But the presentational mold was set: each one is a piece of bespoke Andersoniana. This rapid pacing is one way a “theatrical” premise can hold an audience accustomed to action movies. He has brought table manners to a revolution. In addition, the urge to fill out the format allows the critic to expand the interpretation through bonus materials. But in feature films, I think, a genuine equality among several protagonists is more common in “network narratives” than in crowded films like The Women (1939) and Ocean’s 11 (2001). Although it’s heavy-duty (2.6 pounds), it doesn’t need a big form factor. Just this year we’ve had three major additions to the stack: the Taschen boxed set devoted to Jacques Tati, Adam Nayman’s book on Paul Thomas Anderson (Abrams), and Tom Shone’s study of Christopher Nolan (Knopf). These Halcyon books seem to have had little impact on other publishers, but both showed that heavily illustrated in-depth commentary on an auteur’s work was feasible for a book-length study. The film was made in both sound and silent versions. Bellocchio, Ruiz, Fassbinder, Jarman, Robert Kramer, Akerman, Parajanov, Rocha, etc. They are stuffed yet tantalizing dossiers doing duty for an entire career: not so much an archive as an exhibition. Her change from a kind attitude toward Rath to cruelty and indifference is logical, given his passive decline from professor to clown, but it is presented too abruptly. Mitchell, a spiteful conservative, wants to crush antiwar protest, but he’s also petty. The Royal Garden sequence, an hour-long tour de force, was planned in daunting detail, notating gestures, eye movements, and even the virtuoso matches on action. All the characters relitigate old complaints, and Steve masterfully deflects a conversation by returning to remarks he’s made before. The Seghers “Cinéma d’Aujourd’hui” series of squat, square paperbacks in stiff cardboard covers was a vast accomplishment, starting with Georges Sadoul’s 1961 book on Méliès. “Premier Plan,” another series, came from Lyon, under the auspices of SERDOC (Société d’Études, de Rechereches, et de Documentation Cinématographique). I am particularly fond of Study No. We soon are introduced to his worried wife, Mayumi, tending the little girl. Beginning in 1967 with Richard Roud’s book on Godard, that series followed the model of the Movie paperbacks in integrating stills and texts. 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. You might think of couching your argument as a narrative. And Taschen’s compact Kubrick edition, at $20, reasserts the firm’s willingness to reach a wide audience. Usually these have been dossiers, but an important exception is Hervé Dumont’s monumental study Frank Borzage: Sarastro à Hollywood (La Cinémathèque francaise, 1993). 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. Eisenstein had promoted collectivization with his Old and New in 1929, and Dovzhenko followed a year later with Earth. This will become part of the drama’s problem, because the two men will be charged with coming to Chicago to stir up violence. The timeline is chronological, except for a brief flashback dramatizing a letter initially voiced by Santiago. Guided by this premise, auteur criticism has traditionally been focused on thematic interpretation. He releases the air from the tire of a cop car to allow Rennie to escape surveillance. The first mini-monograph, Luda and Jean Schnitzler’s 1965 study of Dovzhenko, led to a great many dossiers, some on quite obscure figures. Blog; Main Film Art: An Introduction. Karl’s mother sees him arrive but cannot greet him because after hours of waiting she had reached the front of the line. As in the opening montage,  Sorkin cuts away before Abbie answers, and his pause and grave demeanor let us consider that for all his bravado, he has regrets about the crisis he saw coming. By the 2000s, audiences trained in the time-shifting of the 1990s could follow these quick alternations. About David Bordwell from the University of Chicago Press website. But causally the four “extra” shots tell us little about where Shuji is in relation to the home he seeks to reach. Nayman strikes a more academic tone, invoking in one page Freud’s oceanic feeling, the idea of structuring absence, and signifiers. The one “Fuck you!” becomes a shocking turning point, a test of friendship. –DB. I doubt anyone would learn anything about “mechanical principles” from the film. There’s the ongoing idea of the celebrity director. These and the earlier essays are fairly brief and synoptic, in keeping with the general policy of favoring pictures over texts. This time it’s a charming, imaginative musical romance, Die Drei von der Tankstelle, or “The Three from the Filling Station,” directed by Wilhelm Thiele and starring Lilian Harvey and Willy Fritsch. Here’s a partial list of items that are recycled again and again. The head of the family declares that he will kill his animals rather than turn them over, and he tries to attack his horse with an axe. The Taschen volumes, impressive as they are, are high-grade fan compilations. Live Streaming. Account & Lists Account Returns & Orders. Semion, an aged peasant, is calmly, even cheerfully awaiting his imminent death, lying on a blanket and surrounded by heaps of apples. It has its problems. [order PDF version, $15], The It also recalls the puffy plastic chairs that earlier bewilder Hulot by erasing his presence. The breaks and discordances are less evident, but the range of ambition remains. The famous opening juxtaposes a peasant girl’s face with a large sunflower. Tom Hayden (and to a lesser degree Kunstler) come to grasp the reality of an engineered police provocation and a show trial. On Nolan our ideas are presented on this site and in revised form in our book on the director. 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. and eventually was cashiered into a 32-year retirement, though he continued to oppose Roosevelt’s policies. A through-composed book is a multi-course meal, while a dossier is a buffet, and sometimes a meal made of appetizers. Typically a trial starts after a lot of stuff has already happened, so the continuous exposition is supplied through testimony and speeches by the defense and prosecution. We have considered Wes Anderson’s films in many blog entries. Pourtant, Albert Capellani traite le début du film davantage comme une série burlesque. “If we won, why are we unhappy?” the narrator asks at the beginning. In an era when the f-word exchanges of Palm Springs pass muster as comic dialogue, it’s refreshing to watch a movie where smart characters, sparring for high stakes, make a retort that’s more stinging than a slap in the face. 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. “We’re protesting the war, not the cops.”. There are daisies in the crevices. He is the one whom we follow on his visit home while on leave. As in the opening montage,  Sorkin cuts away before Abbie answers, and his pause and grave demeanor let us consider that for all his bravado, he has regrets about the crisis he saw coming. 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. Enthusiasm was Vertov’s last Ukrainian film and apparently the first Ukrainian sound feature. She’s cute but has a distinctly bratty streak so common to Ozu children. In an era when the f-word exchanges of Palm Springs pass muster as comic dialogue, it’s refreshing to watch a movie where smart characters, sparring for high stakes, make a retort that’s more stinging than a slap in the face. In England, a new generation of critics caught the auteur wave. Patrick Brion, for instance, has written several large-scale studies. How best to convey the idea that after a struggle to cleanse Europe of violent prejudice, the same attitude is flourishing in America? The plot of Steve Jobs is organized around three public product launches: in 1984 (the Macintosh), 1988 (the NeXT Black Cube), and 1998 (the iMac). This is Hurwitz’s approach, but his stories aren’t chronologically sequenced. Istilah dan frasa umum. Instead of separating out chunks of their conversation as inserted interviews à la Seitz, he weaves their ongoing discussions into his film-by-film discussion. Like Mozart and Salieri in Amadeus, or Captain Ramius and Jack Ryan in The Hunt for Red October, they are at once opposed to one another and fascinated by each other. Again, the plot is mostly linear, though interspersed with summary montages of sports coverage and brief flashbacks to Billy’s own failed ballplaying career. Just as theatrical is the flow of people into and out of Steve’s presence. If progressive politics is branded as childishness, “We’ll lose elections.” Abbie calmly replies that “We’re going to jail for who we are.” The debates are about tactics as well. 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”). Tom wants the demonstration to keep away from the convention hall, while Abbie insists that they go downtown. Probably the highest-impact entry of the Cinema World series wasn’t a director study. 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. One of the individuals involved in the confrontation with Nwanguma was Joseph Pryor, a native of Corydon, Indiana, who graduated from high school last year. More and more, distributors promote the prestige of the Creatives. We should expect more Massive Auteur Monographs; the next Wes Anderson one has already been announced. There are some obvious titles on my final list, as always, but some of the films are good but not great. Eventually, Tom exposes his rationale. Forget Godwin’s Law. Au Bonheur des Dames was adapted from the eleventh novel in the series (1883) and also updated. Thanks to a hidden camera, that newsstand becomes a sort of gathering spot, a place where people might encounter uncomfortable truths. The shot/reverse shot technique is a schema, but so is the framed flashback, the four-part plot, and the strategy of beginning your action at a point of crisis. Apart from its sheer audacity (who thinks of a gag like this? It is sometimes hard to tell whether the camera or the device itself itself is moving. There are daisies in the crevices. The list of sections given at the beginning runs: “Jazz der Arbeit / Feierabend / Fahrt ins Freie / Pastorale / Wiederbeginn der Arbeit / Jazz der Arbeit” (Jazz of Work / Quitting time / Travel in the Open Air / Pastorale / Recommencing Work / Jazz of Work). There’s a lyrical motif mutating from shot to shot: worried wife, interior lamp, interior plant against wood, outdoor light with leaves, stone building with the shadows of leaves, and stone building with the subject of Mayumi’s thoughts, cowering. Its twelve-minute length is well gauged to avoid having the device wear out its welcome. Strange Victory is, it seems to me, the essential documentary of our moment. Jerry Rubin falls briefly in love with an undercover policewoman. Download it once and read it on your Kindle device, PC, phones or tablets. So the problem play becomes a progress toward understanding political power. This was thanks to the “enthusiasts,” as the film puts it: Stakhanovites, that is, workers who did considerably more than their comrades through hard labor and efficiency. In the meantime Denise, fascinated despite herself with the glamor of the department store, gets a job as a model there. What have you been giving me?” In The Way Hollywood Tells It I call Jerry Maguire a “hyperclassical” movie–more classical than it needs to be, flaunting a virtuosity of construction and motivic echo. The screenplay of this sequence is often packed with many more gags and bits of business than are onscreen in the versions we have. The film’s prologue and epilogue announce the sweep of the issue. Seitz discloses Rushmore’s debt to Peanuts, and Nayman links Inherent Vice to the Fabulous Furry Freak Brothers–and Leonardo’s Last Supper. Here, the chief contrast is between Mark’s snotty recalcitrance at the counsel table and his swagger in the past. Given that sound developed at a different pace in different countries, some of this year’s films are silent. Part of Wollen’s heresy in Signs and Meaning was to sever the films from the living creators. There are eccentrics, such as Balthus or Satie, who turn out to “point forward” at angles and detours that the linear-progress story doesn’t allow. Abbie’s privileged insight is further stressed by the fact that he’s the only character given a narrator role. The two were often paired in later German films of the 1930s and became the ideal movie couple. 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. For now, here are my picks. In the same vein, Nayman’s Paul Thomas Anderson Masterworks (2020) cautiously acknowledges Anderson as bearer of “a heroic–indeed, mythic auteurism, bridging past and present, personal and populist.” In an age of blockbusters, “ambitious, challenging American films” will always demand “auteurist approbation.” The critic can uncover the inputs of collaborators and draw out their ideas in interviews, but the director remains at the center: at least a synthesizer, and at most a demiurge transforming everything into something personal. As in other romantic comedies, the central couple shares the protagonist role. You see where I’m going with this. He will take the same punishment meted out to the others. 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. Needless to say, the possibility of buying these books in local bookstores added joy to my college years. 2 through 7. The dispersed layout of some of these book pages is like a monitor with many screens open. Shuji, the father of a daughter with a potentially fatal illness, is not a gang member but a decent working man who stages a hold-up to get money for her medicine. The war against inhumanity is far from over. Rory Kelly offers some nuanced analysis of the Hollywood character arc. They both compete and cooperate. Some bounce around one segment and into another, and several come back at intervals in all three. You know, the way theatre used to be. But we can see their influence in less obvious ways, and I think Tom Shone’s new book on Christopher Nolan suggests some other intriguing options. The first came from Editions Universitaires in Paris, and it was launched by Jean Mitry’s 1954 monograph on Ford. In a neat balancing act, Sorkin dramatizes character change with Tom Hayden and character revelation with Abbie Hoffman. But the presentational mold was set: each one is a piece of bespoke Andersoniana. . The one “Fuck you!” becomes a shocking turning point, a test of friendship. Nayman acknowledges that critics have found a nest of themes typical of his subjects: male inadequacy in the Coens, father/son relationships in Anderson, and more. It begins with President Johnson ramping up troop commitments and establishing the draft lottery, all during a wave of assassinations. American racism persisted and even intensified. Its twelve-minute length is well gauged to avoid having the device wear out its welcome. Like Mozart and Salieri in Amadeus, or Captain Ramius and Jack Ryan in The Hunt for Red October, they are at once opposed to one another and fascinated by each other. Because a substantial essay anchored a Seghers installment, it had some of the focus of a through-written critique. After a credits-sequence montage, we’re taken to a CIA awards ceremony, at which Charlie Wilson is honored for working strenuously against the USSR for thirteen years. My final quotation comes from Jean Cayrol’s text for Night and Fog (1955). 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. He didn’t distinguish between the personality of the actual flesh-and-blood filmmaker and the “personality” projected in the work. The question is answered at the end: “There was not enough victory to go around.”. Basically, the court proceedings frame the flashbacks to the purported crimes. Ozu handles this hoary plot premise with his usual unconventional approach. Common Sense + Film Theory = Common-Sense Film Theory? I discuss Sarris’s account of auteurism in “Cinecerity,” Poetics of Cinema, Chapter 8, and in this blog entry. But in preparing the film version, Sorkin adapted to the menu of storytelling options on offer in 1990s moviemaking. In other words: We can always ask new questions. These shorts use a broad range of musical accompaniment. 36 b/w illustrations. How does the filmmaker’s personal angle of vision transform the thematic material? 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. In 1930, this pressure led ERPI and RCA, owners of patents on the major US sound-on-film systems, to form a cartel in conjunction with Tobis, which had producing and distribution subsidiaries throughout Europe. Having already read his book on Hitchcock, I thought, Now we’re getting somewhere. Books like Seitz’s and Nayman’s may make old-guard cinephiles rethink what film criticism can be, and they may introduce young people to auteurism itself. Our friend and colleague Vance Kepley published an excellent study, In the Service of the State: The Films of Alexander Dovzhenko (University of Wisconsin Press, 1986). This year’s most prolific great directors were Josef von Sternberg and Yasujiro Ozu, who together could have filled in half the ten slots, but I have stuck to my guideline. The climactic scene involves a tense conversation between Albert and his pal as Pola looks on. Again, the purpose is to reveal character motivation. Modern critics are more careful, but there’s still an impulse to study the works in light of everything we can know about the artist’s life, influences, and obsessions. The cops, having choreographed the street assembly, push them through the tavern window. The quotation from Andrew Sarris comes from The Primal Screen: Essays on Film and Related Subjects (Simon & Schuster, 1973), 50. In 2003, Mark Zuckerberg is on a date with Erica Albright. David Dellenger’s commitment to nonviolence is tested by the flagrant repression of Bobby Seale. He added: “Hatred toward any group of individuals is not tolerated in the Marine Corps and he is being discharged from our delayed entry program effective [Wednesday].”. 237 pages, 5 × 7 inches 5e Autori: Kristin Thompson, David Bordwell ISBN Bundle con Connect and Smartbook : 9788838615498 The time structure is a little more complicated in Charlie Wilson’s War. I wouldn’t put it in the same league as some of his earlier films, but for a 1930 list, it stands out. The 1984 segment uses only one flashback, a visit to garage-hacking days that sets up the dispute about open and close architecture. For a tech entrepreneur, where does idealism end and domination begin? Bellocchio, Ruiz, Fassbinder, Jarman, Robert Kramer, Akerman, Parajanov, Rocha, etc. At least in the US, Julien Duvivier is not as familiar as Clair, being known mainly for Pépé le Moko, but his reputation is rightly growing. Murnau was already on the way out at Fox when he was making the film. The opening celebrates the fecundity of the earth and the cycles of nature. The tractor temporarily halts, but it turns out that the radiator is dry. I hardly need to write anything about Dziga Vertov’s Enthusiasm: Symphony of the Donbass. Auteurism can be fun. Posted in Documentary film, Film comments, Readers' Favorite Entries |  open printable version From the 1970s on, more lavish auteur volumes began to appear. That film is so engaging in part because it was primarily a lively look at Soviet everyday life, including movie-going. Adrian praises in particular editor Cyril Béghin for his careful research and the high quality of the critical material he included. The film reminds us that scapegoating is eternal, sometimes summoned quietly (they’re not like us, she’s a traitor, he knows exactly what he’s doing), sometimes conjured up in full fury. . One page of a script is interesting, but the scholar wants to see the whole thing. I vote for Steve Jobs as another instance. (The contrast with 1927, for example, is pretty stark.) . But the fact that different people testify about a situation also offers prismatic possibilities. As in other romantic comedies, the central couple shares the protagonist role. Karl’s mother sees him arrive but cannot greet him because after hours of waiting she had reached the front of the line. Twice he has transitions that move through a series of adjacent spaces, one of his key devices and one that will last throughout his career. In addition, Sorkin doesn’t confine his time frame to the duration of the demos. You might think of couching your argument as a narrative. Now we’re back to the present, and he’s looking for work. Because of “progressive” accounts of art history, we’re inclined to emphasize the shock of the (utterly) new as the mainspring of change and the central source of quality. Tom, our main viewpoint vessel in the film, also visits Ramsey Clark with his attorneys. Once more a theatrical premise has been turned into classically constructed cinema. 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 I can’t help thinking that The Nolan Variations (itself a reflexive title, with the critic as keyboard performer) has quietly absorbed the lessons of the more flamboyantly virtuoso projects. Publishers have noticed. Pabst introduces the home-front section with a long line of people waiting to buy food. In one shot, an elderly kulak stands framed against the sky, his wealth indicated by the presence of a hefty cow. The motif of the clown, implied to be Lola’s degraded ex-lover, is heavy-handed. Novels, poems, and plays rely on recurring motifs. I try not to include more than one film by the same director in these entries, aiming for variety and coverage. His presence was foreshadowed by swooping aerial shots of the beginning. Many were single-authored, but there were as well important anthologies on Godard and others. Sorkin shrewdly postpones the question in the opening montage that brings some main players together through crosscutting. In the same vein, Nayman’s Paul Thomas Anderson Masterworks (2020) cautiously acknowledges Anderson as bearer of “a heroic–indeed, mythic auteurism, bridging past and present, personal and populist.” In an age of blockbusters, “ambitious, challenging American films” will always demand “auteurist approbation.” The critic can uncover the inputs of collaborators and draw out their ideas in interviews, but the director remains at the center: at least a synthesizer, and at most a demiurge transforming everything into something personal. Sous les toits de Paris is still in print as a DVD from The Criterion Collection. 16 March 2016. At the end we see them marching off, with vast fields of white crosses superimposed. Needless to say, the possibility of buying these books in local bookstores added joy to my college years. I am particularly fond of Study No. Even after the scene of her arrest, the film’s narration wedges in a VHS interview with young Molly in which she’s asked about her goals. The Tati box aside, these books are generously priced. The old theatre adage claims that dialogue needs to do one of three things: advance the action, delineate the characters, or add humor. I discuss some Coen directorial strategies in relation to a scene in The Ballad of Buster Scruggs. As he is being hanged by a military escort on a bridge, we see a complex combination of flashbacks to his childhood and fantasies of escape (below). 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. If the history of an art is a surging procession of avant-gardes, what then do we do with the artists who don’t fit? Introduction to the ongoing argument subplots, including an investigation of Charlie ’ s ongoing. 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