Bøger af James R Russo

André Bazin (1918-58) was renowned for almost single-handedly establishing the study of film as an accepted intellectual pursuit, as well as for being the spiritual father of the French New Wave. In 1951, Bazin co-founded and became editor-in-chief of Cahiers du Cinéma, the most influential critical periodical in the history of cinema. Five of the film critics whom he mentored at that magazine later became the most acclaimed directors of the postwar French cinema: François Truffaut, Jean-Luc Godard, Éric Rohmer, Jacques Rivette, and Claude Chabrol. Bazin is also considered to be the principal instigator of the highly influential auteur theory-the idea that, since film is an art form, the director of a movie must be perceived as the chief creator or "author" of its unique cinematic style.In his relatively brief lifetime, Bazin wrote some 2,600 articles and reviews, only about 200 of which are accessible in anthologies or edited collections-and most of these are theoretical pieces.The Practical Critic: André Bazin on Film, 1945-1958 offers critical reviews of notable individual films: Scarface, Citizen Kane, The Seven Samurai, The Great Dictator, It's a Wonderful Life, On the Waterfront, Rebel Without A Cause, Aparajito, Miracle in Milan, Touch of Evil, East of Eden, Ivan the Terrible, The Best Years of Our Lives, La Strada, High Noon, and The Bridge on the River Kwai. The Practical Critic also features a contextual introduction to Bazin's life and work, a Bazin bibliography, a selection of film stills, and a comprehensive index. This book represents a major contribution to film studies and a testament to the continuing influence of one of the world's pre-eminent cultural critics.

Cahiers du Cinema: Interviews with Film Directors, 19531970 brings together eighteen directorsOtto Preminger, Roberto Rossellini, John Ford, Howard Hawks, Max Ophuls, Nicholas Ray, Orson Welles, Fritz Lang, Alain Resnais, Jean-Luc Godard, Francois Truffaut, Michelangelo Antonioni, Carl-Theodor Dreyer, Federico Fellini, Robert Bresson, Joseph L.

Beyond inspiring the New Wave movement and continuing to reflect, and reflect on, its central tenets, Rivettes enduring contribution to the history of film is unquestionably evident in his sensitive treatment of the histories and destinies of women, especially through strong roles for actresses.

William Troy (1903-1961) was a highly regarded literary critic during the 1930s and 1940s. Among his contemporaries, he ranked with Edmund Wilson, Kenneth Burke, and F. O. Matthiessen. Indeed, in the preface to the posthumous, 1968 publication of his Selected Essays;, which won a National Book Award, Allen Tate placed Troy "among the handful of the best critics of this century." Troy's criticism was informed by an intelligence so balanced that, where many theoreticians took up positions in logical traps, he easily avoided them. At the very moment when scholars and critics were either treating literature like polemics or investigating ideas as if belles-lettres were a sub-category of history or philosophy, Troy acknowledged both the centrality of literary ideas and their distinction from ideas in other forms. When confronted with a text, he analyzed it with a firm sense of its inherent meaning and of its cultural implications, in a style that expresses seriousness of commitment precisely and clearly. The Bookman; presents a selection of Troy's remaining writings on such major literary figures as Henry James, E. E. Cummings, Ernest Hemingway, Edith Wharton, F. Scott Fitzgerald, T. S. Eliot, Andr Gide, William Faulkner, James Joyce, Albert Camus, Jean Cocteau, Willa Cather, W. H. Auden, Virginia Woolf, and mile Zola. Troy produced a body of work that is timeless, permanent, and exemplary--perhaps as much as, if not more so than, the work of such other critical contemporaries of his as the Anglo-Americans Yvor Winters, I. A. Richards, William Empson, George Jean Nathan, and R. P. Blackmur. Published in conjunction with Film Nation: William Troy on the Cinema, 19331935; (ISBN 978-1-78976-173-3), The Bookman; is clear evidence of Troy's role as one of the foremost critics of his age. Inclusion of a substantive index makes the work an essential and accessible gateway to a wide range of literary criticism.

Notable writers on literature and culture who occasionally penned opinion pieces on the movies prior to World War II include Clifton Fadiman, Mark Van Doren, Lincoln Kirstein, Edmund Wilson, Louise Bogan, and Paul Goodman. All of these critics wrote seriously about things other than the movies. Indeed, the early decades of film criticism drew many moonlighters who tried their hand at it for a few years, then moved on to their preferred mtier. And such was the case with William Troy (19031961). Troy, a distinguished literary critic whose posthumous Selected Essays;won a National Book Award in 1968, was also a much-loved professor at Bennington College, the New School, and New York University. Troy was the film critic of The Nation; from 1933 to 1935. To that post he brought an educated, almost professional tone, which he sometimes used for comic effect. He approached each piece of film criticism as an occasion for some larger essayistic rumination. Indeed, his feeling for the carpentry of the short review is superb, as the reader will detect in his pieces on such important films as Buuel's L'ge d'or;, Lang's M;, Duvivier's Poil de Carotte;, Eisenstein's Que Viva Mexico!;, Dreyer's The Passion of Joan of Arc;, Cocteau's Blood of a Poet;, Pudovkin's Mother;, Flaherty's Man of Aran;, Renoir's Madame Bovary;, and Ford's The Informer;. William Troy was thus one of America's first full-time professional film critics, if not the best of the lot. He deserves some of the attention heretofore reserved for another important early critic, James Agee, who himself began writing movie reviews for The Nation; in 1942. Published in conjunction with The Bookman: William Troy on Literature and Criticism, 19271950; (ISBN 978-1-78976-172-6), Film Nation; is essential reading for cinephiles. Inclusion of a substantive index makes the work highly attractive for classroom adoption in the field of cinema studies.