By James Naremore
In 1895, Louis Lumière supposedly stated that cinema is "an invention with out a future." James Naremore makes use of this mythical comment as a place to begin for a meditation at the so-called dying of cinema within the electronic age, and as a manner of introducing a wide-ranging sequence of his essays on videos prior and current. those essays contain discussions of authorship, model, and performing; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and experiences of newer paintings through non-Hollywood administrators Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. very important subject matters 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 e-book concludes with essays on 4 significant American movie critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.
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Extra resources for An Invention Without a Future: Essays on Cinema
Equally important were the hugely successful Italian historical pictures of the same period, especially Enrico Guazzoni’s Quo Vadis? (1912), a nine-reel spectacular based on a novel by Nobel laureate Henryk Sienkiewicz, which established the market for “blockbuster” movies such as Birth of a Nation (1915), also an adaptation. The advent of the talkies and the Fordist organization of the major film studios produced a great appetite for literature among Hollywood moguls, who provided a source of major income, if not artistic satisfaction, for every important playwright and author in the United States, including Eugene O’Neill, F.
R. Leavis; and, until recent years, English professors have been especially suspicious of mass-produced narratives from Hollywood, which seem to threaten or debase the values of both “organic” popular culture and literary culture. When I use the term “Kantian,” I’m speaking of a slightly older, more complex mode of idealist philosophy that emerged toward the end of the eighteenth century in Europe, and that we commonly associate not only with Immanuel Kant but also with Georg Hegel, Johann von Schiller, and Samuel Taylor Coleridge.
135–36) This is a far cry from academic criticism and belies some of the assertions often made about auteurism. It’s customary (and not incorrect) to say that the young Cahiers critics were romantics—as when Thomas Schatz, in his valuable book The Genius of the System, tells us that auteurism “would not be worth bothering with if it hadn’t been so influential, effectively stalling film history in a prolonged stage of adolescent romanticism” (5). Many contemporary writers would agree; but if we’re going to call Godard a romantic, we should recognize that he’s a strange variant of the type.