Book Description
A provocative and dynamic force in American culture since the early twentieth century, movies have presented several generations of American writers with a new, fascinating, and challenging subject. How writers rose to the challenge, and in the process created an extraordinary body of work-passionate, contentious, restlessly curious-makes for a dazzling and constantly entertaining volume. "I have focused," writes editor Phillip Lopate, "on film criticism as an art in itself-the magnet for strong, elegant, eloquent, enjoyable writing."
American Movie Critics is an anthology of unparalleled scope that charts the rise of movies as art, industry, and mass entertainment. Beginning in the silent era-with poets Vachel Lindsay and Carl Sandburg hailing the new medium and Edmund Wilson paying tribute to Chaplin's Gold Rush-the collection traces the rapid evolution of the medium in an age of tumultuous political and social changes. Here are the great movie critics who forged a forceful vernacular idiom for talking about the new art: Otis Ferguson in the 1930s finding in James Cagney "the dignity of the genuine worn as easily as his skin"; James Agee in the 1940s on American war films and the advent of Italian neo-realism; Manny Farber, Pauline Kael, Andrew Sarris, Molly Haskell, Vincent Canby, and others from what Lopate calls "the golden age of movie criticism" from the 1950s through the '70s, a period when enthusiasms ran high, and arguments over style and content often took on a larger-than-life quality. Here too are the finest film reviewers on the contemporary scene, including Richard Schickel, Roger Ebert, and Manohla Dargis.
Joining the full-time film writers are many distinguished American authors weighing in on a range of cinematic experiences, including Ralph Ellison, Susan Sontag, James Baldwin, Brendan Gill, and John Ashbery. Together they define an often underappreciated genre of American writing, a tradition filled with the "energy, passion, and analytical juice" that for Lopate mark the best in movie criticism.
Phillip Lopate, editor, is an essayist, novelist, and poet, whose books include Bachelorhood; Against Joie de Vivre; Portrait of My Body; and Waterfront: A Journey Around Manhattan. He has edited The Art of the Personal Essay and, for The Library of America, Writing New York: A Literary Anthology. His selected film criticism appeared in Totally Tenderly Tragically, and he currently serves on the selection committee of the New York Film Festival.
The proceeds from the sale of this book will be used to support the mission of The Library of America, a nonprofit organization created in 1979 to preserve America's literary heritage by publishing and keeping permanently in print authoritative editions of America's best and most significant writing.
Customer Reviews:
Great book, but where's the index?.......2007-01-28
I was surprised not to find an index in this otherwise excellent book.
Screen Tests.......2006-10-25
I wanted a book that would cover a wide array of reviews and struck gold with this one. Though now that I think of it, maybe I should have held out for one that included non-American writers in it. I'm such a dunce, I didn't see until too late that, on the title page, clearly marked, it reads, "A special publication of the Library of America." No wonder it's so America-centric, but I picked up the book and opened it by happenstance to Penelope Gilliatt's scintillating review of Fassbinder's Petra Von Kant, and naturally I took the book to be more international in scope than it actually is. In what universe do people think of Gilliatt as a US writer? It doesn't really matter because what remains deserves four stars.
Lopate doesn't go just for the simple nobrainer essays by each of the authors, but he actually spends time thinking of new ways to showcase their skills. Thus for James Agee we don't get the old Silent Clowns piece, or the one onm MONSIEUR VERDOUX nor Val Lewton. He goes for the unfamiliar nearly every time, which is nice. (The only exception I can see offhand is Molly Haskell on "The Woman's Film," but that's nice in a quite different way since Haskell's essay is so lengthy and comprehensive hat it is only occasionally reprinted anywhere, despite its historical significance.
Bell Hooks and John Ashbery have certainly written better work elsewhere. But it is nice to see James Harvey and Stuart Klawans, both so underrated, here given pride of place. And having Libby Gelman-Waxner in a book of this kind is certainly a victory for gay incursion into the canon. James Baldwin on LADY SINGS THE BLUES and Paul Schrader's "Notes on Film Noir" would alone make a great book, and there are literally dozens of others of equal quality. Gee, that Renata Adler could sure bite back, couldn't she? I don't remember her as so aerbic as she is here about Richard Brooks' film of IN COLD BLOOD. Talk about cold blooded, she's the kind of writer about whom I used to think, admiringly, "She's so New York," when I meant, acidic.
Fast and reasonable.......2006-07-06
I was surprised, first of all, that the book was available. It had been published the day before. I was also surprised at how fast it came--only about 3 days. And, of course, the price was terrific!
Gift for a grandchild.......2006-07-05
The book was selected as a gjft because it seemed to be an excellent choice for a grandchild (age 19) who is very interested in all aspects of film.
Movies are our(US) great cultural form.......2006-06-06
A popular entertainment that sometimes aspires to...and occasionally achieves the status of art. Criticism has always been a stressed and intricate exercise, something that few reviewers manage to excel at ...and those who do may come to regret it.(Just ask a few of Ammie's top reviewers)
The problem is, (stated in AMC) "the job of the American film critic is complicated by the fact that virtually all Americans regard themselves as astute judges of movies." This is because we've all seen so many films in theaters and on TV, but moreover it's really because reviewing combines an activity that almost everybody does...watching movies. And with an activity that almost everybody thinks they can do...writing. The truth is that almost nobody has seen as many movies of such widely varying quality as film critics have, and writing turns out to be harder than it looks..
The movies have been a prime subject for successive generations of American writers who, in response, have produced an extraordinary body of work--writing known for its craft, passion, restless curiosity, sparkling wit and, often, defiance of accepted conventions. Edited by renowned essayist Phillip Lopate is joined on the panel by film critics Richard Schickel, Kenneth Turan and Manohla Dargis....for a roundtable discussion of film criticism as a vibrant art form.
The daunting task of how do we give constructive criticism without appearing phony or cushioning the criticism to a point where the buyer does not take it seriously? Its not easy. Being critical takes time and practice...that is, if you want your criticism to be presented in a positive way and used effectively.
All of this and more are discussed within the binding of AMC.
Average customer rating:
- One of the greatest books on the silent age
- An Incredibly Thorough Look at the Silent Film
|
An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928 (History of the American Cinema, Vol 3)
Richard Koszarski
Manufacturer: University of California Press
ProductGroup: Book
Binding: Paperback
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The Transformation of Cinema, 1907-1915 (History of the American Cinema, Vol 2)
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ASIN: 0520085353 |
Book Description
The silent cinema was America's first modern entertainment industry, a complex social, cultural, and technological phenomenon that swept the country in the early years of the twentieth century. Richard Koszarski examines the underlying structures that made the silent-movie era work, from the operations of eastern bankers to the problems of neighborhood theater musicians. He offers a new perspective on the development of this major new industry and art form and the public's response to it.
Customer Reviews:
One of the greatest books on the silent age.......2006-11-28
This is a must have for any film buff . This volume is endlessly fascinating as it covers all areas of the silent film age from the studios to the theatres and everything in between. The author speaks in a factual style without being dry and the photo's all serve to illustrate the text. I have seen and read an endless amount of books on film being a dye-in-the -wool film fanatic all my life and this book stands amongst the most informative, fascinating well researched volumes I have ever seen. You know you love a book when you can't put the darn thing down, which was the case with this one.
An Incredibly Thorough Look at the Silent Film.......2002-08-05
Don't be fooled by the slimness of this book. It is packed with information and is extremely useful in giving the reader a view of the American film industry in the heyday of the silent era.
One can read not only about popular genres and movie stars, but about how the studios came into existance (and Koszarski presents this in a clear, understandable way), and how movies were shown to the public, including the legendary "dream palace" movie theaters.
I am left breathless by this book. Was there an aspect of movies in the 1920s that Koszarski overlooked? If so, it must be unimportant. He mastered an incredible amount of information and presented it very clearly and concisely here. Highly recommended to all interested in the American film industry.
Average customer rating:
- Film students: read this series
- Scholarly and detailed history
|
The Emergence of Cinema: The American Screen to 1907 (History of the American Cinema, Vol 1)
Charles Musser
Manufacturer: University of California Press
ProductGroup: Book
Binding: Paperback
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ASIN: 0520085337 |
Book Description
The origins of motion picture technologies are described and analyzed by Charles Musser in this lavishly illustrated volume. He considers social and economic as well as aesthetic aspects of the beginnings of movie making.
Customer Reviews:
Film students: read this series.......2001-12-26
This is an excellent, comprehensive and well-written analysis of the early cinema. It is written including views of the study of film history as well as numerous concrete examples of films for every point made by the author.
Even if you're not a film student, check out this book. It's so well written that one can easily fall into the interesting history of an emerging art form and industry. The origins of cinema reach far back into the 17th century and, considering the enormous impact that film has on everyone's life, the origins of this most important art form of the past century are vitally important to you.
Scholarly and detailed history.......1997-10-04
The Emergence of Cinema chronicles the very earliest history of cinema with focus on the development of film in America. It begins with the earliest technology of picture projection, and explores with great thoroughness each development in the technology and business of film. It is wonderfully illustrated, and clearly written, so that even the casual student of film history will not be confused or bored. This is a work whose peer I have never seen. If the rest of the series keeps up with the quality here, it will be basic to any film library. Perhaps the depth here will be to great for the truly casual reader; hardly any films here will find their way onto video.
Book Description
Although cinema was invented in the mid-1890s, it was a decade more before the concept of a "film spectator" emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown--vaudeville, dime museums, fairgrounds--a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In Babel and Babylon Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere. Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School's debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm--as one of the new industry's strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience.
After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D. W. Griffith's Intolerance (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer.
Babel and Babylon recasts the debate on early American cinema--and by implication on American film as a whole. It is a model study in the field of Cinema Studies, mediating the concerns of recent film theory with those of recent film history.
Customer Reviews:
Invaluable.......2003-01-22
This is one of the best books on early cinema written by one of the best film theorists/historians on spectatorship.
Superb tour-de-force of early cinema.......2002-05-01
While some of the academic language may not be familiar to all readers, this is a superb account of early cinema that bridges the divide between film history and film theory. Hansen's argument that early cinema possessed a fundamentally different model of spectatorship--an interactive and collective one--is lucidly articulated, in addition to being wholly provocative for understanding what it means to go to the movies now. This book altered my sense of my own viewing and moviegoing practices today. An excellent book that discusses film in new ways, Babel and Babylon is both an absorbing and a fascinating reading experience.
Bring your Thesaurus.......1999-06-25
This book is a tough read. Ms. Hanson has certainly done her research, but her prose is barely understandable because she uses many words that are unfamiliar to the common reader and her sentences are a mile long. This book is only for hard-core fans of D.W. Griffith's Intolerance and Rudolph Valentino. Be warned, you will need help staying awake while you read it...
Average customer rating:
- Great addition to your collection
- Superb photos, a true inspiration
- Great Photos
- Beautiful "Screens"
- A PICTURE BOOK THAT COULD HAVE BEEN SO MUCH MORE
|
Silent Screens: The Decline and Transformation of the American Movie Theater (Creating the North American Landscape)
Michael Putnam
Manufacturer: The Johns Hopkins University Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0801863295 |
Book Description
The single-screen movie theaters that punctuated small-town America's main streets and city neighborhoods since the 1920s are all but gone. The well-dressed throng of moviegoers has vanished; the facades are boarded. In Silent Screens, photographer Michael Putnam captures these once prominent cinemas in decline and transformation. His photographs of abandoned movie houses and forlorn marquees are an elegy to this disappearing cultural icon.
In the early 1980s, Putnam began photographing closed theaters, theaters that had been converted to other uses (a church, a swimming pool), theaters on the verge of collapse, theaters being demolished, and even vacant lots where theaters once stood. The result is an archive of images, large in quantity and geographically diffuse. Here is what has become of the Odeons, Strands, and Arcadias that existed as velvet and marble outposts of Hollywood drama next to barbershops, hardware stores, and five-and-dimes.
Introduced by Robert Sklar, the starkly beautiful photographs are accompanied by original reminiscences on moviegoing by Peter Bogdanovich, Molly Haskell, Andrew Sarris, and Chester H. Liebs as well as excerpts from the works of poet John Hollander and writers Larry McMurtry and John Updike. Sklar begins by mapping the rise and fall of the local movie house, tracing the demise of small-town theaters to their role as bit players in the grand spectacle of Hollywood film distribution. "Under standard distribution practice," he writes, "a new film took from six months to a year to wend its way from picture palace to Podunk (the prints getting more and more frayed and scratched along the route). Even though the small-town theaters and their urban neighborhood counterparts made up the majority of the nation's movie houses, their significance, in terms of revenue returned to the major motion-picture companies that produced and distributed films, was paltry."
In his essay, "Old Dreams," Last Picture Show director Peter Bogdanovich recalls the closing of New York City's great movie palaces -- the mammoth Roxy, the old Paramount near Times Square, the Capitol, and the Mayfair -- and the more innocent time in which they existed "when a quarter often bought you two features, a newsreel, a comedy short, a travelogue, a cartoon, a serial, and coming attractions."
While the images in Putnam's book can be read as a metaphor for the death of many downtowns in America, Silent Screens goes beyond mere nostalgia to tell the important story of the disappearance of the single-screen theater, illuminating the layers of cultural and economic significance that still surround it.
"These photographs and the loss of which they speak signal the passing of a way of being together." --Molly Haskell
List of Theaters by State
Alabama • The Lyric, Anniston • The Martin, Huntsville
Arizona • The Duncan, Duncan
Arkansas • The Avon, West Memphis
California • The Town, Los Angeles • El Capitan, San Francisco • The State, Santa Barbara
Connecticut • The Dixwell Playhouse, New Haven • The Princess, New Haven
Florida • The Gateway, Lake City
Georgia • The Judy, Hartwell
Idaho • The Ace, Wendell
Illinois • The Pekin, Pekin
Indiana • The Rem, Remington • The Ritz, Rensselaer
Kansas • The Cameo, Kansas City
Kentucky • The Crescent, Louisville • The Ohio, Louisville
Louisiana • The Madison, Madisonville • The Sabine, Many • The Jefferson, New Orleans
Massachusetts • The Strand, WestfieldMichigan • The Liberty, Benton Harbor
Mississippi • The Magee, Magee • The Star, Mendenhall • The Mono, Monticello • The Park, Pelahatchie
Missouri • The Star, Warrensburg
Nebraska • The Grand, Grand Isle
New Jersey • RKO Proctor's Palace, Newark
New Mexico • The Lux, Grants • The State, San Jon
New York • The Hollywood, Au Sable Forks • The Broadway, Buffalo • The Lovejoy, Buffalo • The Senate, Buffalo • The Jefferson, New York City • The Little Carnegie, New York City • The 72nd Street East, New York City
North Carolina • The Colonial, Chesnee • The Alva, Morganton
Oregon • The United Artists, Pendleton
Pennsylvania • The Lawndale, Philadelphia • The Rex, Philadelphia • The Spruce, Philadelphia • The York, Philadelphia • The Capitol, Williamsport
Tennessee • The Park, Memphis
Texas • The Royal, Archer City • The Strand, Chillicothe • The Gem, Claude • The Mulkey, Clarendon • The Texas, Del Rio • The Bowie, Fort Worth • The Chatmas, Hearne • The Queen, Hearne • The Palace, Henderson • The Alabama, Houston • The Almeda, Houston • The Crim, Kilgore • The Gulf, Robstown • The Clinch, Tazwell • The Winnie, Winnie
Virginia • The Earle, Big Stone Gap • The Home, Strasburg
Washington • The Pasco, Pasco
West Virginia • The Ritz, Ansted • The Alpine, Rainelle
Customer Reviews:
Great addition to your collection.......2006-06-29
This book has a lot of great pictures and does a good job of providing some history on theatres that were once important parts of the landscape and are now mostly forgotten. If you are looking for a history of the large movie palaces, there are many other books you should look at, but if you want to see a history of small town theatres with some great artwork, this is a book you need.
Superb photos, a true inspiration.......2004-05-19
As a projectionist, I felt it my duty to research my trade in as many ways as possible, and one way was to learn about the movie palaces and hometown theatres that made my job exist.
I actually cried as I read this book. The photos made me wish I had been around to experience these theatres in their prime.
This book helped me to understand and respect the movie industry's history, and the history of the American hometown, far better than any factual history book ever has.
This book also inspired me to support my local historical theatres and those around the nation. Mr. Putnam did a wonderful job on this book. The photographs are all of superb quality, and the Demolitions and Conversions Noted sections are extremely interesting. While the photos of the decaying cinemas are depressing, they also inspire one to save the historic theatres that we have left and to learn about their history.
Great Photos.......2003-01-30
I saw this exibit at the Smithsonian and loved it.
Beautiful "Screens".......2001-04-10
This is a wonderful, haunting book, which I think at least one of the previous reviewers here has missed the point of. The point is not to show these theaters in their prime, but rather, in pictures of their present state of decay, to hint at the glories that were. If you're looking for a picture book of grand movie palaces, this isn't it. But if you're looking for something that operates on a different plane, the romance of decay, and the melancholy of a world lost, this is definitely it. For all those who want to let their imaginations loose upon the ruins, this book should provide a field day.
A PICTURE BOOK THAT COULD HAVE BEEN SO MUCH MORE.......2000-10-18
This is not the first picture book of lost American movie houses, and I hope it will not be the last, but while the photo quality is excellent, the text and background leave much to be desired. It does indeed create a nostalgic empathy for its subject, those smaller structures made so famous by that memorable movie of 1971: "The Last Picture Show", and just as it featured a show house in a small Texas town, so this book favors black and white shots ("plates") of picture shows that stand as shadows of what they once were. No attempt is made to delve into the early life or the circumstances of the demise of these venues, so the photos leave the reader with much the vacant, lost, tumbling-tumble-weeds-driven-on-the-wind feeling of the movie.
To its credit, the book does contain two 'necrologies' of sorts: the first is a four-page chapter called "Demolitions Noted" where several hundred movie houses around the nation are listed as gone, featuring, for example, an eight-page spread of the Pekin Th. of Pekin, Illinois being demolished, yet nothing is shown of it in its prime so that the reader could really appreciate that this was a unique Chinese-styled small movie palace of the 'atmospheric' (stars and clouds) type worthy of preservation. Had the author taken the trouble to locate a copy of one of the foremost books on the American movie theatre: AMERICAN MOVIE PALACES by David Naylor, he would have seen on its page 82 a photo of the Pekin Theatre in its pre-demolition prime, and then his photos of it in demolition would have had more context and impact had he sought to include this photo with his. Any research on his part would have disclosed that the photo was owned by one of the founders of the Theatre Historical Society of America which publishes a magazine of such theatre history: "Marquee", and no doubt that photo and many others could have been obtained, but neither the Society nor its magazine are mentioned in the book. Such research is what sets a quality book apart from others of lesser stature, picture book or not.
The second 'necrology' is the chapter entitled: "Conversions Noted" which is perhaps the least depressing in the book since it shows, within its seven pages of listings, that theatres large or small can have other useful lives. An overlooked conversion was the unusual one which occurred in Milwaukee when the 1920 Riviera Th. was converted to a bicycle emporium cum velodrome with a planned bike racing track to be constructed atop the balcony and around the walls under the old chandelier positions with inverted bicycle frames supporting high intensity up-lights as the new 'chandeliers'!
The comentaries by several notables do little to advance scholarship, something one would have expected from a book published by a university press. When the author/photographer explains in the "Conclusion" that he knew nothing of the documented locations of movie houses (few of these here could really qualify to use the term 'theatre') until someone introduced him to the standard of such guides: "The Film Daily Yearbook", it is obvious that scholarship or any real contribution to the body of knowledge was not the genesis of this work. Even one afternoon in any real library would have introduced him to the many volumes on the subject as well as magazines, and had such limited research been done, no doubt the author would have been able to do more than stumble about the towns of America hoping to find a dead show house; he could have given us some background to the origins of this genre and thus put meat on the bones of the photos, good ones though they are.
The book's 100 some pages in the long format are nicely produced, and they may create a longing for more information so absent from this opus, in which case one is well advised to consult the landmark book which its Forward writer described as the "appropriate epitaph" of the movie house: "THE BEST REMAINING SEATS: The Golden Age of the Movie Palace" by the late Ben M. Hall (several editions available here at Amazon). "SILENT SCREENS" is a clever title, and in some depressing way it is more of an epitaph than the former title, yet it is unfulfilling, unless one is satisfied with a vagabond's jaunt with a camera down so many main streets.
Book Description
While the actor Sessue Hayakawa (1886–1973) is perhaps best known today for his Oscar-nominated turn as a Japanese military officer in The Bridge on the River Kwai (1957), in the early twentieth century he was an internationally renowned silent film star, as recognizable as Charlie Chaplin or Douglas Fairbanks. In this critical study of Hayakawa’s stardom, Daisuke Miyao reconstructs the Japanese actor’s remarkable career, from the films that preceded his meteoric rise to fame as the star of Cecil B. DeMille’s The Cheat (1915) through his reign as a matinee idol and the subsequent decline and resurrection of his Hollywood fortunes.
Drawing on early-twentieth-century sources in both English and Japanese, including Japanese-language newspapers in the United States, Miyao illuminates the construction and reception of Hayakawa’s stardom as an ongoing process of cross-cultural negotiation. Hayakawa’s early work included short films about Japan that were popular with American audiences as well as spy films that played upon anxieties about Japanese nationalism. The Jesse L. Lasky production company sought to shape Hayakawa’s image by emphasizing the actor’s Japanese traits while portraying him as safely assimilated into U.S. culture. Hayakawa himself struggled to maintain his sympathetic persona while creating more complex Japanese characters that would appeal to both American and Japanese audiences. The star’s initial success with U.S. audiences created ambivalence in Japan, where some described him as traitorously Americanized and others as a positive icon of modernized Japan. This unique history of transnational silent-film stardom focuses attention on the ways that race, ethnicity, and nationality influenced the early development of the global film industry.
Book Description
Praised as the "best modern survey of the silent period" (New Republic), this indispensable history tells you everything you need to know about American silent film, from the nickelodeons in the early 1900s to the birth of the first "talkies" in the late 1920s. The author provides vivid descriptions of classic pictures such as The Birth of a Nation, Intolerance, Sunrise, The Covered Wagon, and Greed, and lucidly discusses their technical and artistic merits and weaknesses. He pays tribute to acknowledged masters like D. W. Griffith, Charlie Chaplin, Buster Keaton, Douglas Fairbanks, Mary Pickford, and Lillian and Dorothy Gish, but he also gives ample attention to previously neglected yet equally gifted actors and directors. In addition, the book covers individual genres, such as the comedy, western gangster, and spectacle, and explores such essential but little-understood subjects as art direction, production design, lighting and camera techniques, and the art of the subtitle. Intended for all scholars, students, and lovers of film, this fascinating book, which features over 150 film stills, provides a rich and comprehensive overview of this unforgettable era in film history.
Customer Reviews:
Very nice BASIS for your Film Library.......2007-05-28
If you are truly serious about the Silent Film Era,then this book is a must for your Library.
The author (who has since died) is very thorough in his research, from start to finish. The B&W photos are also fun to look at.
You might,though, find some of the chapters a bit "dry"...but then, most comprehensive history books (on any big topic, as this one) can seem as such.
Note that this film history book was written in the 1970's, so possibly a few more films may have been discovered or have been restored by now. Still, this 1970 film history book holds up very well , even in 2007.
The actual silent film "facts" presented by the author have not changed all that much since the 1970's, since the silent film experiences from the 1900's to the 1920's have basically remained the same. Infact, the author lists a thorough time-line in the appendix of this book, listing most American silent films that have been found and restored in the last century! Quite a feat in itself, and so interesting!
A great introduction to the Silent Film genre........2001-04-14
I am so glad that Da Capo put this old Oxford University Press book back in print. I had read it back when I was a teenager in Chandler, Arizona and found its descriptions of these elusive films fascinating. For instance, this book was the first place I had heard of FW Murnau's excellent Sunrise, which is now a favorite of mine. Get this book for your private Silent Film Genre Reference Library.
A CLASSIC.......2000-07-23
This book is a classic. If you own only two or three film books, this should be one of them. Everson was the man. He saw everything, and what's more, he understood what he saw. There is no better introduction to the world of silent film.
Twenty-year old book is still one of the best on silent film.......1999-12-16
This book, written by the late film expert William K. Everson, is one of the best that you will read on silent film. Everson covers the entire silent film era from its beginnings to the coming of sound. This book focuses on the artistic successes more than the business end of the topic. While he completely covers D.W. Griffith's career, he also champions other early directors like John Collins. He covers interesting topics like art direction (or the lack of) in many early films. While the scope of the book is American films, he devotes time to the influence of European films and filmmakers on American films.
This books is an excellent introduction to silent film, yet a person familiar with the topic will not be able to put it down either.
ONE OF THE FIVE GREATEST BOOKS ON SILENT FILMS!.......1999-02-14
This 1978 book from the late, great William Everson is , in my opinion, one of the five best books ever written on the subject.Any serious scholar of silent film should have a copy. Highly recommended!
Average customer rating:
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The Silents Of God: Selected Issues & Documents In Silent American Film & Religion, 1908-1925
Terry Lindvall
Manufacturer: The Scarecrow Press, Inc.
ProductGroup: Book
Binding: Hardcover
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Book Description
Covering the historical period from 1908 to 1925, this study traces the process of religious response to film as a prophetic vision, a series of great debates, the articulation of film as a handmaiden to church work, and the great divorce of church and cinema, eventuating in a religious posture and emphasis on rigid censorship rather than creative dialogue.
Book Description
Ernst Lubitsch, the German filmmaker who left Berlin for Hollywood in the 1920s, is best remembered today for the famous "Lubitsch touch" in such masterpieces as Ninotchka, which featured Greta Garbo's first-ever screen smile, and Heaven Can Wait. Kristin Thompson's study analyzes Lubitsch's earlier silent films of 1918 to 1927 in order to trace the mutual influences between the classical Hollywood film style as it had evolved in the 1910s and the German film industry of the same period, which had emerged from World War I second in strength only to Hollywood.
During World War I, American firms supplied theaters around the world as French and Italian films had become scarce. Ironically, the war strengthened German filmmaking due to a ban on imports that lasted until 1921. During that period of isolation, Lubitsch became the finest proponent of German filmmaking and once Hollywood films appeared in Germany again Lubitsch was quick to absorb their stylistic traits as well. He soon became the unique master of both styles as the golden ages of the American and German cinema were beginning. This innovative study utilizes Lubitsch's silent films as a means to compare two great national cinemas at a vital formative period in cinema history.
Customer Reviews:
Baffling, at first .......2006-10-14
Two or three chapters into this novel an unaccustomed question occurred: why, exactly, had the author written it? This was a question usually put to rest, when the answer wasn't self-evident, after a few pages of a book. But in this case, I remained puzzled why Binelli had conflated anarchists and vaudevillians. Why give them movie careers? Why bother to give them so un-funny a premise as a knife-throwing act? Binelli's wit and cool precision weren't in keeping with inventions of extravagant whimsy or loopy arbitrariness; this wasn't Woody Allen. The high quality of writing kept me reading, however, and soon the raison d'etre emerged: "Sacco and Vanzetti Must Die!" is a postmodern fiction-writer's equivalent of Meditations on Being Italian-American. Hence the appearance of various stereotypes (e.g. the organ grinder, the Mafiosi) and a cast that includes Primo Carnera, Benito Mussolini and Italo Balbo, and references to other Italians and Italo-Americans from Enrico Caruso to Enrico Fermi, if memory serves. (Binelli's kin were knive-sharpeners, and no doubt other elements here are autobiographical) Once my initial perplexity was resolved, I was free to concentrate on the novel--thoroughly entertaining, imaginative, provocative (as when the real historical figures Sacco and Vanzetti are presented) and quite satisfying. I look forward to Binelli's next effort--which I somehow doubt will center on his ethnicity.
A work of considerable talent and originality.......2006-08-09
The Nic Sacco and Bart Vanzetti in Mark Binelli's novel "Sacco And Vanzetti Must Die!" are not the infamous anarchists executed for treason by the United States government, but film stars and slapstick comedians who rose to fame through a seedy New York vaudeville club, then on to Hollywood films and USO tours (where they opened with disastrous results for Bob Hope). Eventually their careers decline , slapstick becomes a kind of stand-in for anarchic freedom, the two performers begin to merge with their more infamous namesakes. An alternate history of the 20th Century, "Sacco And Vanzetti Must Die! " is a work of considerable talent and originality, documenting author Mark Binelli as a writer who has mastered wit and storytelling to produce a highly recommended, minor masterpiece of literate, thoughtful, thought-provoking, and thoroughly entertaining fiction.
Great Fun!.......2006-07-27
This book is a triumph on a number of levels.
He started to lose me toward the end, but he deals with the subject at hand with such depth that I couldn't put it down.
What do comedy and anarchy have in common? "The ability to enter a crowded pie-shop and see nothing but possibility".
Bravo Signor Binelli!
Books:
- Art of Imagination: 20th Century Visions of Science Fiction, Horror, and Fantasy
- Atom-Photon Interactions: Basic Processes and Applications (Wiley Science Paperback Series)
- Batman Begins: The Official Movie Guide
- Beauty and the Beast
- Beginning Xml (Programmer to Programmer)
- Behind the Seen: How Walter Murch Edited Cold Mountain Using Apple's Final Cut Pro and What This Means for Cinema, First Edition
- Blade Runner(TM) (Do Androids Dream of Electric Sheep?)
- Casino Operations Management
- Cassavetes on Cassavetes
- Cinema for Spanish Conversation, Second Edition
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