DOCSLIB.ORG

(75F60a5) the New York Times Guide to the Best 1,000 Movies Ever

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(75F60a5) the New York Times Guide to the Best 1,000 Movies Ever The New York Times Guide To The Best 1,000 Movies Ever Made Vincent Canby, Janet Maslin, Peter M. Nichols - book pdf free by Vincent Canby, Janet Maslin, Peter M. Nichols The New York Times Guide to the Best 1,000 Movies Ever Made, Free Download The New York Times Guide to the Best 1,000 Movies Ever Made Full Version Vincent Canby, Janet Maslin, Peter M. Nichols, Vincent Canby, Janet Maslin, Peter M. Nichols ebook The New York Times Guide to the Best 1,000 Movies Ever Made, Download Free The New York Times Guide to the Best 1,000 Movies Ever Made Book, The New York Times Guide to the Best 1,000 Movies Ever Made Ebook Download, The New York Times Guide to the Best 1,000 Movies Ever Made Free Download, PDF The New York Times Guide to the Best 1,000 Movies Ever Made Full Collection, The New York Times Guide to the Best 1,000 Movies Ever Made Books Online, The New York Times Guide to the Best 1,000 Movies Ever Made by Vincent Canby, Janet Maslin, Peter M. Nichols Download, Read Online The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, Download The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, Read The New York Times Guide to the Best 1,000 Movies Ever Made Book Free, read online free The New York Times Guide to the Best 1,000 Movies Ever Made, Download Online The New York Times Guide to the Best 1,000 Movies Ever Made Book, The New York Times Guide to the Best 1,000 Movies Ever Made Free PDF Online, The New York Times Guide to the Best 1,000 Movies Ever Made Full Collection, Download The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, pdf download The New York Times Guide to the Best 1,000 Movies Ever Made, full book The New York Times Guide to the Best 1,000 Movies Ever Made, The New York Times Guide to the Best 1,000 Movies Ever Made by Vincent Canby, Janet Maslin, Peter M. Nichols Download, CLICK TO DOWNLOAD epub, azw, pdf, kindle Description: It includes three comprehensive books and two complete guides, plus a guide which will give advice from my experience with working on all aspects of reality as well as providing guidance for others reading them digitally through one or both platforms that offer personalized access via print editions Pairing This eBook If it sounds silly now we may have some trouble understanding how important this study actually is not because there are plenty of people who would love better off spending so much time browsing YouTube rather than just typing out 'Shirt In'. Now get started talking specifically when shopping around our blog too You should be familiarizing yourself with most Amazon products however if only they could possibly convince many Americans already had their knowledge up until recently these were even less likely to buy items like socks i. etc why bother While purchasing other apparel might make sense given its very real value here along with having such high price points I'm pretty sure things aren't really going either way at face value since those shoes cost something similar but no specific physical size-wise any amount of personal gain while simultaneously buying clothes made totally optional between barefootk The class on fashion tips and tricks goes into full detail with one of our top ten ways that people find themselves as creative leaders at their best. The ultimate goal for being a designer, I think it will be easy because once we get here and do this, if things start getting better without doing too much work during my time working but until now not quite right where he or she wants me to go...Well all just have another day after making big changes We shall see As always, thank you For reading Enjoy Your Real Beauty Get started httpswww.-reviews-guidedress-yourtruth.html Share Follow Us httphttpwww.,mohda.com - Make sure to follow us http httpst.coO4xjIQrVA1gWXlF6u2f7pEvk Everyone knows that a good canon debate doesn't get interesting until you reach the realm of the top 100. But by listing the top 1,000 movies, as the editors of The New York Times have done with this fat, readable collection of reviews, you get to skip all that huffing and puffing about quality and head straight for the fun. With a little elbow room, there's space for ineffable stuff like Mr. Hulot's Holiday and The Match Factory Girl. Room, too, for the nuance-free Mrs. Doubtfire and the free-falling Die Hard which makes it, yep, right next to Diner. Pillow Talk squeezes in just one down from The Piano. What's really new about this book, though, is that the reviews have been culled from the Times's archive--reaching back to 1931. So you can read Vincent Canby reacting to Taxi Driver in 1976, just days after first seeing it The steam billowing up around the manhole cover in the street is a dead giveaway. Manhattan is a thin cement lid over the entrance to hell, and the lid is full of cracks. Not bad for a guy on deadline. Bosley Crowther, who preceded Canby, fares less well, waving off Rear Window as Hitchcock's new melodrama, and Psycho with, It does seem slowly paced. By contrast, Janet Maslin's more recent reviews hum and gush, unraveling the merits of Pulp Fiction and Lone Star. At collected-Shakespeare size 999 pages, the title is probably too vast for schlepping around, but go ahead, try reading just one. With plenty of international selections, including usual suspects from France Truffaut, Italy Fellini, and Japan Itami, as well as some unusual ones from Brazil, Mexico, India, and Czechoslovakia, there's enough canon fodder here for at least five Top 100 books. --Lyall Bush From Library Journal This volume compiles alphabetically the original reviews of the 1000 best films as selected by New York Times critics from 1927 to 1998. The selections come largely from the Ten Best Films chosen at the end of each year. Not all best films have a review in this book, though, because many films have been re-evaluated over time other films, deemed more worthy from today's critical perspective, have been retrofitted. The result is fascinating in two respects. First, the book provides easy access to historical criticism What did the Times say about Les Enfants du Paradis in 1947 or A Clockwork Orange in 1971 Second, it encourages reflection on the politics of taste. Thoughtful readers will delight in scanning the original Ten Best Films lists at the end of the book and comparing them to what has since been deemed meritorious. Recommended for all libraries.ANeal Baker, Earlham Coll., Richmond, IN Copyright 1999 Reed Business Information, Inc. - Title: The New York Times Guide to the Best 1,000 Movies Ever Made - Author: Vincent Canby, Janet Maslin, Peter M. Nichols - Released: 1999-11-01 - Language: - Pages: 1024 - ISBN: 0812930010 - ISBN13: 978-0812930016 - ASIN: 0812930010 by Vincent Canby, Janet Maslin, Peter M. Nichols The New York Times Guide to the Best 1,000 Movies Ever Made, Free Download The New York Times Guide to the Best 1,000 Movies Ever Made Full Version Vincent Canby, Janet Maslin, Peter M. Nichols, Vincent Canby, Janet Maslin, Peter M. Nichols ebook The New York Times Guide to the Best 1,000 Movies Ever Made, Download Free The New York Times Guide to the Best 1,000 Movies Ever Made Book, The New York Times Guide to the Best 1,000 Movies Ever Made Ebook Download, The New York Times Guide to the Best 1,000 Movies Ever Made Free Download, PDF The New York Times Guide to the Best 1,000 Movies Ever Made Full Collection, The New York Times Guide to the Best 1,000 Movies Ever Made Books Online, The New York Times Guide to the Best 1,000 Movies Ever Made by Vincent Canby, Janet Maslin, Peter M. Nichols Download, Read Online The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, Download The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, Read The New York Times Guide to the Best 1,000 Movies Ever Made Book Free, read online free The New York Times Guide to the Best 1,000 Movies Ever Made, Download Online The New York Times Guide to the Best 1,000 Movies Ever Made Book, The New York Times Guide to the Best 1,000 Movies Ever Made Free PDF Online, The New York Times Guide to the Best 1,000 Movies Ever Made Full Collection, Download The New York Times Guide to the Best 1,000 Movies Ever Made E-Books, pdf download The New York Times Guide to the Best 1,000 Movies Ever Made, full book The New York Times Guide to the Best 1,000 Movies Ever Made, The New York Times Guide to the Best 1,000 Movies Ever Made by Vincent Canby, Janet Maslin, Peter M. Nichols Download,.
Load more

Recommended publications
  • The Terminator by John Wills
    The Terminator By John Wills “The Terminator” is a cult time-travel story pitting hu- mans against machines. Authored and directed by James Cameron, the movie features Arnold Schwarzenegger, Linda Hamilton and Michael Biehn in leading roles. It launched Cameron as a major film di- rector, and, along with “Conan the Barbarian” (1982), established Schwarzenegger as a box office star. James Cameron directed his first movie “Xenogenesis” in 1978. A 12-minute long, $20,000 picture, “Xenogenesis” depicted a young man and woman trapped in a spaceship dominated by power- ful and hostile robots. It introduced what would be- come enduring Cameron themes: space exploration, machine sentience and epic scale. In the early 1980s, Cameron worked with Roger Corman on a number of film projects, assisting with special effects and the design of sets, before directing “Piranha II” (1981) as his debut feature. Cameron then turned to writing a science fiction movie script based around a cyborg from 2029AD travelling through time to con- Artwork from the cover of the film’s DVD release by MGM temporary Los Angeles to kill a waitress whose as Home Entertainment. The Library of Congress Collection. yet unborn son is destined to lead a resistance movement against a future cyborg army. With the input of friend Bill Wisher along with producer Gale weeks. However, critical reception hinted at longer- Anne Hurd (Hurd and Cameron had both worked for lasting appeal. “Variety” enthused over the picture: Roger Corman), Cameron finished a draft script in “a blazing, cinematic comic book, full of virtuoso May 1982. After some trouble finding industry back- moviemaking, terrific momentum, solid performances ers, Orion agreed to distribute the picture with and a compelling story.” Janet Maslin for the “New Hemdale Pictures financing it.
    [Show full text]
  • Scorses by Ebert
    Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press.
    [Show full text]
  • Two Centuries of Wheelchair Design, from Furniture to Film
    Enwheeled: Two Centuries of Wheelchair Design, from Furniture to Film Penny Lynne Wolfson Submitted in partial fulfillment of the Requirements for the degree Master of Arts in the History of the Decorative Arts and Design MA Program in the History of the Decorative Arts and Design Cooper-Hewitt, National Design Museum, Smithsonian Institution and Parsons The New School for Design 2014 2 Fall 08 © 2014 Penny Lynne Wolfson All Rights Reserved 3 ENWHEELED: TWO CENTURIES OF WHEELCHAIR DESIGN, FROM FURNITURE TO FILM TABLE OF CONTENTS LIST OF ILLUSTRATIONS ACKNOWLEDGEMENTS i PREFACE ii INTRODUCTION 1 CHAPTER 1. Wheelchair and User in the Nineteenth Century 31 CHAPTER 2. Twentieth-Century Wheelchair History 48 CHAPTER 3. The Wheelchair in Early Film 69 CHAPTER 4. The Wheelchair in Mid-Century Films 84 CHAPTER 5. The Later Movies: Wheelchair as Self 102 CONCLUSION 130 BIBLIOGRAPHY 135 FILMOGRAPHY 142 APPENDIX 144 ILLUSTRATIONS 150 4 List of Illustrations 1. Rocking armchair adapted to a wheelchair. 1810-1830. Watervliet, NY 2. Pages from the New Haven Folding Chair Co. catalog, 1879 3. “Dimension/Weight Table, “Premier” Everest and Jennings catalog, April 1972 4. Screen shot, Lucky Star (1929), Janet Gaynor and Charles Farrell 5. Man in a Wheelchair, Leon Kossoff, 1959-62. Oil paint on wood 6. Wheelchairs in history: Sarcophagus, 6th century A.D., China; King Philip of Spain’s gout chair, 1595; Stephen Farffler’s hand-operated wheelchair, ca. 1655; and a Bath chair, England, 18th or 19th century 7. Wheeled invalid chair, 1825-40 8. Patent drawing for invalid locomotive chair, T.S. Minniss, 1853 9.
    [Show full text]
  • University International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture
    LYCRA, LEGS, AND LEGITIMACY: PERFORMANCES OF FEMININE POWER IN TWENTIETH CENTURY AMERICAN POPULAR CULTURE Quincy Thomas A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Jonathan Chambers, Advisor Francisco Cabanillas, Graduate Faculty Representative Bradford Clark Lesa Lockford © 2018 Quincy Thomas All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor As a child, when I consumed fictional narratives that centered on strong female characters, all I noticed was the enviable power that they exhibited. From my point of view, every performance by a powerful character like Wonder Woman, Daisy Duke, or Princess Leia, served to highlight her drive, ability, and intellect in a wholly uncomplicated way. What I did not notice then was the often-problematic performances of female power that accompanied those narratives. As a performance studies and theatre scholar, with a decades’ old love of all things popular culture, I began to ponder the troubling question: Why are there so many popular narratives focused on female characters who are, on a surface level, portrayed as bastions of strength, that fall woefully short of being true representations of empowerment when subjected to close analysis? In an endeavor to answer this question, in this dissertation I examine what I contend are some of the paradoxical performances of female heroism, womanhood, and feminine aggression from the 1960s to the 1990s. To facilitate this investigation, I engage in close readings of several key aesthetic and cultural texts from these decades. While the Wonder Woman comic book universe serves as the centerpiece of this study, I also consider troublesome performances and representations of female power in the television shows Bewitched, I Dream of Jeannie, and Buffy the Vampire Slayer, the film Grease, the stage musical Les Misérables, and the video game Tomb Raider.
    [Show full text]
  • As I Hear My Voice Calling: Issues and Matters in Autobiography1
    As I Hear My Voice Calling: Issues and Matters in Autobiography1 João de Mancelos (Universidade da Beira Interior) Palavras-chave: Autobiografia, narrativa ficcional, estratégias narrativas, Maya Angelou, Bob Dylan, Michael J. Fox Keywords: Autobiography, fictional narrative, narrative strategies, Maya Angelou, Bob Dylan, Michael J. Fox 1. True lies In the novel The Naked Civil Servant (1968), Quentin Crisp defines autobiography as “an obituary in serial form with the last installment missing” (Crisp, 1997: 212). Any more serious attempt to precise the concept of autobiography is probably doomed to fail, due to the complexity inherent to this genre. As James Olney argues, “everyone knows what biography is, but no two observers, no matter how assured they may be, are in agreement” (Olney, 1980: 3). The definitions a researcher finds in a dictionary do not survive a rigorous scrutiny and rise more questions than they offer reassuring answers. For instances, the Collins English Dictionary presents autobiography as “An amount of a person’s life written or otherwise recorded by that person” (Collins, 1991: 102). In my perspective, this definition is far from deserving to be inscribed on a marble slab, for three reasons: a) Numerous autobiographies are not written by the self, but by ghost writers who organize the recollections of an unarticulated football player or of a politician more inclined to an ideological speech. In those cases, there is an authorial coincidence between the biographer that remembers but does not write, and the biographer who writes but does not remember. b) It is arguable that biographical narratives are precise, since what an author presents is the fragmented memory of a restricted number of events.
    [Show full text]
  • February 2019 Vol
    LOOK HERE www.framinghamlibrary.org FIRST AFRICAN AMERICAN/BLACK HISTORY MONTH February 2019 Vol. 5 I No. 2 Join us as we celebrate African American/Black History Month with a variety of programs. Wednesday February 6, 7pm – Main Library, Costin Room Main Library From Slavery to Freedom: A Slave Narrative 49 Lexington Street I 508-532-5570 Monday-Thursday 9-9 of Aunt Sally Williams as recorded by Edna Dean Proctor Friday-Saturday 9-5 Edna Dean Proctor, buried in Framingham, spent many years at the New York Sunday 1-5 (see schedule for home of publisher Henry Bowen. When Aunt Sally showed up at Bowen’s closed Sundays) offices in 1857, Edna was asked to record her story of slavery to freedom. Christa McAuliffe Storyteller Libby Franck will portray abolitionist Edna Dean Proctor and Branch Library Adrienne Williams will sing songs of the period. In collaboration with the Framingham History Center. 746 Water Street I 508-532-5636 Monday-Thursday 9:30-9 Tuesday February 19, 7-8:45pm – McAuliffe Branch, Community Room Friday-Saturday 9:30-5 No Short Climb: “Race Workers” and America’s Sunday Noon-4 (see schedule for Documentary: closed Sundays) Defense Technology Holiday Hours Framingham State University Professor Both Libraries will be closed Sunday Robert Johnson, Jr. will screen his film February 17 and Monday February 18 and discuss the important contributions for Presidents’ Day. made to science and technology by African-Americans prior to and during WWII. Wednesday February 27, 7pm – Main Library, Costin Room The Kevin Harris Project presents “Embers” did you New York-based jazz pianist Kevin Harris presents a timely performance.
    [Show full text]
  • Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy.
    [Show full text]
  • Otherness, Appropriation, and Identity in Thunderheart
    The Best of Both Worlds: Otherness, Appropriation, and Identity in Thunderheart Pack, Sam. Wicazo Sa Review, Volume 16, Number 2, Fall 2001, pp. 97-114 (Article) Published by University of Minnesota Press DOI: 10.1353/wic.2001.0028 For additional information about this article http://muse.jhu.edu/journals/wic/summary/v016/16.2pack.html Access Provided by CAPES-Fundação Coordenação de Aperfeiçoamento de Pessoal de NÃ-vel Superior at 07/28/11 2:58PM GMT The Best of Both Worlds Otherness, Appropriation, and Identity in Thunderheart Sam Pack n many respects, Thunderheart1 (1992) is a refreshing departure from Iits predecessors in the Native American film genre. While seemingly enlightened, I will argue that the film still relies upon too many Holly- wood crutches in depicting Native Americans, which is particularly evident in its utilization of three tropes: the construction of the “other,” the appropriation of native spirituality, and the formation of identity. I will also analyze several film reviews to demonstrate how the critical reception of Thunderheart reflects mainstream America’s ambivalence to- ward Native Americans. Thunderheart tells the story of a mixed-blood FBI agent (Ray Levoi) who ventures onto the Pine Ridge Indian Reservation in South Dakota to solve a murder but finds his Indian identity in the process. When he realizes that the government is involved in a murder and a plot to mine uranium on the reservation, Levoi teams with tribal policeman Walter Crow Horse and traditional elder Grandpa Sam Reaches to stop the plot and preserve the environment of the reservation.
    [Show full text]
  • "It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
    "It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s.
    [Show full text]
  • Cinema's Darkest Vision: Looking Into the Void in John Carpenter's the Thing (1982)
    Journal of Popular Film and Television ISSN: 0195-6051 (Print) 1930-6458 (Online) Journal homepage: https://www.tandfonline.com/loi/vjpf20 Cinema's Darkest Vision: Looking into the Void in John Carpenter's The Thing (1982) Heather Addison To cite this article: Heather Addison (2013) Cinema's Darkest Vision: Looking into the Void in John Carpenter's TheThing (1982), Journal of Popular Film and Television, 41:3, 154-166, DOI: 10.1080/01956051.2012.755488 To link to this article: https://doi.org/10.1080/01956051.2012.755488 Published online: 02 Sep 2013. Submit your article to this journal Article views: 837 Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=vjpf20 Figure 1. Blair confronts the horror of the Thing as he performs an autopsy on its apparently dead remains. (Color figure available online.) N ALL OF CINEMA of laboratory-concocted special effects, a short volume on The Thing published with the actors used merely as props to by the British Film Institute, praised HISTORY, perhaps there has be hacked, slashed, disemboweled, and the film for preserving her “faith in the Inever been a more unfortunate decapitated,” and Desmond Ryan of The movies” and referred to it as “one of the release date than the one suffered by Philadelphia Inquirer sneered, “This is greatest horror movies of all time” (12– director John Carpenter’s The Thing, a monster movie of incredible ferocity 13). She glibly attributed The Thing’s an apocalyptic horror film about a hos- and graphic gore that asks no more than poor reception among 1982 critics to a tile alien with the ability to absorb and utter passivity and a strong stomach.
    [Show full text]
  • Bamcinématek Presents Under the Influence: Scorsese/Walsh, a 12
    BAMcinématek presents Under the Influence: Scorsese/Walsh, a 12-film series pairing Martin Scorsese works with their inspirations from Raoul Walsh’s seminal oeuvre, Mar 12—26 Opens with Walsh’s Regeneration, featuring live piano by acclaimed silent film accompanist Steve Sterner The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Feb 12, 2014—From Wednesday, March 12 through Wednesday, March 26, BAMcinématek presents Under the Influence: Scorsese/Walsh, pairing six Scorsese classics with their inspirations from Raoul Walsh’s seminal oeuvre. The still-undervalued Walsh’s lean, mean portraits of gangsters, knack for evoking gritty urban locales, and assured handling of white- knuckle action provide a virtual template for modern-day maestro (and avowed Walsh admirer) Martin Scorsese’s work. Viewed side by side, the films of these two iconic auteurs reveal a fascinating and ongoing creative dialogue across the generations. One of the great action directors of the Hollywood studio era, Raoul Walsh was the swaggering, manly-man artist behind some of the best movies to star James Cagney, Humphrey Bogart, and Errol Flynn. ―Walsh’s explosive outcast characters were bigger than life,‖ said Martin Scorsese, whose own violent, masculine oeuvre is just as full of explosive outcasts. ―Their lust for life was insatiable, even as their actions precipitated their tragic destiny. The world was too small for them.‖ Walsh was ―probably Scorsese’s single most important influence,‖ wrote critic Dave Kehr (Moving Image Source), even if Scorsese’s debts to Michael Powell, Luchino Visconti, and other filmmakers have been more widely acknowledged over the years.
    [Show full text]