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The cinema of Clint Eastwood : chronicles of America
He became a movie star playing The Man With No Name, and today his name is known around the world. Measured by longevity, productivity, and profits, Clint Eastwood is the most successful actor-director-producer in American film history. This book examines the major elements of his career, focusing primarily on his work as a director but also exploring the evolution of his acting style, his long association with screen violence, his interest in jazz, and the political views - sometimes hotly controversial - reflected in his films and public statements. Especially fascinating is the pivotal question that divides critics and moviegoers to this day: is Eastwood a capable director with a photogenic face, a modest acting talent, and a flair for marketing his image? Or is he a true cinematic auteur with a distinctive vision of America's history, traditions, and values? From A Fistful of Dollars and Dirty Harry to Million Dollar Baby and beyond, The Cinema of Clint Eastwood takes a close-up look at one of the screen's most influential and charismatic stars. -- Provided by publisher.
BOOK
The cinema of Clint Eastwood
He became a movie star playing The Man With No Name, and today his name is known around the world. Measured by longevity, productivity, and profits, Clint Eastwood is the most successful actor-director-producer in American film history. This book examines the major elements of his career, focusing primarily on his work as a director but also exploring the evolution of his acting style, his long association with screen violence, his interest in jazz, and the political views – sometimes hotly controversial – reflected in his films and public statements. Especially fascinating is the pivotal question that divides critics and moviegoers to this day: is Eastwood a capable director with a photogenic face, a modest acting talent, and a flair for marketing his image? Or is he a true cinematic auteur with a distinctive vision of America's history, traditions, and values? From A Fistful of Dollars and Dirty Harry to Million Dollar Baby and beyond, The Cinema of Clint Eastwood takes a close-up look at one of the screen's most influential and charismatic stars.
eBook
Acting
Screen performances entertain and delight us but we rarely stop to consider actors' reliance on their craft to create memorable characters. Although film acting may appear effortless, a host of techniques, artistic conventions, and social factors shape the construction of each role.
The chapters inActingprovide a fascinating, in-depth look at the history of film acting, from its inception in 1895 when spectators thrilled at the sight of vaudeville performers, Wild West stars, and athletes captured in motion, to the present when audiences marvel at the seamless blend of human actors with CGI. Experts in the field take readers behind the silver screen to learn about the craft of film acting in six eras: the silent screen (1895-1928), classical Hollywood (1928-1946), postwar Hollywood (1947-1967), the auteur renaissance (1968-1980), the New Hollywood (1981-1999), and the modern entertainment marketplace (2000-present). The contributors pay special attention to definitive performances by notable film stars, including Lillian Gish, Dick Powell, Ginger Rogers, Beulah Bondi, Marilyn Monroe, Marlon Brando, Jack Nicholson, Robert De Niro, Nicholas Cage, Denzel Washington, and Andy Serkis.
In six original essays, the contributors to this volume illuminate the dynamic role of acting in the creation and evolving practices of the American film industry.
Actingis a volume in the Behind the Silver Screen series-other titles in the series includeAnimation;Art Direction and Production Design;Cinematography;Costume, Makeup, and Hair;Directing;Editing and Special/Visual Effects;Producing;Screenwriting; andSound.
eBook
From the Departing Guest Editor
Sterritt reflects on his experience as guest editor of Film Quarterly magazine. He tried to build on magazine's tradition of engaging with the history, theory, aesthetics, and politics of moving images in all their proliferating forms. He has had great help from the editorial board, a remarkable gathering of top-flight academics and critics, and from many of the contributing editors as well. Most of all he has benefited from the acuity, initiative, and creativity of the columnists and writers who have donated time, expertise, and hard work to these pages. His year editing the magazine has reaffirmed his faith in the present and future vitality of cinema and cinephilia.
Journal Article
Days of Heaven and Waco: Terrence Malick'sThe Tree of Life
A review of Terrence Malick'sThe Tree of Lifewhich argues that the remarkable aesthetic ambition of the film and its great success in depicting a mid-century American childhood are to an extent undermined by its invocation of a benign divinity.
Journal Article
A Little Solitaire
Think about some commercially successful film masterpieces--The Manchurian Candidate.Seven Days in May. Seconds. Then consider some lesser known, yet equally compelling cinematic achievements--The Fixer. The Gypsy Moths. Path to War. These triumphs are the work of the best known and most highly regarded Hollywood director to emerge from live TV drama in the 1950s--five-time Emmy-award-winner John Frankenheimer.
Although Frankenheimer was a pioneer in the genre of political thrillers who embraced the antimodernist critique of contemporary society, some of his later films did not receive the attention they deserved. Many claimed that at a midpoint in his career he had lost his touch. World-renowned film scholars put this myth to rest inA Little Solitaire, which offers the only multidisciplinary critical account of Frankenheimer's oeuvre. Especially emphasized is his deep and passionate engagement with national politics and the irrepressible need of human beings to assert their rights and individuality in the face of organizations that would reduce them to silence and anonymity.
eBook
Wholly Communion: Scenario, Film, Novelization
Over the course of the eve ning, an eyewitness wrote, fl owers were distributed; weird papier- mâché creatures strolled about the aisles; Bruce Lacey's machine structures buzzed, shook, and fl ashed; the dry eerie voice of Burroughs crackled from a tape- recorder; Davy Graham played the guitar; poets and hecklers interrupted each other; and a girl in a white dress danced under the pall of potsmoke with distant gestures of dream.14 Given this material and his own risk- loving nature, it isn't surprising that Whitehead's labors resulted in what I fi nd the most exuberant of all his movies. Trocchi recites an extract from Cain's Book, the 1960 roman à clef about a heroin addict that cultural critic Greil Marcus describes as \"one of those nihilist books that well- meaning readers are always trying to rescue from itself with appeals to sociology, philosophy, art, or revolution,\" all of which crumble under the novel's \"solitary annihilation of a world which refuses to recognize the sound of its own ending, the sound the artist makes. [...]when he fi rst stands up he says [drunken voice] \"Now I've got to circumnavigate all this lousy poetry.\" [...]though, Lykiard's ambivalent response is an effective antidote to the infection precisely by virtue of its ambivalence: being of two minds is a good way to fi ght the monologic one- and- only, opening possibilities for dialogic \"playing with distances, with fusion and dissolution, with approach and retreat.
Journal Article
