DOCSLIB.ORG

Peter Von Baghin Elokuvakirjasto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Peter Von Baghin Elokuvakirjasto PETER VON BAGHIN ELOKUVAKIRJASTO Luettelon laati Petteri Paksuniemi 2014 ja sitä on täydentänyt Antti Alanen 2018 2018 2 Sisällys PETER VON BAGHIN ELOKUVAKIRJASTO .................................................................................................................... 1 Antti Alanen: Peter von Baghin ammattikirjasto .................................................................................................... 4 Peter von Bagh: Kirjastoni ̶ Eletyn elämän muuan varjo ....................................................................................... 6 ELOKUVANTEKIJÄT HENKILÖITTÄIN ........................................................................................................................ 9 OHJAAJA-ANTOLOGIAT ....................................................................................................................................... 116 NÄYTTELIJÄT / FILMITÄHDET, NÄYTTELEMINEN................................................................................................. 118 KUVA JA ÄÄNI ..................................................................................................................................................... 121 KÄSIKIRJOITTAMINEN, KÄSIKIRJOITTAJAT, KIRJALLISUUS & ELOKUVA ............................................................... 122 LAVASTUS, ARKKITEHTUURI, MUOTISUUNNITTELU ........................................................................................... 123 ELOKUVAN HISTORIA YLEISESTI .......................................................................................................................... 124 ELOKUVAN HISTORIA MAITTAIN ......................................................................................................................... 131 SUOMI ............................................................................................................................................................. 131 SKANDINAVIA: ................................................................................................................................................ 133 MUU EUROOPPA ............................................................................................................................................ 135 LÄHI-ITÄ / ”ARABIMAAT” & AFRIKKA .............................................................................................................. 159 AASIA & AUSTRALIA ........................................................................................................................................ 161 AMERIKKA (& KARIBIAN MAAT) ...................................................................................................................... 164 ESSEET, KRITIIKKI................................................................................................................................................. 181 ELOKUVAN TEORIA(T) ......................................................................................................................................... 192 ELOKUVAN SOSIOLOGIA ..................................................................................................................................... 193 ELOKUVAT GENREITTÄIN JA AIHEITTAIN ............................................................................................................ 194 ANIMAATIO ..................................................................................................................................................... 194 B & CULT MOVIES ........................................................................................................................................... 196 DOKUMENTTIELOKUVA .................................................................................................................................. 196 FILM NOIR / RIKOSELOKUVA ........................................................................................................................... 198 HISTORIA & MYTOLOGIA ................................................................................................................................ 200 KAUHU & JÄNNITYS / FANTASIA ..................................................................................................................... 202 KOMEDIA ........................................................................................................................................................ 204 MUSIIKKI / MUSIKAALIT .................................................................................................................................. 205 POLITIIKKA & PROPAGANDA ........................................................................................................................... 208 PSYKOLOGIA & PSYKOANALYYSI ..................................................................................................................... 209 SCIENCE FICTION ............................................................................................................................................. 209 SEIKKAILU– JA TOIMINTAELOKUVAT, SPEKTAAKKELIT ................................................................................... 210 SEKSI & PORNOGRAFIA ................................................................................................................................... 211 SOTA ............................................................................................................................................................... 211 3 WESTERN ........................................................................................................................................................ 212 GENRET YLEISESTI ........................................................................................................................................... 214 VARIA .............................................................................................................................................................. 214 ELOKUVASITAATTI– JA TRIVIAKIRJAT .................................................................................................................. 216 ELOKUVAOPPAAT, SANAKIRJAT, LISTAKIRJAT JA KATALOGIT ............................................................................. 217 ELOKUVATEATTERIT ............................................................................................................................................ 221 KIRJAILIJAT JA ELOKUVA ..................................................................................................................................... 221 TAIDE JA ELOKUVA .............................................................................................................................................. 225 TEATTERI ............................................................................................................................................................. 227 RADIO JA JOUKKOTIEDONVÄLITYS ...................................................................................................................... 230 TELEVISIO ............................................................................................................................................................ 231 MUSIIKKIKIRJAT .................................................................................................................................................. 233 KUVATAIDE ......................................................................................................................................................... 242 VALOKUVAUS ...................................................................................................................................................... 247 KRONIKAT, KUVAHISTORIIKIT ETC. ..................................................................................................................... 248 JULISTE– JA POSTIKORTTIKIRJAT & -KANSIOT ..................................................................................................... 250 ELOKUVALEHDET ................................................................................................................................................ 251 4 Antti Alanen: Peter von Baghin ammattikirjasto ”These books were alive and they spoke to me”. – Henry Miller kirjassaan The Books in My Life Peter von Baghin (1943–2014) työhuone ja elokuvakirjasto Iso Roobertinkatu 42:ssa oli legenda vuosikymmenien ajan. Von Bagh kirjoitti siitä esseen 12.7.1987 Helsingin Sanomien Kirjastoni -sarjaan (sisältyy tähän julkaisuun), ja vuonna 2012 Esko Rahikainen haastatteli häntä siitä Kansalliskirjasto-lehteen (sisältyy Elokuvan muisti -johdantoteokseen). Petteri valokuvattiin työhuoneellaan kymmeniä kertoja. Elokuviinkin työhuone tallentui, esimerkiksi Aki Kaurismäen Calamari Unioniin (1985), jossa Frank VIII (Pirkka-Pekka Petelius) käy siellä psykiatrin vastaanotolla. Työhuoneella tehtiin kymmeniä haastatteluja, ja von Bagh tarjosi siellä yösijan kansainväliselle merkkivieraille. Yöunet saattoivat jäädä vähiin mielettömien kirja-aarteiden keskellä. Työhuoneen kirjakaaoksen pani järjestykseen Matti Salo, ja luettelon laati vähän ennen von Baghin kuolemaa Petteri Paksuniemi. Von Baghin kuolinvuonna 2014 Iso Roobertinkatu 42:ssa tehtiin putkiremontti, ja työhuone oli tyhjennettävä. Laatikot olivat siten valmiiksi pakattuina ja kirjat hyvässä järjestyksessä, kun von Bagh sai kuulla lopun lähestyvän ja lahjoitti ammattikirjastonsa Kansalliskirjastolle. Von Bagh oli kirjarohmu ja lukutoukka.
Load more

Recommended publications
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • Liste Dvd Consult
    titre réalisateur année durée cote Amour est à réinventer (L') * 2003 1 h 46 C 52 Animated soviet propaganda . 1 , Les impérialistes américains * 1933-2006 1 h 46 C 58 Animated soviet propaganda . 2 , Les barbares facistes * 1941-2006 2 h 16 C 56 Animated soviet propaganda . 3 , Les requins capitalistes * 1925-2006 1 h 54 C 59 Animated soviet propaganda . 4 , Vers un avenir brillant, le communisme * 1924-2006 1 h 54 C 57 Animatix : une sélection des meilleurs courts-métrages d'animation française. * 2004 57 min. C 60 Animatrix * 2003 1 h 29 C 62 Anime story * 1990-2002 3 h C 61 Au cœur de la nuit = Dead of night * 1945 1 h 44 C 499 Autour du père : 3 courts métrages * 2003-2004 1 h 40 C 99 Avant-garde 1927-1937, surréalisme et expérimentation dans le cinéma belge * 1927-1937 1 h 30 C 100 (dvd 1&2) Best of 2002 * 2002 1 h 12 C 208 Caméra stylo. Vol. 1 * 2001-2005 2 h 25 C 322 Cinéma différent = Different cinema . 1 * 2005 1 h 30 C 461 Cinéma documentaire (Le) * 2003 2 h 58 C 462 Documentaire animé (Le). 1, C'est la politique qui fait l'histoire : 9 films * 2003-2012 1 h 26 C 2982 Du court au long. Vol. 1 * 1973-1986 1 h 52 C 693 Fellini au travail * 1960-1975 3 h 20 C 786 (dvd 1&2) Filmer le monde : les prix du Festival Jean Rouch. 01 * 1947-1984 2 h 40 C 3176 Filmer le monde : les prix du Festival Jean Rouch.
    [Show full text]
  • Collection Adultes Et Jeunesse
    bibliothèque Marguerite Audoux collection DVD adultes et jeunesse [mise à jour avril 2015] FILMS Héritage / Hiam Abbass, réal. ABB L'iceberg / Bruno Romy, Fiona Gordon, Dominique Abel, réal., scénario ABE Garage / Lenny Abrahamson, réal ABR Jamais sans toi / Aluizio Abranches, réal. ABR Star Trek / J.J. Abrams, réal. ABR SUPER 8 / Jeffrey Jacob Abrams, réal. ABR Y a-t-il un pilote dans l'avion ? / Jim Abrahams, David Zucker, Jerry Zucker, réal., scénario ABR Omar / Hany Abu-Assad, réal. ABU Paradise now / Hany Abu-Assad, réal., scénario ABU Le dernier des fous / Laurent Achard, réal., scénario ACH Le hérisson / Mona Achache, réal., scénario ACH Everyone else / Maren Ade, réal., scénario ADE Bagdad café / Percy Adlon, réal., scénario ADL Bethléem / Yuval Adler, réal., scénario ADL New York Masala / Nikhil Advani, réal. ADV Argo / Ben Affleck, réal., act. AFF Gone baby gone / Ben Affleck, réal. AFF The town / Ben Affleck, réal. AFF L'âge heureux / Philippe Agostini, réal. AGO Le jardin des délices / Silvano Agosti, réal., scénario AGO La influencia / Pedro Aguilera, réal., scénario AGU Le Ciel de Suely / Karim Aïnouz, réal., scénario AIN Golden eighties / Chantal Akerman, réal., scénario AKE Hotel Monterey / Chantal Akerman, réal., scénario AKE Jeanne Dielman 23 quai du commerce, 1080 Bruxelles / Chantal Akerman, réal., scénario AKE La captive / Chantal Akerman, réal., scénario AKE Les rendez-vous d'Anna / Chantal Akerman, réal., scénario AKE News from home / Chantal Akerman, réal., scénario, voix AKE De l'autre côté / Fatih Akin, réal., scénario AKI Head-on / Fatih Akin, réal, scénario AKI Julie en juillet / Fatih Akin, réal., scénario AKI L'engrenage / Fatih Akin, réal., scénario AKI Solino / Fatih Akin, réal.
    [Show full text]
  • Film Film Film Film
    City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book.
    [Show full text]
  • Political Film
    PSC255/FS 256B Political Film Lattimore 201 Professor Hauser [email protected] W 7:00-10 PM Harkness 101 Spring 09 Office hours: Tuesday 11 AM-1 PM Or by appointment, tel: #5-1677 Special screenings Mondays 7: 00 PM Lattimore 201 Cinema, according to Lenin, the “most important art,” was not to be a bourgeois entertainment. It has functioned instead as a tool of self-conscious state propaganda. Similar function was assigned to cinema in the Nazi state with its racist myths. Both totalitarian systems monopolized information and politicized and policed all aspects of life. Following 1945, Eastern European states in the Soviet sphere of influence adhered to state monopoly on information, preventive censorship, and control over all political and cultural policies. This course will focus on study of films representing and “explaining” World War II. The films we will discuss in their historical context. The purpose of the course is to show how the form and content of films changes dependent on the political times and aims of the producers. We will examine film as the dominant form of expression under total state patronage of the arts, and as an expression of and a tool for creating collective memory and national and gender identity. Participation: All students are required to attend each class and to view the films during the additional screenings. Students, who do not attend classes without a serious and explicit reason, cannot expect to pass this class--regardless of how well they would do in other course requirements. Additionally, attendance and participation account for 10 percent of the grade.
    [Show full text]
  • Stony Brook University
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque A Dissertation Presented by Lilla T!ke to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature Stony Brook University May 2010 Copyright by Lilla T!ke 2010 Stony Brook University The Graduate School Lilla T!ke We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. E. Ann Kaplan, Distinguished Professor, English and Comparative Literary and Cultural Studies, Dissertation Director Krin Gabbard, Professor, Comparative Literary and Cultural Studies, Chairperson of Defense Robert Harvey, Professor, Comparative Literary and Cultural Studies and European Languages Sandy Petrey, Professor, Comparative Literary and Cultural Studies and European Languages Katie Trumpener, Professor, Comparative Literature and English, Yale University Outside Reader This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Communism with Its Clothes Off: Eastern European Film Comedy and the Grotesque by Lilla T!ke Doctor of Philosophy in Comparative Literature Stony Brook University 2010 The dissertation examines the legacies of grotesque comedy in the cinemas of Eastern Europe. The absolute non-seriousness that characterized grotesque realism became a successful and relatively safe way to talk about the absurdities and the failures of the communist system. This modality, however, was not exclusive to the communist era but stretched back to the Austro-Hungarian era and forward into the Postcommunist times.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
    List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
    [Show full text]
  • Žagajo«! Ljubljana | 6
    Ocena koncerta Finci dobro »žagajo«! Ljubljana | 6. 6. 2006 | Boštjan Tušek/S. M. Apocalyptica, kultni trojec finskih čelistov, je kljub nizkim temperaturam uspešno dvigoval temperaturo na koncertu v Križankah. Primorska pevka Lara Baruca, po novem Lara-B, je imela tokrat nalogo, da ogreje publiko. To ji je bolj ali manj uspelo v tričetrturnem nastopu, v katerem je predstavila udarno mešanico novejših in starejših skladb. Poleg trših zvokov, kakršne najdemo tudi na njenem zadnjem albumu Mindhacker, se je Lara predstavila tudi v precej sveži in odštekani odrski podobi. Čekeliš) Dare (Foto: Metalski napad klasičnih instrumentov ... bi lahko označili glasbo Apocalyptice, ki je v avditoriju Križank udarila nekaj minut po deseti uri. Eicca Toppinen, Paavo Lotjonen in Perttu Kivilaakso (ki jim na živih nastopih pomaga še Antero Manninen, ki nenehno nosi skrivnostna črna očala), so že pred desetletjem odkrili popolnoma svojo zvrst glasbe. Takrat so izdali album (Plays Metallica by Four Cellos) s priredbami pesmi Metallice, ki jim je poleg edinstvenega klasično-metalskega zvoka tudi hitro prinesel številne oboževalce in množico prodanih plošč. V dobri uri in pol se je tako zvrstilo precej skladb iz njihove desetletne kariere, med katerimi so bile najbolj z navdušenjem sprejete Nothing Else Matters, Enter Sandman, Master of Puppets, Seek and Destroy (vse priredbe Metallice), pozabili pa niso niti na svoje stvaritve, kot sta Path No. 2 in Repressed. Težko je spregledati dejstvo, da Apocalyptica najbolje deluje prav na živih nastopih, saj je prek CD in DVD predvajalnikov zelo težko podoživeti energijo, ki jo ti čarovniki s klasičnimi instrumenti oddajajo na odru. Poleg tega pa nastope začinijo z veščim metalskim opletanjem z lasmi, ki ga obvladata Perttu in Eicca, slednji pa je med posameznimi skladbami poskrbel tudi za simpatične komentarje in napovedi v »finski« angleščini.
    [Show full text]
  • On Topophobia and the Horror of Rural Landscapes James Thurgill
    33 A Fear of the Folk: On topophobia and the Horror of Rural Landscapes James Thurgill (The University of Tokyo) The so-called ‘unholy trinity’ (Scovell 2017: 8) designates a collection of horror films produced between 1968 and 1973--Witchfinder General (1968), The Blood on Satan’s Claw (1971), and The Wicker Man (1973). These films are described by Mark Gatiss in his A History of Horror series for the BBC (2010) as sharing ‘a common obsession with the British landscape, its folklore and superstitions’, and are generally regarded as the starting point for the folk horror subgenre. As central examples of folk horror cinema, these films approach the rural (British) landscape as a commonly understood and singular entity, a process mirrored in their portrayal of the folk who inhabit it; these ‘folk’ are unmodern, superstitious and, above all, capable of enacting extreme violence in order to conserve the rural idyll. Naturally, such framings are erroneous; pastoral landscapes exist as multiplicities, with widely varying assemblages of human and non-human actants performing diverse functions within their respective (regional) environments: ‘rurality is not homogeneous – different “countrysides” are different’ (Cloke 2003: 2). In fact, the landscapes that emerge from the ‘unholy trinity’ demonstrate an explicit diversity in the settings used for the films as well as in characters’ understandings of the rural spaces in which they dwell: village, field, and island. Whilst it has been noted that pastoral landscapes are integral to producing the unsettling aesthetic of folk horror (Barnett 2018; MacFarlane 2015; Packham 2018; Paciorek 2015; Scovell 2017), there remains no comprehensive treatment of the subject within commentary on the subgenre.
    [Show full text]
  • Introduction
    Introduction WILLIAM ROTHMAN WRITING ABOUT MOVIES HAS BEEN strand over strand with Stanley Cavell’s philosophical life from his earliest to his latest writings. As he observes in the preface to Contesting Tears: The Hollywood Melodrama of the Unknown Woman, Cavell’s thinking about film has for four decades been bound up with his thinking “about most of whatever else I have been thinking about in what may be called philosophy or literature.”1 Contesting Tears, which follows The World Viewed: Reflections on the Ontology of Film and Pursuits of Happiness: The Hollywood Comedy of Remarriage, is his third book devoted to the subject of film—or third and a half, if we include the four essays on film (and one on television and its relation to film) in his 1984 collection of essays, Themes Out of School: Events and Causes. Cities of Words: Pedagogical Letters on a Register of the Moral Life, whose chapters alternate between read- ings of movies and of classic texts of moral philosophy, makes it an even four. In addition to these books, he has also written a substantial number of other pieces on film, in a diversity of formats—some ambitious theoretical state- ments, others apparently slight “occasional pieces”—originally presented to a diversity of audiences, on a diversity of occasions, and published, if at all, in a diversity of journals and anthologies. In “The World as Things: Collecting Thoughts on Collecting,” one of the chapters in the present collection, Cavell remarks that “every col- lection requires an idea,” and that this “seems to presage the fact that collections carry narratives with them, ones presumably telling the point of the gathering, the source and adventure of it.” The idea of the present xi © 2005 State University of New York Press, Albany xii Introduction collection is, quite simply, to gather under one cover all of Cavell’s writings on film—including the material from Themes Out of School—other than The World Viewed, Pursuits of Happiness, Contesting Tears, and Cities of Words.
    [Show full text]
  • Andrew Sarris and Pauline Kael: the Duel for the Soul of American Film Criticism
    1 Andrew Sarris and Pauline Kael: The Duel For the Soul of American Film Criticism By Inge Fossen Høgskolen i Lillehammer / Lillehammer University College Avdeling for TV-utdanning og Filmvitenskap / Department of Television and Film Studies (TVF) Spring 2009 1 2 For My Parents 2 3 ”When we think about art and how it is thought about […] we refer both to the practice of art and the deliberations of criticism.” ―Charles Harrison & Paul Wood “[H]abits of liking and disliking are lodged in the mind.” ―Bernard Berenson “The motion picture is unique […] it is the one medium of expression where America has influenced the rest of the world” ―Iris Barry “[I]f you want to practice something that isn’t a mass art, heaven knows there are plenty of other ways of expressing yourself.” ―Jean Renoir “If it's all in the script, why shoot the film?” ―Nicholas Ray “Author + Subject = Work” ―Andrè Bazin 3 4 Table of Contents Preface and Acknowledgements p. 6. Introduction p. 8. Defining Art in Relation to Criticism p. 14. The Popular As a Common Ground– And an Outline of Study p. 19. Career Overview – Andrew Sarris p. 29. Career Overview – Pauline Kael p. 32. American Film Criticism From its Beginnings to the 1950s – And a Note on Present Challenges p. 35. Notes on Axiological Criticism, With Sarris and Kael as Examples p. 41. Movies: The Desperate Art p. 72. Auteurism – French and American p. 82. Notes on the Auteur Theory 1962 p. 87. "Circles and Squares: Joys and Sarris" – Kael's Rebuttal p. 93.
    [Show full text]