By James Naremore
In 1895, Louis Lumière supposedly acknowledged that cinema is "an invention with out a future." James Naremore makes use of this mythical comment as a kick off point for a meditation at the so-called loss of life of cinema within the electronic age, and as a manner of introducing a wide-ranging sequence of his essays on video clips earlier and current. those essays contain discussions of authorship, model, and appearing; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and stories of more moderen paintings by way of non-Hollywood administrators Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. vital topics recur: the family members among modernity, modernism, and postmodernism; the altering mediascape and demise of older applied sciences; and the necessity for strong serious writing in an period while print journalism is waning and the arts are devalued. The publication concludes with essays on 4 significant American movie critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.
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Additional resources for An Invention Without a Future: Essays on Cinema
Above all, Bazin imbued the early New Wave with a spirit of existential humanism, which placed great emphasis on the cinema’s ability to view the world from an objective standpoint. ) He and the auteurists repeatedly favored “realistic,” “democratic,” or untendentious uses of the camera; as a result, Cahiers in the 1950s was preoccupied with wide screens, the “ethics” of mise-en-scène, and with directors who used invisible editing, long takes, or sequence shots rather than dialectical montage. Sometimes this aesthetic ideology was joined with a belief that the best American auteurs were existentialists avant la lettre.
1962) and A Time to Love and a Time to Die. Both here and in their more discursive writings, the auteurists loved to elevate the lowbrow over the middlebrow. Godard was perhaps better than anyone at the technique, as when he remarked that “an alert Frank Tashlin is worth two Billy Wilders” (35). His reviews repeatedly took on a populist quality and balanced sophistication with idealism about certain Hollywood films. In most cases, he employed a language of puns, epigrams, and breathtakingly old-fashioned pronouncements.
The first of the theoretical challenges, barely noticed at the time, was already inherent in the literary methodology that some of the American auteurists had adopted. The very idea of modern poetics in the AngloSaxon world derives from an “objective” formalism of a type best exemplified by T. S. ” In the literary sphere, Eliot and the New Critics mounted a devastating attack on a dusty, genteel, academic historicism, in which the names of great writers figured prominently. In the process, they warned against the “intentional fallacy” and advocated trusting the tale, not the teller.