peter wollen auteur theory

We would like to show you a description here but the site won’t allow us. Thirteen years on, many of the 180 interviewees have died. Durgnat on FilmRaymond Durgnat, Faber & Faber, 1976. In de rubriek WoordHoek, die wekelijks verschijnt in NRC, schrijft hij over taal en geschiedenis. I also prize the expanded original, Jean-Luc Godard par Jean-Luc Godard of 1985 – it’s only the first of two volumes, but still a doorstop at 638 pages. A potent and delicious cocktail. A Personal Journey with Martin Scorsese Through American MoviesMartin Scorsese and Michael Henry Wilson, Faber & Faber, 1997. A one-man tour de force that cements the case for the auteur theory. dr. Nico van Straalen slaagt erin om in een paar alinea’s een even heldere als fascinerende uitleg te geven. 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. In that context, even Thomson’s diminishing interest in cinema – or current cinema at any rate – becomes a source of fascination. De Bridge Encyclopedie geeft uitleg van alle termen, biedsystemen en conventies die in het moderne bridge gangbaar zijn. Barry was a cinephile pioneer among the literati, and one of film culture’s seminal figures. The value of the late Gösta Werner’s work lies in its author’s age: he was old enough to have seen many a Stiller work now (considered) lost, meaning his memories are probably as close as we’ll ever get to these films. Een van zijn spraakmakende rubrieken(‘Schud uw kaarten’) leidde tot een aanpassing van de internationale spelregels. Films and FeelingsRaymond Durgnat, Faber & Faber, 1967. The New Wave: Truffaut, Godard, Chabrol, Rohmer, RivetteJames Monaco, OUP, 1976. Perkins, finds its apotheosis in Perez’s superb book, as fully literary as it is analytical. For US critics of a certain age this is the most obvious choice, but there is no overestimating the impact its English-language exploration of auteur theory had on serious filmgoers and critics. This is as sharp, witty and lacerating as all his best pictures; Buñuel’s observing eye turned into an act of reflective writing on his own life. Apart from conveying what it felt like to be at the top of the game (and sliding to the bottom in the second, equally fascinating volume, Million Dollar Movie), it also provides dozens of shrewd judgements on film-makers who are only now being discovered. A wealth of documents, but also Alain Bergala’s ever-clear, precise prose on one of the film-makers he knows best. Niet de ontstaansgeschiedenis van het eponiem, ook allerlei weetjes en anekdoten die er zijdelings verband mee houden zijn meegenomen.”. Sight & Sound reviews the latest film books every month. 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. What is Cinema?André Bazin, translated by Hugh Gray, University of California Press, 1967 (Volume 1) and 1971 (Volume 2). Wat is Roman Keycard Blackwood? Before arriving at this 720-page definitive compendium, I came very close to selecting the 1977 640-page The Compound Cinema: The Film Writings of Harry Alan Potamkin by a leftist intellectual of the 1920s and ’30s with a truly international grasp of cinema – and the first critic ever to write about film cults. Socrates’ mise en scène depicts underground captives facing a wall on which the light of a fire casts lifelike shadows, which they mistake for reality. 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. Lucid, rigorous and utterly readable. Greene’s film reviews from the 1930s are filled with sharp observations and haunting turns of phrase no other critical anthology can match. The single best reference work on the cinema I’ve dipped into, this ought to have become standard household issue. Denis Diderot [dəni didʁo] (* 5. We would like to show you a description here but the site won’t allow us. This selection, lovingly assembled by Positif comrades Michel Ciment and Louis Seguin, and containing classic essays on Bogart, Antonioni, Hawks and Marker, really just scratches the surface of Tailleur’s remarkable oeuvre – a true thinking-person’s cinephilia. A monument. Dit boek is een verzameling en een ode aan deze eponiemen. The cinema as a subject for fiction has attracted serious writers ever since Luigi Pirandello’s Shoot! Wil je liever op de hoogte blijven van onze publicaties? An anthology of the best French film critic of the 1940s and ’50s. This is an exemplary collection, with a superb opening essay on the importance of resisting complicity with the culture supermarket. Or Robert Warshow? A Life in MoviesMichael Powell, Heinemann, 1986. There is no better stimulus to look at films seriously. Channel 4 Guide to François TruffautChannel 4, 1984. Laat je emailadres achter: Antwoord op deze vragen en meer leuke en interessante feiten krijg je tijdens het lezen van de encyclopedie van de evolutiebiologie. 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. Entirely the work of one man, an Israeli documentarist resident in New York, it has been updated, though sadly not improved, since Katz’s untimely death at the age of 60 in 1992. The most candid and complete account of a film, and a famous disaster – which looks better every time you see it. Morbidity and lyricism run side by side as he lays bare his demons. Outstrips even Steven Bach’s Final Cut as an appalled account of big-budget catastrophe. This is a gossipy and very colourful memoir, full of anecdotes and asides about Powell’s romantic life and his sometimes vexed relationships with studio bosses. A work of transcendent intelligence. A book that opens minds to formalism in the fullest and most supple way. Two volumes of selected film criticism by two inspirational critics, from France and England respectively.

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