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The 'I' of the Camera has become a classic in the literature of film. Offering alternatives to the viewing and criticism of film, William Rothman challenges readers to think about film in adventurous ways that are more open to movies and our experience of them. In a series of eloquent essays examining particular films, filmmakers, genres and movements, and the 'Americanness' of American film, Rothman argues compellingly that movies have inherited the philosophical perspective of American transcendentalism. This second edition contains all of the essays that made the book a benchmark of film criticism. It also includes fourteen essays, written subsequent to the book's original publication, as well as a new foreword. The new chapters further broaden the scope of the volume, fleshing out its vision of film history and illuminating the author's critical method and the philosophical perspective that informs it.
Motion pictures. --- Film criticism. --- Motion picture criticism --- Motion pictures --- Moving-picture criticism --- Criticism --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Evaluation --- History and criticism
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"Film study has tended to treat documentary as a marginal form, but as the essays in Three Documentary Filmmakers demonstrate, the films of Jean Rouch, Ross McElwee, and Errol Morris call for, and reward, the sort of criticism expected of such serious works in any medium."--Back cover.
Documentary films --- Film --- Music, Dance, Drama & Film --- History and criticism. --- History and criticism --- Morris, Errol --- McElwee, Ross, --- Rouch, Jean --- McElwee, Ross Simonton, --- Criticism and interpretation. --- Documentaires --- Histoire et critique
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An expanded edition of a classic work of film criticism, with a provocative and eloquent new chapter on Marnie, Hitchcock's most heartfelt--and most controversial--film.
Gaze in motion pictures. --- Motion pictures --- Hitchcock, Alfred, --- Chitskok, Alphrent, --- Hīchakāk, Al-Frad , --- Hitchcock, Alfred Joseph, --- Hsi-chʻü-kʻao-kʻo, --- היצ'קוק, אלפרד, --- هيچکاک، الفرد، --- Criticism and interpretation. --- Gaze in motion pictures --- #SBIB:309H1323 --- #SBIB:309H522 --- Films met een amusementsfunctie en/of esthetische functie: auteurs --- Audiovisuele communicatie: kritiek --- Hitchcok, Alfred --- Critique et interprétation.
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William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde "e, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain's strings-and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted.Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.
Redemption in motion pictures. --- Motion pictures --- Hitchcock, Alfred, --- Emerson, Ralph Waldo, --- Imarsana, Rāfa Vālḍō, --- Emerson, R. W. --- Emerson, Waldo, --- Emerson, R. Waldo --- Ėmerson, Ralʹf Uoldo, --- Ai-mo-sheng, --- Emarsan̲, --- אמרסון, רלף ולדו, --- עמערסון, ראלף וואלדא, --- Chitskok, Alphrent, --- Hīchakāk, Al-Frad , --- Hitchcock, Alfred Joseph, --- Hsi-chʻü-kʻao-kʻo, --- היצ'קוק, אלפרד, --- هيچکاک، الفرد، --- Criticism and interpretation. --- Influence. --- Hitchcok, Alfred
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Presents an original, insightful, and compelling vision of the trajectory of Cavell's oeuvre, one that takes his kinship with Emerson as inextricably bound up with his ever-deepening thinking about movies.
Film --- Cavell, Stanley --- Philosophy, American --- Motion pictures --- Philosophy. --- Aesthetics. --- Cavell, Stanley,
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Presents an original, insightful, and compelling vision of the trajectory of Cavell's oeuvre, one that takes his kinship with Emerson as inextricably bound up with his ever-deepening thinking about movies.
Philosophy, American --- Motion pictures --- Motion pictures --- Philosophy. --- Aesthetics. --- Cavell, Stanley,
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William Rothman has long been considered one of the seminal figures in the field of film-philosophy. From his landmark book Hitchcock: The Murderous Gaze, now in its second edition, to the essays collected here in Tuitions and Intuitions, Rothman has been guided by two intuitions: first, that his kind of film criticism is philosophy; and second, that such a marriage of criticism and philosophy has an essential part to play in the serious study of film. In this book, he aspires, borrowing a formulation from Emerson, to "pay the tuition" for these intuitions.Thoughtful, philosophically sophisticated, and provocative, the essays included here address a wide range of films, including classical Hollywood movies; the work of "auteur" directors like Alfred Hitchcock, George Cukor, Yasujirō Ozu, and Woody Allen; performances by John Barrymore and James Stewart; unconventional works by Jean Genet, Chantal Akerman, Terrence Malick, and the Dardenne brothers; the television series Justified; and documentaries by Jean Rouch, Ross McElwee, and Robert Gardner. All the essays address questions of philosophical significance and, taken together, manifest Rothman's lifelong commitment when writing about a film, to respect the film's own ideas; to remain open to the film's ways of expressing its ideas; and to let the film help teach him how to view it, how to think about it, and how to discover what he has at heart to say about it.
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Motion pictures --- Philosophy. --- Cavell, Stanley, --- 82:3 --- 82:791.43 --- Philosophy --- Literatuur en maatschappijwetenschappen --- Literatuur en film --- 82:3 Literatuur en maatschappijwetenschappen --- 82:791.43 Literatuur en film --- Film --- Cavell, Stanley
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During his lifetime, Robert Gardner (1925–2014) was often pigeonholed as an ethnographic filmmaker, then criticized for failing to conform to the genre's conventions—conventions he radically challenged. With the release of his groundbreaking film Dead Birds in 1963, Gardner established himself as one of the world's most extraordinary independent filmmakers, working in a unique border area between ethnography, the essay film, and poetic/experimental cinema. Richly illustrated, Looking with Robert Gardner assesses the range and magnitude of Gardner's achievements not only as a filmmaker but also as a still photographer, writer, educator, and champion of independent cinema. The contributors give critical attention to Gardner's most ambitious films, such as Dead Birds (1963, New Guinea), Rivers of Sand (1975, Ethiopia), and Forest of Bliss (1986, India), as well as lesser-known films that equally exemplify his mode of seeking anthropological understanding through artistic means. They also attend to his films about artists, including his self-depiction in Still Journey OnM (2011); to his roots in experimental film and his employment of experimental procedures; and to his support of independent filmmakers through the Harvard Film Study Center and the television series Screening Room, which provided an opportunity for numerous important film and video artists to present and discuss their work.
Motion pictures in ethnology. --- Ethnographic films. --- Indigenous peoples in motion pictures. --- Motion pictures --- Anthropological films --- Ethnographic videos --- Ethnological films --- Documentary films --- Moving-pictures in ethnology --- Visual anthropology --- Gardner, Robert, --- Gardner, Bob, --- Criticism and interpretation.
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Today's film scholars draw from a dizzying range of theoretical perspectives-they're just as likely to cite philosopher Gilles Deleuze as they are to "e classic film theorist André Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming. Thinking in the Dark introduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather than just discussing each theorist's ideas in the abstract, the book shows how those concepts might be applied when interpreting specific films by including an analysis of both a classic film and a contemporary one. It thus demonstrates how theory can help us better appreciate films from all eras and genres: from Hugo to Vertigo, from City Lights to Sunset Blvd., and from Young Mr. Lincoln to A.I. and Wall-E. The volume's contributors are all experts on their chosen theorist's work and, furthermore, are skilled at explaining that thinker's key ideas and terms to readers who are not yet familiar with them. Thinking in the Dark is not only a valuable resource for teachers and students of film, it's also a fun read, one that teaches us all how to view familiar films through new eyes. Theorists examined in this volume are: Rudolf Arnheim, Béla Balázs, Roland Barthes, André Bazin, Walter Benjamin, Judith Butler, Stanley Cavell, Michel Chion, Gilles Deleuze, Jean Douchet, Sergei Eisenstein, Jean Epstein, Michel Foucault, Siegfried Kracauer, Jacques Lacan, Vachel Lindsay, Christian Metz, Hugo Münsterberg, V. F. Perkins, Jacques Rancière, and Jean Rouch.
Film --- Motion pictures --- Film critics. --- Film criticism. --- Motion picture critics --- Moving-picture critics --- Critics --- Motion picture criticism --- Moving-picture criticism --- Criticism --- Philosophy. --- Evaluation
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