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Film Art: An Introduction

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A story of crime, professional rivalry, personal jealousy, and grand aspirations, The Prestige sets itself a difficult task. How many Xeroxes of Laura Mulvey’s ‘Visual Pleasure’ Screen article have I passed on, along with essays by P. First, the book sketches a history of film interpretation, from the work of early critics through the rise of academic film studies in the 1960s and 1970s, ending in the great quantity of interpretive work that emerged in the 1980s.

Two exemplary ways of making sense of a national film culture: the first is an encyclopedia that invites the seeker to find his or her own way through a labyrinth of myriad relationships; the second offers creative criss-cross readings of topoi and obsessions through various decades, genres and political systems. Revised and augmented several times (most recently in 1989), it remains unsurpassed and is the high-water mark of auteurist criticism, with Andrew Sarris’ taxonomic masterpiece The American Cinema: Directors and Directions 1929-1968 a close runner-up.A cut leads not to animated footage but to a shaky, fuzzy shot through a train window, with someone’s face and eyeglasses partially visible at the side in the extreme foreground. Yet he was equally a master of the short demolition job (Princess O’Rourke: “An unobtrusive raising of the window, and the less said the better”), while his clairvoyant appreciation of Zéro de conduite almost single-handedly put Jean Vigo on the map in the English-speaking world. We take pride in offering a wide selection of used books, from classics to hidden gems, ensuring there is something for every literary palate.

The second essay analyzes visual style and is an expansion of the essay, “Intensified Continuity,” which appeared in Film Quarterly some years ago. Later chapters share photos of rare merchandise from the Ghostbusters series and the overall fandom.

And while cinema is inevitably compromised by its fundamental role in this state, it should be remembered that Debord was also a master of the found-footage film.

If you loved the original books or just saw the movie and want to learn how it was made then you’ll enjoy flipping through this art book. While the original Pinocchio film was released back in the 1940s it is still considered a classic in Disney’s library. We may know much more today about what really happened, but Leyda’s judgements were shrewd and his sheer enthusiasm is still infectious. Plus one: this lightly fictionalised memoir of film criticism, love affairs and the quest for beauty and perfection is so funny that it often makes you bark with laughter. Or the Notebooks of Serafino Gubbio by Luigi Pirandello (1916), pretty much everything by Don DeLillo, and Me, Cheeta by James Lever (2008).This guide to the horror (1983 edition), science fiction (1984) and Western (1984) genres is addictive, exhaustive and unsurpassed. W. Pabst and Louise Brooks, since exceeded only by ‘Lulu and the Meter Man’ in Thomas Elsaesser’s Weimar Cinema and After. Has anyone else been quite so astute regarding the poetics of the shot/reverse shot (in Straub-Huillet’s History Lessons) or the uses of stasis (in Dovzhenko’s Earth)? Wiseman received permission to film at Philadelphia’s Northeast High School, and he acted as sound recordist while his cameraman shot footage in the hallways, classrooms, cafeteria, and auditorium of the institution.

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