By James Naremore
In 1895, Louis Lumière supposedly acknowledged that cinema is "an invention with no future." James Naremore makes use of this mythical comment as a place to begin for a meditation at the so-called demise of cinema within the electronic age, and as a fashion of introducing a wide-ranging sequence of his essays on videos prior and current. those essays comprise discussions of authorship, edition, and performing; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and experiences of newer paintings by means of non-Hollywood administrators Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. very important topics recur: the kinfolk among modernity, modernism, and postmodernism; the altering mediascape and demise of older applied sciences; and the necessity for powerful serious writing in an period whilst print journalism is waning and the arts are devalued. The booklet concludes with essays on 4 significant American movie critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.
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Introduction: the autumn and upward push of the movie Director. .. .. .9
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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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Extra resources for An Invention Without a Future: Essays on Cinema
Cinema Taiwan: Politics, Popularity and State of the Arts, London: Routledge, pp. 146–57. ) Globalization, Durham: Duke University Press, pp. 260-278. Sassen, S (2006) Territory. Authority. Rights. From Medieval to Global Assemblages, Princeton: Princeton University Press. ) Contemporary Asian Cinema: Popular Culture in a Global Frame, Oxford: Berg, pp. 156–68. Recent Taiwanese Cinema 29 Directory of World Cinema EARLY HONG KONG CINEMA In Europe and America, the long-form narrative film gradually replaced short films and nonfiction films after 1900, but in China and Hong Kong – where western cinema was still new to audiences – the films screened were mainly old films brought to them by foreign exhibitors.
By contrast, Chow was still a relatively young man and could draw on many influences, both eastern and western. In 2001, he regained his box office form with Shaolin Soccer (2001), in which he played a Shaolin monk with extraordinary martial-arts skills and a ‘leg of steel’ who organizes a bunch of ‘has-beens’ into a soccer team. With its blend of martial arts, soccer, comedy and Dirty Dozen homage, the film proved to be Hong Kong’s most popular box office success of the time. Though acquired for American theatrical distribution, the film was delayed and only appeared on DVD.
This film presents Chow at his most irritating as a volatile rich kid left with only his mouth and brain after a Triad attack. A Chinese ‘mad scientist’ played by Elvis Tsui (with Einstein wig) reconstructs him using a variety of devices, such as a garden hose for urination, and gives him the Stars 45 Directory of World Cinema ability to turn into different objects, such as a talking toilet who avoids being crapped in. Although much of the film relies on Chow’s scatological verbal and visual humour, his parody of John Travolta’s Pulp Fiction performance is memorable.
An Invention Without a Future: Essays on Cinema by James Naremore