سینما در حاشیه‌ها: دیدگاه‌های جدید درباره سینمای جهان

Part 1. Genre -- The future catches up with the past: Peter Bogdanovich's targets -- Surrealism and sudden death in the films of Lucio Fulci -- Flash Gordon and the 1930s and 40s science fiction serial -- Just the facts, man: the complicated genesis of television's Dragnet -- The disquieting aura of Fabián Bielinsky -- Part 2. History -- Fast worker: the films of Sam Newfield -- The power of resistance: Les Dames du Bois de Boulogne -- Beyond characterization: performance in 1960s -- Experimental cinema -- Vanishing point: the last days of film -- Part 3. Interviews -- "Let the sleepers sleep and the haters hate": an interview with Dale "Rage" Resteghini -- Margin call: an interview with J.C. Chandor -- "All my films are personal": an interview with Pat Jackson -- Working within the system: an interview with Gerry O'Hara -- Andrew V. McLaglen: last of the Hollywood professionals -- Pop star, director, actor: an interview with Michael Sarne. More and more, just a few canonical classics, such as Michael Curtiz's “Casablanca” (1942) or Victor Fleming's “Gone With The Wind” (1939), are representing the entire output of an era to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s? For the most part, these films will be forgotten, and their makers with them. Wheeler Winston Dixon argues that even obvious historical markers such as Alfred Hitchcock's “Psycho” (1960) represent shockingly unknown territory for the majority of today's younger viewers; and yet once exposed to these films, they are enthralled by them. In the 1980s and 1990s, the more adventurous video stores served a vital function as annals of classic cinema. Today, those stores are gone and the days of this kind of browsing are over. This collection of essays aims to highlight some of the lesser-known films of the past – the titles that are being pushed aside and forgotten in today's oversaturation of the present. The work is divided into four sections, rehabilitating the films and filmmakers who have created some of the most memorable phantom visions of the past century, but who, for whatever reason, have not successfully made the jump into the contemporary consciousness. Cinema at the Margins 2 Title 4 Copyright 5 CONTENTS 8 ACKNOWLEDGMENTS 10 INTRODUCTION 12 Part I GENRE 20 Chapter 1 THE FUTURE CATCHES UP WITH THE PAST: PETER BOGDANOVICH’S TARGETS 22 Chapter 2 SURREALISM AND SUDDEN DEATH IN THE FILMS OF LUCIO FULCI 30 Chapter 3 FLASH GORDON AND THE 1930s AND ’40s SCIENCE FICTION SERIAL 38 Chapter 4 JUST THE FACTS, MAN: THE COMPLICATED GENESIS OF TELEVISION’S DRAGNET 50 Chapter 5 THE DISQUIETING AURA OF FABIÁN BIELINSKY 62 Part II HISTORY 78 Chapter 6 FAST WORKER: THE FILMS OF SAM NEWFIELD 80 Chapter 7 THE POWER OF RESISTANCE: LES DAMES DU BOIS DE BOULOGNE 96 Chapter 8 BEYOND CHARACTERIZATION: PERFORMANCE IN 1960s EXPERIMENTAL CINEMA 110 Chapter 9 VANISHING POINT: THE LAST DAYS OF FILM 124 Part III INTERVIEWS 136 Chapter 10 “LET THE SLEEPERS SLEEP AND THE HATERS HATE”: AN INTERVIEW WITH DALE “RAGE” RESTEGHINI 138 Chapter 11 MARGIN CALL: AN INTERVIEW WITH J. C. CHANDOR 154 Chapter 12 “ALL MY FILMS ARE PERSONAL”: AN INTERVIEW WITH PAT JACKSON 166 Chapter 13 WORKING WITHIN THE SYSTEM: AN INTERVIEW WITH GERRY O’HARA 176 Chapter 14 ANDREW V. MCLAGLEN: LAST OF THE HOLLYWOOD PROFESSIONALS 198 Chapter 15 POP STAR, DIRECTOR, ACTOR: AN INTERVIEW WITH MICHAEL SARNE 214 WORKS CITED AND CONSULTED 224 ABOUT THE AUTHOR 232 INDEX 234 More and more, just a few canonical classics, such as Michael Curtiz's "Casablanca" (1942) or Victor Fleming's "Gone With The Wind" (1939), are representing the entire film output of an era, to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s? This collection of essays aims to highlight some of the lesser-known treasures of the past--those titles that have been pushed aside by today's wave of cinema amnesia More and more, just a few canonical classics, such as Michael Curtizs Casablanca (1942) or Victor Flemings Gone With The Wind (1939), are representing the entire film output of an era, to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s? This collection of essays aims to highlight some of the lesser-known treasures of the past those titles that have been pushed aside by todays wave of cinema amnesia. “Cinema at the Margins" is a collection that aims to highlight some of the lesser-known films and filmmakers of the past that are being marginalized and forgotten in today’s reductive popular memory of movie history This title presents a collection that highlights some of the lesser-known films and filmmakers of the past that are being marginalized and forgotten in today's reductive popular memory of movie history