archival work involved: Kramer’s hand-assembled collages, previously unpublished texts by directors, interviewers with collaborators never before sought out by researchers (including, for example, Bellocchio’s psychoanalyst and co-writer for a while!). That motif is dramatized when, at first indifferent to five-year-old Lisa, Steve uses her as a demo to show Chrisann what the Mac can do. In various ways, then, these books are redefining critical writing. The relative linearity is needed, however, to allow us to chart the progress of the parallel protagonists. Here Sorkin samples another option in the schema menu. At the end, he goes flat and legalistic, telling Eduardo: “You signed the papers.” The film’s denouement arrives when Eduardo’s lawsuit is launched. Directors like Wes Anderson, the Coens, Nolan, and Paul Thomas Anderson are recasting auteur cinema for our time–not least in their willingness to cooperate on Massive Monographs. “We’ve been managing expectations so that you don’t not.” “If I give you some real projections, will you promise not to repeat them from the stage?” This last recollection is prompted by his admission that he long ago found the biological father who gave him up for adoption. André Bazin’s brief, powerful study of Welles appeared in 1950. “None of this has anything to do with poker,” a title ironically informs us, but it’s a tease. Apart from its sheer audacity (who thinks of a gag like this? Clair shoots the two men in shot/reverse shot through glass doors, so that we do not hear them but only watch their actions and faces in a deliberate reversion to silent cinema. Indeed, that era was perhaps the high point of his career, with Sous les toits de Paris (1930), Le Million (1931), and À nous la liberté (1932) coming out in quick succession. Sorkin has layered his plot within several time zones: present, immediate past, and distant past, with the earliest one including scenes scrambled out of chronological order. . A visual motif set up early on shows the bustling classroom that Rath presides over, where despite the students’ dislike of him, they obey his strict commands. Sorkin’s dialogue does all of them at once. Bobby Seale doesn’t know the others and was in Chicago just four hours; he’s also denied counsel. Cinema One books were either through-composed monographs, like Geoffrey Nowell-Smith’s entry on Visconti (1967), or interview books like the vastly influential Sirk on Sirk (1972). Once more a theatrical premise has been turned into classically constructed cinema. Such was the sway of auteurism, though, that in one chapter Wollen tried to revamp that critical approach with a structuralist analysis comparing binary themes in John Ford and Howard Hawks. “None of this has anything to do with poker,” a title ironically informs us, but it’s a tease. A graphically matched dissolve equates a Klan wizard with Southern senator John Elliott Rankin. The investigation of the death of a young Marine is pursued by a prosecution team running up against the military code and a couple of hard-headed officers. Again, pictures dominate, but there are some longish interviews at the end that allow Tati and his questioners to develop real conversations. But we’d be selling these books short if we didn’t acknowledge their efforts to treat criticism as a striking creative act in its own right. Many films embracing rhetorical form, like the problem/solution structure of Pare Lorentz’s The River (1938), will embed brief narratives into their overarching argument. (Daddy Issues again.) For one thing, there’s the matter of how to pick a protagonist. More linear than the time mosaics of Molly’s Game and Steve Jobs, the Chicago 7 array might seem a step back toward the classic trial schema. Shone subscribes to most of the auteur conventions I’ve mentioned, although he’s somewhat more straightforwardly critical of certain films or moments. For instance, in a past scene, after an ally of the twins tells of Mark’s successful webpage, the narration cuts to the opening of the Winklevoss case’s depositions, and then back to the brothers recruiting Mark to work on their project. 304pp, £48.50 and £14.50. Because of the much bigger US market, the English series found copublishers and distributors stateside: Tantivy worked with A. S. Barnes, Movie with the University of California Press, and Cinema One with various commercial houses. Right-wing politicians and agitators, keen on power and uncommitted to principle, are ready to fall in line behind a leader if he might win. Its key image, in two color schemes, is also refreshingly unpretentious. Seitz went on to apply the same principle to a very different director, Oliver Stone, and he gave that Abrams book an appropriately tense, smashmouth aesthetic. Therefore I’ve decided to devote the tenth slot in my list to a brief summary of several of them. (Available on JSTOR.). The quotation from Andrew Sarris comes from The Primal Screen: Essays on Film and Related Subjects (Simon & Schuster, 1973), 50. (Included in Flicker Alley’s excellent duel Blu-ray/DVD collection, “Masterworks of American Avant-garde Experimental Film 1920-1970.” The visual quality is distinctly better than the versions on YouTube.). A version of “continuous exposition,” the flashback allows deeper character revelation; it can liven up the more static sections of the film; and it can provide its own little mystery revelation. So now only the positions of Tom and Abbie remain undefined. The result is a “moving spotlight” narration, mostly attached to Kaffee the lead prosecutor and Lieutenant Commander Joanne Galloway, but ready to shift to other characters. Shone presents Nolan as both a craftsman interested in technical problems and a visionary director with a unique perspective on themes of time, identity, and history. In art publishing, books like this are a staple, often attached to particular exhibitions or museum collections. Often with their eyes lowered, they have the awkwardness of exceptionally intelligent people who haven’t yet figured out “self-presentation” and “impression management.” Under Dalton’s hand, a landscape becomes an urbane New Yorker rendering of Grandma Moses. The opening shot is a long crane movement descending from chimneys against the sky to the crowd singing along with Albert. Then, as we see a pregnant woman on a bench, we hear a woman’s voice. https://t.co/kEXwgSkciO” 400 pages, 6 × 9 inches, 12 color illustrations; This isn’t showboating. The film makes a powerful statement designed to end all wars, and yet one cannot help wonder if those Germans inclined to resent the results of the Treaty of Versailles might have been inspired to a greater desire for revenge by it. And of course the Internet has accustomed people to treating reading as multitasking. [order PDF version, $15], The In films that don’t rely on chases, fights, explosions, time travel, fantasy, or extraterrestrials, what can hold your interest? They carry on the idea introduced in The Big Parade that the ordinary soldiers fighting on the German and American sides were basically alike and could recognize each other’s humanity. The copy of Earth is too dark and indistinct. The film’s structure supports Abbie’s analysis. For the Coens we get a cartoon illustration of books that influenced them; for Anderson, there’s an interpolated series, “PTA’s Movie Collection.” This almost philological archaeology is part of the Massive project’s raison d’être. It was a tenet of Cahiers du cinéma that the best reviewer of a film was the critic who most liked it. “You’ve come to my apartment at 1 AM and cleaned it, so tell me where the boundary is.” Basically her glamor became more sultry. (The idea that all films are available to stream online is as absurd as when, back in 2007 when I wrote “The Celestial Multiplex.”) Some of my illustrations in this entry are subpar, but 1930 does not seem to be a year that studios and home-video companies are mining for titles to restore. In the popular arts particularly, we should expect to find historical patterns less like the Breakthrough Canon, a high-altitude survey of outsize rock formations, than something closer to the ground. In the opening scene, a small crowd joins in a song called “Sous les toits de Paris” (above). Posted in Books, Directors: Anderson, Paul Thomas, Directors: Anderson, Wes, Directors: Nolan, Directors: Tati | open printable version He managed to self-finance The Bridge, which centers on a man condemned to execution as a spy. There the emphasis shifts to family members and friends of different nationalities having to fight each other (a theme that Griffith had used in The Birth of a Nation). Being from a German novel, however, makes this the first significant Hollywood film to treat German soldiers sympathetically and to make them the lead characters. Hayden’s character arc traces his realization that the trial is rigged. The final volume, Tati Speaks, includes more on-set images, along with quotations from interviews. 71 pages, 11 × 8.5 inches Frodo Franchise: The Lord of the Rings and Modern Hollywood, by Kristin Thompson. Posted in Documentary film, Film comments, Readers' Favorite Entries | open printable version Ozu is not using 360-degree space consistently yet, but he’s playing with the idea. They both compete and cooperate. The market for books worth fondling is bigger and expanding.”. “What does Bill Gates have against me?” In 1961 it began publishing film scripts and transcripts as well. Moreover, whereas old-style auteurists could signal debts to Pirandello or Picasso by passing references in prose, the big-ass Auteur book can spread out a bounty of iconography: paintings, snapshots, album covers, comics, and virtually anything else. Some of the Soviet workers and peasants sincerely approached their work in this way, but in reality much of the achievements of the Plan were achieved through forced labor. The AC gag is more elaborate in the screenplay; a technician fiddles with the controls, making the undulations vary until the adjustment is right. Once she arrives at the farm, however, her illusions are shattered by the father’s violent rejection and the loutish behavior of a gang hired to help with the harvest, against neither of whom Lem seems able to defend her. David Bordwell hasn't written any blog posts yet. The famous opening juxtaposes a peasant girl’s face with a large sunflower. As in Westfront 1918, there is a tight little group of friends, three in this case, with the point-of-view figure being Paul (Lew Ayres). “Don’t worry about it.” Twenty thousand a month after that.”, Each reply shows that a strong line is like an arrow–feathered at the top, barbed at the tip. Her amused playfulness with Rath, her quietly sarcastic attitude toward her sexuality being The Blue Angel’s main attraction, and her frequent bits of business with props unrelated to the story all differ considerably from her Hollywood performances. Then all three start talking in dreadful puns (“Tomotos’ another day”). University of Chicago Press. But maybe the Archive releases aren’t really designed for normal reading. For many years Vertov held his high reputation largely on the basis of Man with a Movie Camera, one of last year’s top ten. The first big attack on their position turns out to be friendly fire from their own artillery. And we’ll see that there are some forerunners of these cinematic “art monographs.” But now I think we’re seeing the MAM come into its own. David Bordwell $9.09 - $102.30 . “What are the real projections?” Its twelve-minute length is well gauged to avoid having the device wear out its welcome. The restored dialogue scenes in Fejos’s Lonesome show how ghastly these added interludes could be. So now only the positions of Tom and Abbie remain undefined. Cowie’s series was pluralistic, focusing not only on directors but on genres and periods. On the power of artisanal care, there’s this on Buster Scruggs. On a happier note, it is also time for a little distraction in the form of my annual year-end round-up of the ten best films of ninety years ago. However, it is as the co-authors of Film Art: An Introduction that they are best known. He refuses to sell to Mouret, who runs the department store and wants to expand. 36 b/w illustrations. As it approaches, the kulaks stand watching and mocking the idea of a machine taking over. Yet a third series came into existence about the same time. The only de luxe auteur book of this period I can recall, and probably the prototoype of our Massive projects, was Donald Richie’s gorgeous The Films of Akira Kurosawa (1965). The result is a “moving spotlight” narration, mostly attached to Kaffee the lead prosecutor and Lieutenant Commander Joanne Galloway, but ready to shift to other characters. Earth is a visually beautiful film, but like other Soviet classics I have complained about, there is no decent print of it available. Incomplete dialogue hooks make their goals somewhat mysterious. Thanks to Adrian for the tip! Molly is wakened from sleep by the FBI arresting her for illegal gambling. (Photo by Marla DG on Twitter.). This dearth of really great films will be short-lived. Yet it doesn’t sacrifice the intimacy and detail of the Massive ones. P.S. (“I was always very resistant to the notion of biography as it applies to criticism.”) Their encounters engender a degree of novelistic suspense when early on Nolan proposes a challenge: In words only, over the telephone, explain the concept of left and right. Call it the Massive Auteur Monograph. The small-format entries in Anthologie du cinéma were published by L’Avant-scène, a company issuing texts of plays on a bimonthly basis. The AC gag is more elaborate in the screenplay; a technician fiddles with the controls, making the undulations vary until the adjustment is right. The flashbacks thicken in the second segment, which reveals the conflict that led Steve to break off with Sculley. In several places I’ve proposed that filmmakers work with schemas too—pictorial ones, but also narrative ones. 00:54:12 - Our returning guest this week is David Bordwell, Jacques Ledoux Professor of Film Studies right here at the University of Wisconsin-Madison. Thanks to conversations with Kristin and Jeff Smith, who helped me clarify my ideas. One innovation of turn-the-century-theatre was the so-called “drama of ideas” or “problem play.” Ibsen, John Galsworthy, and Bernard Shaw sought to break away from standard intrigues of mystery and romance in order to dramatize women’s rights, labor struggles, and other social issues. What else do you expect from a firm that offered as a bonus a stand to support a $25,000 book? The reporter interviewing Clarke has brought his boy along, and they discuss how a new generation will quickly grasp the power of personal computing. Love him or hate him, you have to admit that Aaron Sorkin has carved out a unique position in contemporary Hollywood. Presumably one major reason is that filmmakers were still struggling with the introduction of sound. The director(s) has (have) a unified but nuanced vision, the critic will reveal it, and aficionados will understand the subtitle as both an homage and a meta-reflection on auteurism itself. Leo Hurwitz is perhaps best known for Native Land (1942), the documentary codirected with Paul Strand and narrated by Paul Robeson. If they’re like Ives symphonies, this is more Mahlerian. In the Moneyball flashbacks we see Billy recruited, decide to give up a college career, and then face failure. Each event teems with crises large and small, public and private. (The tiny Movie monograph I bought for $1.95 in 1967 would cost over $23 in today’s currency.) Clearly, though, many of them carried on. Enthusiasm was Vertov’s last Ukrainian film and apparently the first Ukrainian sound feature. Abbie Hoffman and Jerry Rubin, associated with the Yippies, are countercultural provocateurs. Four Horsemen ended with progressively distant views revealing an enormous cemetery of white wooden crosses, a motif also used briefly in J’Accuse that would become common in pacifist films of the period. Auteurism can be fun. Interestingly, it came out the same year as Seitz’s first Wes Anderson book. But the others are left dangling, to be revisited, and we are looking forward to that. James Sibley Watson’s Tomatos Another Day (on Kino International’s “Avant-garde 3” set) is a pretty dreadful film, a sort of “theater of the absurd” before its time. Centering on Kaffee and making him a gifted but glib and cocky young lawyer fits Cruise’s emerging star persona (Top Gun and The Color of Money of 1986, Cocktail of 1988). Some of the Soviet workers and peasants sincerely approached their work in this way, but in reality much of the achievements of the Plan were achieved through forced labor. Unfortunately no high-quality print seems to be available. And I'd say they succeed admirably! I initially saw The Blue Angel decades ago, in grad school. Here he tries out another menu item, that of block construction. Above all, the motifs chart Jobs’ character arc. Published by the University of California Press but printed in Japan, it boasted excellent paper stock and authoritative critical interpretation, with Richie drawing on his unique access to personal conversations with Kurosawa. As with Molly’s Game, this cluster of parallel timelines is intelligible and forceful as a revision of a schema (present/ past/ present) that we know well. They carry on the idea introduced in The Big Parade that the ordinary soldiers fighting on the German and American sides were basically alike and could recognize each other’s humanity. “David's first impressions of Orson Welles's long-anticipated THE OTHER SIDE OF THE WIND, which premiered at the Venice Film Festival. Which only reasserts the study of directors as an enduring critical perspective. In the latter, there tends to be a “first among equals”: one or two main characters whose fates are most important, even if subplots centering on others are woven in. She’s cute but has a distinctly bratty streak so common to Ozu children. were packed into huge horizontal-format volumes. Like Fincher’s intercut depositions in The Social Network, Danny Boyle’s handling keeps us oriented through staging, costume, color, lighting, and shot/ reverse shot eyelines. L’Argent showed the harm done by large banks, while Au Bonheur des Dames deals with the damage wrought on traditional small shops by the rise of huge, corporate-level department stores. If they can prove they were peaceful demonstrators within their rights, it will help “to end the war and not fuck around.” That demands treating the trial seriously. The dual-track depositions in the present allow Sorkin not only to segue into illustrative scenes in the past, but also to set up crosstalk between the two lawsuits. Steve Jobs is one of Sorkin’s most structurally ambitious projects. Sorkin has used cinema to multiply motifs to a higher power. I debated whether to put this or Morocco on the list. [go to Amazon], Christopher Nolan: A Labyrinth of Linkages, Second edition, 2019. I hope, however, that eventually someone at the DVD/Blu-ray companies will discover this very entertaining film and make it more widely available. But what is that news? During the film’s opening, when Mark confides in Erica and Eduardo, we’re about as close to penetrating his mind as we’ll get in the film. A long-form series permits constant shifting of the protagonist role across a season. Certainly it has the glossy, expensive studio look that Westfront 1918 lacks, as in this scene, with its perfect three-point lighting carefully picking out each figure. For instance, the opening scene could be a grabber, a strong moment that aroused curiosity or suspense. At least we don’t face that long a stretch of down time with the current “president.”. The good boy who had asked, “Why antagonize the judge?” rises in polite defiance to read the names of the dead. —David on the … “Marketing’s been lying to me?” But the lines don’t exist in isolation. So the problem play becomes a progress toward understanding political power. Her drawing looks forward to Picasso’s swooping dab at a bull in the climactic montage of the 1998 launch. But we’ll never be sure, because his disdainful indifference is his armor against everyone he encounters. and eventually was cashiered into a 32-year retirement, though he continued to oppose Roosevelt’s policies. This DVD is probably the source of some of the better versions of the film posted on YouTube. Sorkin’s dialogue does all of them at once. At best, though, the ancillaries pry the film open. The Taschen volumes, impressive as they are, are high-grade fan compilations. He has admitted his fallibility (he was wrong about the Time cover), he has realized what he lost in challenging and trashing Sculley, and he’s ready to move to the next challenge (“music in your pocket”). They sing a nonsense song, “Kuckuck” (the German equivalent of “cuckoo”) as their belongings are hauled away, and they give this name to their art-deco filling station. The revelation of the formative years, saved for late in Moneyball, is put up front in Molly’s Game. Early twentieth-century playwrights tended to put the “point of attack”–the moment in the story when you start the play’s plot–fairly close to the climax. Jean Renoir’s Grand Illusion (1938) broke with tradition by downplaying battlefield action and focusing on the senseless loss of life and liberty and the effects of class differences in warfare. The motif of the clown, implied to be Lola’s degraded ex-lover, is heavy-handed. 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