By Robert Spadoni
Definitely the right concise advisor to the formal research of movie. Designed for use by means of readers at many degrees of data, this booklet strikes systematically during the components that make up such a lot movies, concentrating on points of the artwork of cinema which are universal throughout heritage and nationwide cinemas.
From shape and narrative to mise-en-scène and cinematography to modifying and sound, Robert Spadoni introduces and explains the rules and conventions of movie in enticing, easy language. as well as illustrating movie strategies with virtually 2 hundred images—most of them in color—the booklet explains how one can locate styles and that means in movies via such options as motifs, improvement, and motivation.
Thumbnail readings of exemplary motion pictures additional lay out the necessities of formal research. movie illustrations comprise body enlargements from Stagecoach, Psycho, Jeepers Creepers, Persepolis, Groundhog Day, Take safeguard, and extra. Modestly priced and choked with photos, A Pocket advisor to studying movies is perfect for college kids in quite a lot of movie classes who're trying to find an easy-to-read advisor to movie research to accompany and increase their path fabrics.
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Table of Contents :
Introduction: the autumn and upward push of the movie Director. .. .. .9
Michelangelo Antonioni. .. .. .21
Ingmar Bergman. .. .. .33
Robert Bresson. .. .. .46
Peter Brook. .. .. .51
Luis Bunuel. .. .. .65
Claude Chabrol. .. .. .75
Charles Chaplin. .. .. .86
George Cukor. .. .. .92
Clive Donner. .. .. .127
Carl Dreyer. .. .. .140
Sergei Eisenstein. .. .. .164
Federico Fellini. .. .. .175
John Ford. .. .. .193
Jean-Luc Goddard. .. .. .202
Howard Hawks. .. .. .228
Alfred Hitchcock. .. .. .241
John Huston. .. .. .253
Buster Keaton. .. .. .274
Akira Kurosawa. .. .. .287
Fritz Lang. .. .. .309
David Lean. .. .. .316
Joseph Losey and Nicholas Ray. .. .. .322
Ernst Lubitsch. .. .. .335
Rouben Mamoulian. .. .. .342
Max Ophuls. .. .. .350
Pier Paolo Pasolini. .. .. .366
Sam Peckinpah. .. .. .371
Abraham Polonsky. .. .. .384
Otto Preminger. .. .. .398
Satyajit Ray. .. .. .413
Jean Renoir. .. .. .419
Alain Resnais. .. .. .434
Leni Riefenstahl. .. .. .453
Roberto Rossellini. .. .. .474
Josef von Sternberg. .. .. .479
Erich von Stroheim. .. .. .500
Preston Sturges. .. .. .511
Francois Truffaut. .. .. .520
Orson Welles. .. .. .528
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Additional info for A Pocket Guide to Analyzing Films
None of this is to say that Cruising presents an attractive or nuanced vision of gay life. But within its oftennegative portrayal lies something more challenging: a provocation to contemplate queer male desire in unfettered forms within a larger homophobic culture. indd 19 H I TC H C O C K , G E N D E R , A N D T H E N E W H O L LY W O O D In Chapter 7, we return to the cinema of Brian De Palma. De Palma takes the relay between terror and humor in Hitchcock to a new level of postmodern play. But he does more than that—whereas in Hitchcock the humor very strategically alleviates the terror, in De Palma it is the very relationship between terror and humor that becomes the drama.
He gets over this fairly quickly, making jokes about inviting the Frenchman Bernard over to devour the troublesome snails in their American backyard: “We did everything we could to get rid of them. ”) And since the McKennas themselves appear to have no knowledge of Muslim customs or of the specific nature and gravity of what Hank accidentally did, it is unlikely that Hank would have known to avoid doing such a thing. In expressing astonishment at Hank’s actions, Jo implicitly assigns the blame to her child while absolving herself and Ben of any culpability.
Their footsteps hauntingly echo within the strangely empty, depopulated, and vast museum. Given that Hitchcock attempted to incorporate the homoerotic intrigue of the “Cambridge spies” scandal of 1950s England into Torn Curtain but was forced by the studio to drop this theme, his depiction of the two men alone and engaged in shadowy games in the museum can be plausibly read as his attempt to register homoerotic tensions through allegorical means. indd 22 10/5/12 3:47 PM THE MAN WHO KNE W TOO MUCH (1956) If Hitchcock does indeed represent gay cruising here, as I believe he does, what is particularly notable about the allegory he devises is its staging of queer male desire as oppositional patterns of chase.
A Pocket Guide to Analyzing Films by Robert Spadoni