By Jonathan Rosenbaum
The esteemed movie critic Jonathan Rosenbaum has introduced international cinema to American audiences for the final 4 a long time. His incisive writings on person filmmakers outline movie tradition as a various and ever-evolving perform, unpredictable but topic to analyses simply as different as his personal discriminating tastes. For Rosenbaum, there's no excessive or low cinema, simply extra attention-grabbing or much less attention-grabbing movies, and the items amassed the following, from an appreciation of Marilyn Monroe’s intelligence to a vintage dialogue on and with Jean-Luc Godard, amply testify to his huge mind and multi-faceted expertise. Goodbye Cinema, hi Cinephilia gathers jointly over fifty examples of Rosenbaum’s feedback from the earlier 4 many years, every one of which demonstrates his ardour for how we view videos, in addition to how we write approximately them. Charting our altering issues with the interconnected matters that encompass video, DVDs, the web, and new media, the writings gathered the following additionally spotlight Rosenbaum’s polemics about the electronic age. From the rediscovery and recirculation of vintage movies, to the social and aesthetic effect of technological adjustments, Rosenbaum doesn’t disappoint in assembling a magisterial forged of little-known filmmakers in addition to the popular faces and iconic names that experience helped to outline our era.
As we circulate into this new decade of moviegoing—one during which Hollywood will proceed to think the shockwaves of the electronic age—Jonathan Rosenbaum remains a priceless advisor. Goodbye Cinema, hi Cinephilia is a consummate selection of his paintings, no longer easily for lovers of this seminal critic, yet for all these open to the wide range of flicks he embraces and is helping us to elucidate.
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Additional resources for Goodbye Cinema, Hello Cinephilia: Film Culture in Transition
Yet paradoxically, Spectre was created precisely in order to make Out 1 more presentable—that is to say, more commercial. ” Arguably, one reason why the film industry as a whole has encouraged and POTENTIAL PERILS OF THE DIRECTOR’S CUT 13 promoted the concept of a director’s cut, even though it might appear to be counter to its own interests in certain cases, is that it enables a film’s owner to sell the same product to the same customer twice. The mythology underlying this process appears superficially to be that every film has two versions, a correct one and an incorrect one.
The most outstanding exception is John Huston and screenwriter Benedict Fitzgerald’s impeccable rendition of O’Connor’s hilarious first novel, Wise Blood (1979), which captures the novel’s savage wit and its rural Deep South milieu with uncanny precision. In fact, if it betrays its source in any particular, this is in the highly subtle way in which an atheist director honors the brutal ironies of a devout Catholic writer. An absurdist, black-comedy parody of the French existentialism of Jean-Paul Sartre and Albert Camus, Wise Blood focuses on a disillusioned homeless cracker (Brad Dourif) named Hazel Motes who preaches a church without Christ, predicated on the nonexistence of God, and winds up becoming a self-tortured martyr to his own cause as if he were some version of Christ Himself.
To quote from two separate passages: My effort has been to keep scrupulous care that this memo should avoid those wide and sweeping denunciations of your new material to which my own position naturally and sorely tempts me. In this one instance I’m passPOTENTIAL PERILS OF THE DIRECTOR’S CUT 19 ing on to you a reaction based—not on my convictions as to what my picture ought to be—but only what here strikes me as significantly mistaken in your picture. It’s sufficiently your own by now, for me to be able to judge it on what I take to be your terms alone, and to bring to that judgment—(after so much time away from the film in any form)—a certain freshness of eye.