Essential cinema : on the necessity of film canons ; with a new afterword

In his astute and deeply informed film reviews and essays, Jonathan Rosenbaum regularly provides new and brilliant insights into the cinema as art, entertainment, and commerce. Guided by a personal canon of great films, Rosenbaum sees, in the ongoing hostility toward the idea of a canon shared by many within the field of film studies, a missed opportunity both to shape the discussion about cinema and to help inform and guide casual and serious filmgoers alike. In __Essential Cinema__, Rosenbaum forcefully argues that canons of great films are more necessary than ever, given that film culture today is dominated by advertising executives, sixty-second film reviewers, and other players in the Hollywood publicity machine who champion mediocre films at the expense of genuinely imaginative and challenging works. He proposes specific definitions of excellence in film art through the creation a personal canon of both well-known and obscure movies from around the world and suggests ways in which other canons might be similarly constructed. __Essential Cinema__ offers in-depth assessments of an astonishing range of films: established classics such as __Rear Window__, __M__, and __Greed__; ambitious but flawed works like __The Thin Red Line__ and __Breaking the Waves__; eccentric masterpieces from around the world, including __Irma Vep__ and __Archangel__; and recent films that have bitterly divided critics and viewers, among them __Eyes Wide Shut__ and __A.I.__ He also explores the careers of such diverse filmmakers as Robert Altman, Raúl Ruiz, Frank Tashlin, Elaine May, Sam Fuller, Terrence Davies, Edward Yang, Hou Hsiao-hsien, and Orson Welles. In conclusion, Rosenbaum offers his own film canon of 1,000 key works from the beginning of cinema to the present day. A cogent and provocative argument about the art of film, __Essential Cinema__ is also a fiercely independent reference book of must-see movies for film lovers everywhere. Contents 6 Acknowledgments 10 Introduction 12 I. CLASSICS 24 Fables of the Reconstruction: The Four-Hour Greed 26 Fascinating Rhythms: M 36 The Color of Paradise: Jour de fête 42 Backyard Ethics: Hitchcock’s Rear Window 49 Songs in the Key of Everyday Life: The Umbrellas of Cherbourg 55 A Tale of the Wind: Joris Ivens’s Last Testament 61 Kira Muratova’s Home Truths: The Asthenic Syndrome 66 The Importance of Being Sarcastic: Sátántangó 71 Blush 76 The Ceremony 81 Thieves 85 True Grit: Rosetta 90 II. SPECIAL PROBLEMS 96 Malick’s Progress 98 Improvisations and Interactions in Altmanville, with an Afterword: Nashville 103 Mixed Emotions: Breaking the Waves 118 Fast, Cheap & Out of Control 124 The Sweet Cheat: Time Regained 128 James Benning’s Four Corners 136 Overrated Solutions: L’humanité 142 The Sound of German: Straub-Huillet’s The Death of Empedocles 146 Beyond the Clouds: Return to Beauty 153 Reality and History as the Apotheosis of Southern Sleaze: Phil Karlson’s The Phenix City Story 159 Is Ozu Slow? 169 The Human Touch: Decalogue and Fargo 175 III. OTHER CANONS, OTHER CANONIZERS 184 Life Intimidates Art: Irma Vep 186 Stanley Kwan’s Actress: Writing History in Quicksand 193 Critical Distance: Godard’s Contempt 202 Remember Amnesia? (Guy Maddin’s Archangel), with an Afterword: Ten Years Later (Please Watch Carefully: The Heart of the World) 210 Ragged but Right: Rivette’s Up Down Fragile 217 Critic with a Camera: Marker on Tarkovsky 222 Riddles of a Sphinx: From the Journals of Jean Seberg 227 International Harvest: National Film Histories on Video 233 International Sampler: Ghost Dog: The Way of the Samurai 239 Not the Same Old Song and Dance: The Young Girls of Rochefort 246 Flaming Creatures and Scotch Tape 253 Ruiz Hopping and Buried Treasures: Twelve Selected Global Sites 259 IV. DISPUTABLE CONTENDERS 272 Back in Style: Bertolucci’s Besieged 274 The Young One: Buñuel’s Neglected Masterpiece 280 In Dreams Begin Responsibilities: Kubrick’s Eyes Wide Shut 285 The Best of Both Worlds: A.I. Artificial Intelligence 294 Under the Chador: The Day I Became a Woman 303 Chains of Ignorance: Charles Burnett’s Nightjohn 308 Good Vibrations: Waking Life 314 Hell on Wheels: Taxi Driver 318 Meat, John, Dough: Pretty Woman 325 Tashlinesque 329 Weird and Wonderful: Takeshi Kitano’s Kikujiro 336 *Corpus Callosum 340 V. FILMMAKERS 342 Mann of the West 344 Otto Preminger 349 Nicholas Ray 357 Exiles in Modernity: Films by Edward Yang 361 Hou Hsiao-hsien: Becoming Taiwanese 369 The Countercultural Histories of Rudy Wurlitzer 374 Samuel Fuller: The Words of an Innocent Warrior 380 The Mysterious Elaine May: Hiding in Plain Sight 387 Visionary Agitprop: I Am Cuba 393 The Battle over Orson Welles 399 License to Feel: Distant Voices, Still Lives and The Neon Bible 409 Death and Life: Landscapes of the Soul—The Cinema of Alexander Dovzhenko 422 Appendix: 1,000 Favorites (A Personal Canon) 430 Index 450 A 450 B 450 C 452 D 453 E 454 F 455 G 455 H 456 I 457 J 457 K 458 L 458 M 459 N 461 O 461 P 462 Q 463 R 463 S 464 T 465 U 467 V 467 W 467 Y 468 Z 468 MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict MuPDF error: syntax error: invalid key in dict Contents 6 Acknowledgments 10 Introduction 12 I. CLASSICS 24 Fables of the Reconstruction: The Four-Hour Greed 26 Fascinating Rhythms: M 36 The Color of Paradise: Jour de fête 42 Backyard Ethics: Hitchcock’s Rear Window 49 Songs in the Key of Everyday Life: The Umbrellas of Cherbourg 55 A Tale of the Wind: Joris Ivens’s Last Testament 61 Kira Muratova’s Home Truths: The Asthenic Syndrome 66 The Importance of Being Sarcastic: Sátántangó 71 Blush 76 The Ceremony 81 Thieves 85 True Grit: Rosetta 90 II. SPECIAL PROBLEMS 96 Malick’s Progress 98 Improvisations and Interactions in Altmanville, with an Afterword: Nashville 103 Mixed Emotions: Breaking the Waves 118 Fast, Cheap & Out of Control 124 The Sweet Cheat: Time Regained 128 James Benning’s Four Corners 136 Overrated Solutions: L’humanité 142 The Sound of German: Straub-Huillet’s The Death of Empedocles 146 Beyond the Clouds: Return to Beauty 153 Reality and History as the Apotheosis of Southern Sleaze: Phil Karlson’s The Phenix City Story 159 Is Ozu Slow? 169 The Human Touch: Decalogue and Fargo 175 III. OTHER CANONS, OTHER CANONIZERS 184 Life Intimidates Art: Irma Vep 186 Stanley Kwan’s Actress: Writing History in Quicksand 193 Critical Distance: Godard’s Contempt 202 Remember Amnesia? (Guy Maddin’s Archangel), with an Afterword: Ten Years Later (Please Watch Carefully: The Heart of the World) 210 Ragged but Right: Rivette’s Up Down Fragile 217 Critic with a Camera: Marker on Tarkovsky 222 Riddles of a Sphinx: From the Journals of Jean Seberg 227 International Harvest: National Film Histories on Video 233 International Sampler: Ghost Dog: The Way of the Samurai 239 Not the Same Old Song and Dance: The Young Girls of Rochefort 246 Flaming Creatures and Scotch Tape 253 Ruiz Hopping and Buried Treasures: Twelve Selected Global Sites 259 IV. DISPUTABLE CONTENDERS 272 Back in Style: Bertolucci’s Besieged 274 The Young One: Buñuel’s Neglected Masterpiece 280 In Dreams Begin Responsibilities: Kubrick’s Eyes Wide Shut 285 The Best of Both Worlds: A.I. Artificial Intelligence 294 Under the Chador: The Day I Became a Woman 303 Chains of Ignorance: Charles Burnett’s Nightjohn 308 Good Vibrations: Waking Life 314 Hell on Wheels: Taxi Driver 318 Meat, John, Dough: Pretty Woman 325 Tashlinesque 329 Weird and Wonderful: Takeshi Kitano’s Kikujiro 336 *Corpus Callosum 340 V. FILMMAKERS 342 Mann of the West 344 Otto Preminger 349 Nicholas Ray 357 Exiles in Modernity: Films by Edward Yang 361 Hou Hsiao-hsien: Becoming Taiwanese 369 The Countercultural Histories of Rudy Wurlitzer 374 Samuel Fuller: The Words of an Innocent Warrior 380 The Mysterious Elaine May: Hiding in Plain Sight 387 Visionary Agitprop: I Am Cuba 393 The Battle over Orson Welles 399 License to Feel: Distant Voices, Still Lives and The Neon Bible 409 Death and Life: Landscapes of the Soul—The Cinema of Alexander Dovzhenko 422 Appendix: 1,000 Favorites (A Personal Canon) 430 Index 450 A 450 B 450 C 452 D 453 E 454 F 455 G 455 H 456 I 457 J 457 K 458 L 458 M 459 N 461 O 461 P 462 Q 463 R 463 S 464 T 465 U 467 V 467 W 467 Y 468 Z 468

in His Astute And Deeply Informed Film Reviews And Essays, Jonathan Rosenbaum Regularlyprovides New And Brilliant Insights Into The Cinema As Art, Entertainment, And Commerce. Guided By A Personal Canon Of Great Films, Rosenbaum Sees, In The Ongoing Hostility Toward The Idea Of A Canon Shared By Many Within The Field Of Film Studies, A Missed Opportunity Both To Shape The Discussion About Cinema And To Help Inform And Guide Casual And Serious Filmgoers Alike. In Essential Cinema, Rosenbaum Forcefully Argues That Canons Of Great Films Are More Necessary Than Ever, Given That Film Culture Today Is Dominated By Advertising Executives, Sixty-second Film Reviewers, And Other Players In The Hollywood Publicity Machine Who Champion Mediocre Films At The Expense Of Genuinely Imaginative And Challenging Works. He Proposes Specific Definitions Of Excellence In Film Art Through The Creation A Personal Canon Of Both Well-known And Obscure Movies From Around The World And Suggests Ways In Which Other Canons Might Be Similarly Constructed. Essential Cinema Offers In-depth Assessments Of An Astonishing Range Of Films: Established Classics Such As Rear Window, M, And Greed; Ambitious But Flawed Works Like The Thin Red Line And Breaking The Waves; Eccentric Masterpieces From Around The World, Including Irma Vep And Archangel; And Recent Films That Have Bitterly Divided Critics And Viewers, Among Them Eyes Wide Shut And A.i. He Also Explores The Careers Of Such Diverse Filmmakers As Robert Altman, Ra£l Ruiz, Frank Tashlin, Elaine May, Sam Fuller, Terrence Davies, Edward Yang, Hou Hsiao-hsien, And Orson Welles. In Conclusion, Rosenbaum Offers His Own Film Canon Of 1,000 Key Works From The Beginning Of Cinema To The Present Day. A Cogent And Provocative Argument About The Art Of Film, Essential Cinema Is Also A Fiercely Independent Reference Book Of Must-see Movies For Film Lovers Everywhere. Than A Film Critic Who Openly Defends The Making Of Canons, And Who Compiles An Informed, Discriminating List Of The Best Pictures Ever Made. Jonathan Rosenbaum's Essential Cinema Performs Both Tasks Brilliantly, At The Same Time Giving Us A Bracing Series Of Essays On The Artistic, Political, And Entertainment Value Of Individual Films And Film Makers. Everyone Who Loves Motion Pictures Ought To Read This Book. Rosenbaum's Personal Canon Will Stimulate Debate, Enhance Education, And Provide A Valuable Guide To A Thousand Nights Of Pleasurable Viewing. James Naremore, Author Of More Than Night An Invaluable Guide To Current Movies Not Because One Always Agrees With Him, But Because He Enlarges Our Perceptions And Often Points Us In The Right Direction, Because He Is Intelligent And Engages Our Intelligence And Has A Sound Grasp Of The History Of Film, Its Aesthetic Values And Its Social And Political Content. In Many Ways He Is Singularly Well Equipped For The Project He Undertakes In Essential Cinema: To Establish A Pantheon Of Great Films In World Cinema. This Idea May Be Controversial Nowadays But, In My View, That Only Makes It All The More Worth Undertaking. Bringing Fresh Acumen And Insight To Both Established Classics And More Recent Films, This Book Will Inspire Debate Among Those Who Care About The Art Of Film. Gilberto Perez, Author Of The Material Ghost Strives Less To Simply Describe Or Evaluate A Film Than Engage The Reader In An Argument About Values. He Understands That Film Canons Need Not Be A Conservative Listing Of Masterpieces, But An Ongoing Struggle For The Richness Of Cinema And Art In A World Of Commercialized Leisure And Passive Politics. Tom Gunning, Author Of The Films Of Fritz Lang Author Bio: Jonathan Rosenbaum Is Film Critic For The Chicago Reader And The Author Or Editor Of Fourteen Books, Including Movie Wars: How Hollywood And The Media Conspire To Limit What Films We Can See, Movie Politics, And Placing Movies: The Practice Of Film Criticism.

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in Combining His Reviews From The Chicago Reader With Writing He's Done For Other Magazines, Rosenbaum Doesn't So Much Argue In Favor Of Specific Canons Of Film Masterpieces As Defend The Very Process Of Choosing Films Of Artistic Or Cultural Significance That Deserve To Be Remembered And Merit Repeat Viewing. His Global Approach Is Evident From The Opening Section, Classics, Which Discusses Films From Germany, France, Russia, Hungary, China And Belgium; Even The Two American Selections (greed And Rear Window) Were Made By Expatriate Directors. Rosenbaum Largely Ignores Mainstream Hollywood; Except For A Review Of Pretty Woman (negative) And A.i. (positive With Reservations), Stanley Kubrick Is About As Commercial As It Gets. Instead, Rosenbaum Rails Against An Attitude He Sees Perpetuated By American Studios And Critics Alike, In Which A Film Isn't Worthy Of Discussion Unless It's In Wide Release Or Prominently Displayed On The Video Shelves. He'd Rather Call Readers' Attention To Things They Probably Wouldn't Have Seen Otherwise, Yet His Treatment Of Individual Films And Filmmakers Is Accessible Without Being Dumbed Down, Filled With Perceptive Insights And Fascinating Juxtapositions (the Coen Brothers, For Example, Come Up In A Chapter-long Comparison With Polish Director Krzysztof Kieslowski). A Closing List Of 1,000 Favorite Films Is Sure To Spark Debate Among Cineastes (ishtar?) While Offering A Long Checklist Of Films To Watch. (apr. 27) Copyright 2004 Reed Business Information.

In his astute and deeply informed film reviews and essays, Jonathan Rosenbaum regularly provides new and brilliant insights into the cinema as art, entertainment, and commerce. Guided by a personal canon of great films, Rosenbaum sees, in the ongoing hostility toward the idea of a canon shared by many within the field of film studies, a missed opportunity both to shape the discussion about cinema and to help inform and guide casual and serious filmgoers alike.

In Essential Cinema, Rosenbaum forcefully argues that canons of great films are more necessary than ever, given that film culture today is dominated by advertising executives, sixty-second film reviewers, and other players in the Hollywood publicity machine who champion mediocre films at the expense of genuinely imaginative and challenging works. He proposes specific definitions of excellence in film art through the creation a personal canon of both well-known and obscure movies from around the world and suggests ways in which other canons might be similarly constructed.

Essential Cinema offers in-depth assessments of an astonishing range of films: established classics such as Rear Window, M, and Greed; ambitious but flawed works like The Thin Red Line and Breaking the Waves; eccentric masterpieces from around the world, including Irma Vep and Archangel; and recent films that have bitterly divided critics and viewers, among them Eyes Wide Shut and A.I. He also explores the careers of such diverse filmmakers as Robert Altman, Raúl Ruiz, Frank Tashlin, Elaine May, Sam Fuller, Terrence Davies, Edward Yang, Hou Hsiao-hsien, and Orson Welles. In conclusion, Rosenbaum offers his own film canon of 1,000 key works from the beginning of cinema to the present day. A cogent and provocative argument about the art of film, Essential Cinema is also a fiercely independent reference book of must-see movies for film lovers everywhere.

"Essential Cinema offers in-depth assessments of an astonishing range of films : established classics such as Rear Window, M, and Creed; ambitious but flawed works like The Thin Red Line and Breaking the Waves; eccentric masterpieces from around the world, including Irma Vep and Archangel; and recent films that have bitterly divided critics and viewers, among them Eyes Wide Shut and A.I. He also explores the careers of such diverse filmmakers as Robert Altman, Raul Ruiz, Frank Tashlin, Elaine May, Sam Fuller, Terence Davies, Edward Yang, Hou Hsiao-hsien, and Orson Welles. In conclusion, Rosenbaum offers his own film canon of 1,000 key works from the beginning of cinema to the present day. A cogent and provocative argument about the art of film, Essential Cinema is also a fiercely independent reference book of must-see movies for film lovers everywhere."--Jacket.