Starting exactly on time, the controversial SuperBowl ad, the need to turn off the Exit signs, a bottle of ’55 Margot, the Time cover, the purported treachery of Dan Kottke, “a million in the first 90 days,” “I don’t have a daughter,” 28%, Woz’s request to acknowledge the Apple II, “playing the orchestra,” closed versus open systems, the name Lisa, “end to end control,” 2001, “a dent in the universe,” slots, Pepsi, the psychology of adopted kids, “You get a pass,” the threat of a press release, and “which Andy?”. Jerry Rubin falls briefly in love with an undercover policewoman. Quotations from collaborators round out the volume. Thanks to Adrian for the tip! Abrams had already embraced film animation as an art form, producing Helen McCarthy’s beautiful volume on Osamu Tezuka. A succinct account of Tobis-Klangfilm’s business operations can be found in Douglas Gomery’s “Tri-Ergon, Tobis-Klangfilm, and the Coming of Sound,” Cinema Journal 16, 1 (August 1976): 51-61. This shows how he could have empathy for the second-tier players who are cast aside–and whom Brand’s moneyball algorithms give a second chance. (asking his son what to do in the face of police:) If you want to dig deeper, go here. 400 pages, 6 × 9 inches, 12 color illustrations; Finally getting a chance to see it decades ago was one of the great disappointments of my life. Apparently more or less simultaneous with the Eduardo sessions, these also anchor us in an approximate present and cue up incidents in the past. Berkeley: University of California Starting exactly on time, the controversial SuperBowl ad, the need to turn off the Exit signs, a bottle of ’55 Margot, the Time cover, the purported treachery of Dan Kottke, “a million in the first 90 days,” “I don’t have a daughter,” 28%, Woz’s request to acknowledge the Apple II, “playing the orchestra,” closed versus open systems, the name Lisa, “end to end control,” 2001, “a dent in the universe,” slots, Pepsi, the psychology of adopted kids, “You get a pass,” the threat of a press release, and “which Andy?”. How best to convey the idea that after a struggle to cleanse Europe of violent prejudice, the same attitude is flourishing in America? It’s hard to know how to handle them for casual reading, but I suggest you supply your own table. So instead of letting everything be recounted in the trial, Sorkin’s screenplay for A Few Good Men chose an earlier moment in the story action–a literal “point of attack” showing Dawson and Downey assaulting Santiago. (I suppose the effect might have worked, as the 70mm version of Days of Heaven demonstrates with a similar locale.) René Clair has long been considered one of the directors whose early sound films were among the most imaginative and technically sophisticated. At best, though, the ancillaries pry the film open. Cahiers‘ “au travail” albums, some translated into English, survey each director’s creative process by drawing on unpublished working documents. Later, via constructive editing à la Kuleshov, parental pride is made color-blind, as both a white mother and a black one return a father’s glance. There he visits his mother, as expected, but he also drops in on his old classroom and is disgusted to find that his teacher is glorifying war and preparing a new generation of young men to go off to become soldiers. The timeline is chronological, except for a brief flashback dramatizing a letter initially voiced by Santiago. Phantom Thread is “a surpassingly funny movie,” Raising Arizona is “fully endearing,” Magnolia is “something to behold.” Enthusiasm doesn’t equal blind worship. 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. And they are part of a mixed “arts festival event,” nominally a “cinema/theatre” crossover, that combines film retrospectives, theatre and music events, art exhibitions, readings of unproduced screenplays, concerts, etc. [order PDF version, $3.99], Pandora’s After this film, von Sternberg made Dietrich a Hollywood symbol of glamor, but as a result she tends to be less spontaneous and active, with the camera and lighting lingering over her. His international standing  as both filmmaker and performer was made possible partly by his brilliance as a mime, partly by his charmingly eccentric persona, and partly by subjects and themes that were widely intelligible. However, he has written many times about Dreyer on the blog. Hence critics’ continual pursuit of how the private lives of Hitchcock, Welles, and other directors inform their work. In all, The Definitive Jacques Tati is a kind of ultimate dossier collection, an act of homage that also aims to be a precious object in its own right. The film’s prologue and epilogue announce the sweep of the issue. 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. Memorabilia and in-depth background from Star Wars, Disney cartoons, and the Bond films. Raymond Bernard’s masterful but little-known Wooden Crosses (1932), which focuses largely on French troops, is no less powerful in its depiction of trench warfare. As it does not circulate in the US on home-video, I have taken these low-quality frames from a homemade DVD, probably originally dubbed from an unsubtitled German VHS copy. If you want to reach a broad audience in today’s American cinema, you need to either make films with large doses of physical action (as crossover indie directors have found) or to find a signature identity that cultivates a following. And I'd say they succeed admirably! An artist earns acclaim for finding fresh ways to realize long-standing craft principles. 5. Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling, Christopher Nolan: A Labyrinth of Linkages pdf online, Pandora’s Digital Box: Films, Files, and the Future of Movies pdf online, Planet Hong Kong, second edition pdf online, Exporting Entertainment: America in the World Film Market 1907–1934 pdf online, CinemaScope: The Modern Miracle You See Without Glasses, Constructive editing in Pickpocket: A video essay, Lessons with Bazin: Six Paths to a Poetics, A Celestial Cinémathèque? It was so popular that it outgrossed The Blue Angel in Germany. Only three survive: Walk Cheerfully, I Flunked, But … , and That Night’s Wife. That tendency emerges most vigorously at another publisher, Abrams. 400 pages, 6 × 9 inches, 12 color illustrations; This will become part of the drama’s problem, because the two men will be charged with coming to Chicago to stir up violence. Sorkin interrupts the trial with shots of Abbie at a mike in a club, telling the story of the fights during the riots, correcting the false testimony of the cops. The film’s prologue and epilogue announce the sweep of the issue. Like a gallery installation, they are easier to browse than to scrutinize. The slightly tense nerdery, the OCD fixation on lists and details, the deadpan naïveté of the films–all are replicated in the very texture of the book. 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. Finally getting a chance to see it decades ago was one of the great disappointments of my life. Strange Victory (1948) has been less easy to see. Shone’s efforts to solve the problem become a running motif and inject a sting of drama into the book’s final pages. . Individuals at a Trump rally yelled “Sieg Heil” and “Light the motherfucker on fire” toward a black protester who was being physically removed by security staffers. “He dropped out of a better school than I dropped out of . The first came from Editions Universitaires in Paris, and it was launched by Jean Mitry’s 1954 monograph on Ford. What has happened in the meantime? And of course the Internet has accustomed people to treating reading as multitasking. This isn’t showboating. From 1932 on, I shall no doubt have the opposite problem. If your conflict is psychological, then the last part of the line should land with a punch. Zola had modeled his giant store on Le Bon Marché, while Duvivier was able to shoot interiors for the store “Au Bonheur des Dames” in the Galerie Lafayette–much as L’Herbier had shot in the Paris Bourse over a weekend. One page of a script is interesting, but the scholar wants to see the whole thing. With their echoes of books you flopped on the floor and read on your tummy, these publications offer a surprise every time you turn the page. There are also many shots staged in depth, including a cut between Denise’s cousin’s fiancé, who has been caught sneaking out to desert her, and a reverse angle (maintaining screen direction) from behind her as he looks guiltily back. He met Nolan on several occasions after 1999. The quality of the images wasn’t always good (sometimes subtitles were left in), and one can imagine editors pointing to the results as proof that production stills were preferable. Studying mass entertainments like film and popular fiction, we’re likely to find valleys revealing unexpected views of familiar landscapes. Guided by this premise, auteur criticism has traditionally been focused on thematic interpretation. Bobby Seale: –Fuck the motherfuckers up! In 1961 it began publishing film scripts and transcripts as well. This chapter incorporates glimpses of scenes shown in the first two segments, along with revelations of Steve’s first approach to Sculley. Every stretch of the film is a vivid lesson in whipping together bits of earlier conflicts, jumping from one to another as Jobs parries and ducks and changes the subject, all the while tension rises. Its bold pictorial design, the creation of Ian Cameron, carried over to “Movie Paperbacks,” which launched in 1966. I discuss Sarris’s account of auteurism in “Cinecerity,” Poetics of Cinema, Chapter 8, and in this blog entry. . Film History: An Introduction, 4th Edition by Kristin Thompson and David Bordwell (9780073514246) Preview the textbook, purchase or get a FREE instructor-only desk copy. The public!” There is an objection that this is not the way to end an operetta and the curtain opens to reveal the entire cast as well as additional dancers and singers performing a lively and somewhat chaotic grand-finale number. 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. Unfortunately it has no subtitles. Perhaps Shone would have thickened the traditional auteur study in these ways without the existence of the more extroverted Monographs. How much private life is a US President entitled to? The 1984 segment uses only one flashback, a visit to garage-hacking days that sets up the dispute about open and close architecture. Basically, the court proceedings frame the flashbacks to the purported crimes. Listen to me–” 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. E. H. Gombrich pointed out how painters, the masters and the minor players, develop their pictures on the basis of inherited patterns—schemas that they have learned and that provide a point of departure for original treatment. Later, Sorkin ventilates the play in a traditional manner, supplying scenes that present the prosecutors taking the case and investigating the circumstances. Sorkin has given us other single-protagonist plots, such as Charlie Wilson’s War (2007), Moneyball (2011), and Steve Jobs (2015). “Separation of people is a living fact,” and they are future “casualties of war.” Throughout the rest of the film, the shots of children carry a terrible aura; they have no idea of what they’re facing. Kenneth MacPherson was co-founder of the Swiss-based Pool-Group, along with his wife, Bryher (née Annie Winifred Ellerman) and the poet, HD (Hilda Doolittle). In her spare time she studies Egyptology.David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin-Madison. Mitchell has assembled a mixed bag of antiwar activists to charge with conspiracy. After the rally, Corydon posted a photo on his Facebook page that showed him shouting at Nwanguma. If these books came out when I was fifteen, I’d probably think they were the coolest things I’d ever seen. In films that don’t rely on chases, fights, explosions, time travel, fantasy, or extraterrestrials, what can hold your interest? 19 Magazines from DAVIDBORDWELL.NET found on Yumpu.com - Read for FREE The flashbacks suggest sources of Molly’s decision to triumph over weak men–perhaps, it’s suggested, as revenge for her father’s mistreatment of her and her mother. The pressure of a product demo allows Sorkin to create deadlines and motivate many walk-and-talk passages through backstage corridors. 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. 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. Each event teems with crises large and small, public and private. 176 pages. The Japanese renga poet, the Chinese painter or calligrapher, and the Ottoman carpet weaver revise inherited techniques to reveal new expressive possibilities. The opening, with its shots of dark, empty streets through which the police chase Shuji, is film noir ahead of its time. G. W. Pabst’s Westfront 1918 starts late in the war, when the German soldiers in the trenches have become thoroughly disillusioned and unspeakably weary. Many of these fix – in a rather dramatic way – on what we soberly call the periodisation of cinema. British company Eureka! We’ve long had fancy picture books devoted to film; the first one I owned was The Movies, by Arthur Mayer and Richard Griffith, from 1957. He holds a master's degree and a doctorate in film from the University of Iowa. The next big film was King Vidor’s The Big Parade (see my 1925 list), one of the great box-office successes of the 1920s. It begins with President Johnson ramping up troop commitments and establishing the draft lottery, all during a wave of assassinations. Similarly, from Wagner to Strauss to Schoebberg to Berg to Webern and then…? The Marine Corps recruiting station in Louisville told military publication Stars and Stripes that Pryor had recently enlisted and was about to head off for boot camp. Although after 1937 there are years when Ozu did not make a film, he will likely feature on these lists as long as I continue to post them. “Premier Plan,” another series, came from Lyon, under the auspices of SERDOC (Société d’Études, de Rechereches, et de Documentation Cinématographique). Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and widely respected introduction to the analysis of cinema. We start with a teenage Molly Bloom in a skiing competition qualifying for the Olympics, but an accident knocks her out of the running. Kino Lorber put out a DVD, which I haven’t seen.) Use features like bookmarks, note taking and highlighting while reading Film History: An Introduction. Cinema One, published by Secker and Warburg, was linked to the British Film Institute’s magazine Sight and Sound. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema proposes an account of thematic criticism as a practice. Unsympathetic critics who find the films over-cute (I’m trying to avoid the label “twee”) will find this a double dose of it. Apparently more or less simultaneous with the Eduardo sessions, these also anchor us in an approximate present and cue up incidents in the past. —Bordwell on Roger Ebert (and his forward to one of Roger's Great Movies collections) and Robin Wood —Bordwell's new book, The Rhapsodies, on the work of 1940s film critics —Some previous posts by David on the 1940s: On Suspense films, on replays, on continuity, on flashabacks. The courtroom scenes don’t begin until about an hour into the film, and they alternate with strategy sessions among the legal team and the defendants. [go to Amazon], Christopher Nolan: A Labyrinth of Linkages, Second edition, 2019. Part of Wollen’s heresy in Signs and Meaning was to sever the films from the living creators. So the problem play becomes a progress toward understanding political power. The sequence uncannily predicts the explosive consumer society that would follow in the war’s wake. The Insider: David Bordwell Blows the Whistle on Film Studies Lingua Franca vol. None of these books boasted big production values. (The Big Parade does kill off the hero’s two friends-in-arms.). Race-baiting politicians, radio hate-mongers, and fascist sympathizers–the 1940s equivalents of our celebrity demagogues–are pictured and named. A long-form series permits constant shifting of the protagonist role across a season. David Bordwell argues that the principles of visual storytelling created in the studio era are alive and well, even in today’s bloated blockbusters. Yet Tom has an outlaw side as well. Thanks to the energy of the Milestone team, led by Amy Heller and Dennis Doros, every citizen has a chance, say rather a duty, to see a film whose force is undiminished today. As in other romantic comedies, the central couple shares the protagonist role. https://t.co/kEXwgSkciO” And Seitz can discuss these possibilities with the director. The Nazis lost, but a form of Nazism won. Nolan’s artistry draws from high culture as well as middlebrow and popular sources. or, Film Archives and Me: A Semi-Personal History, Shklovsky and His “Monument to a Scientific Error”, Murder Culture: Adventures in 1940s Suspense, The Viewer’s Share: Models of Mind in Explaining Film. 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. If they’re like Ives symphonies, this is more Mahlerian. This year Taschen released an item that breaks with the design of the Archives line. Steve Jobs is braced by his assistant Joanna while he frets over a press story. If so, and if anyone knows what play it was, please message me on Facebook and I’ll add that information. As he achieves his goals–a successful computer at last, a settling with Wozniak and Andy, and a tentative accceptance of Lisa–he displays more chastened and cautious behavior. Posted in Documentary film, Film comments, Readers' Favorite Entries |  open printable version So the problem play becomes a progress toward understanding political power. We may identify Sorkin more with ensemble, or multiple-protagonist, plots because of the fame of his TV shows  Sports Night (1998-2000), The West Wing (1999–2006), Studio 60 on the Sunset Strip (2006–2007), and Newsroom (2014-1016). “Everybody.” With a pause to register Roosevelt’s death, jubilation surges up as the Nazis fall. How much private life is a US President entitled to? Some other experimental films made in 1930 that I didn’t think were as good as these but are still worth watching if one is particularly interested in this genre: Francis Bruguière’s Light Rhythms (on the third disc of the Unseen Cinema set), a more low-budget attempt at something like Ein Lichtspiel, using paper cut-outs. Perhaps it was just as well. Yet a third series came into existence about the same time. It remains one of the last classics of the Soviet Montage movement. The tractor temporarily halts, but it turns out that the radiator is dry. No need for a still and a caption: Shone has woven the films’ imagery and structure, his investigation of them, and his conversations with Nolan into such a tight fabric that the reader gets the point. By 1915, Elmer Rice’s play On Trial was inserting flashbacks that reenacted trial testimony, but some plays stick only to what happens in the courtroom. It also recalls the puffy plastic chairs that earlier bewilder Hulot by erasing his presence. For instance, one of my favorite gags takes place when the air conditioning is switched on and we see the skin on a woman’s back ripple. Dellenger’s son: Very calmly and very politely– Athletics, it turns out, has a lot to do with poker. Before the internet, these were precious sources of information for cinephiles and academics. In the final scene, huge numbers of casualties from the latest French attack are treated at a German war hospital, with French and German patients mixed together–as the dead had been in the battle itself (see the image above). Such is the case, I’ll argue, with The Trial of the Chicago 7. A video lecture, I suppose. Andrew Sarris posited “the distinguishable personality of the director” as a central criterion of value for the auteur critic. Enthusiasm can come through in a short piece or a small, square book, but The Coen Brothers and Paul Thomas Anderson Masterworks fill about 300 large-format pages apiece and weigh between three and four pounds. Ever-alert reader and high-energy critic Adrian Martin has signaled to me a large-format series I didn’t know about. Published by McGraw-Hill Humanities/Social Sc, 2009. The books are large, they contain multitudes, and so do the films. René Clair has long been considered one of the directors whose early sound films were among the most imaginative and technically sophisticated. Needless to say, the possibility of buying these books in local bookstores added joy to my college years. And where that process ends is the death camp. Beginning in 1967 with Richard Roud’s book on Godard, that series followed the model of the Movie paperbacks in integrating stills and texts. The Tati box aside, these books are generously priced. The simple solution is for the collective members to urinate into it. But the sheer expanse of a Massive project–swallowing up all the films, even ephemera like shorts and uncompleted projects–and the search for the most remote and tenous links to books, cultural events, other films, and almost anything else, work against a more austere delineation of the artist’s achievement. That Night’s Wife doesn’t display the fully mature Ozu style, but no one would mistake it for a film by another director. I don’t know whether Duvivier was inspired by L’Herbier’s L’Argent (which featured on my 1928 list) to make Au Bonheur des Dames, but there are certainly similarities between them. We should expect more Massive Auteur Monographs; the next Wes Anderson one has already been announced. Come down from the bird’s-eye view, and we’ll see the same fine-grain fluctuations. Part of its originality lies in the effort to enhance the idea of authorial personality through traditional biographical criticism. Them. A few films of recent years, such as The Paper, successfully recapture the exhilaration of such fast, pungent dialogue. The most stupendous dossier-catalogue I know comes from the Filmoteca Espagnola and bears the curious title, Los proverios chinos de F. W. Murnau. Massive because it’s high, wide, and handsome, as well as heavy. Not that it will ever be one of my favorites. What else do you expect from a firm that offered as a bonus a stand to support a $25,000 book? The scale of the enterprise lifts the film director to the level of a gallery artist, putting idiosyncrasy on display. “Don’t worry about it.” [go Three carefree young men, who start off driving in a car and singing about friendship, arrive in their lavish shared home to discover that they are bankrupt. Sorkin’s dialogue does all of them at once. 1930 was also a grim year, with the Depression well established and nowhere close to its end. 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). IN HOLLYWOOD, The Criterion Channel: The best news for film culture you will hear today (and probably all year), Nolan book 2.0: Cerebral blockbusters meet blunt-force cinephilia, Venice 2018: Welles and THE OTHER SIDE OF THE WIND, A BRIGHTER SUMMER DAY: Yang and his gangs, Open secrets of classical storytelling: Narrative analysis 101, THE GRAND BUDAPEST HOTEL: Wes Anderson takes the 4:3 challenge, Understanding film narrative: The trailer, GRAVITY, Part 1: Two characters adrift in an experimental film, THE GRANDMASTER: Moving forward, turning back, Mixing business with pleasure: Johnnie To's DRUG WAR, David Koepp: Making the world movie-sized. The plot deals with racial and sexual tensions in a small Swiss village when a black couple comes to live there. The risk is that the critic’s argument is overshadowed by the bonus materials, the way the vast making-of supplements to The Lord of the Rings DVDs vie for attention with the movie itself. Some other experimental films made in 1930 that I didn’t think were as good as these but are still worth watching if one is particularly interested in this genre: Francis Bruguière’s Light Rhythms (on the third disc of the Unseen Cinema set), a more low-budget attempt at something like Ein Lichtspiel, using paper cut-outs. I originally saw this film at the Cinémathèque Royale de Belgique (now the Cinematek). 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. Americans will need to be more than curious consumers if they are to face the struggle that lies ahead. 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