By Robert Kolker
During this twentieth-anniversary millennial variation, Kolker maintains and expands his inquiry into the cinematic illustration of tradition through updating and revising the chapters at the administrators mentioned within the first edition-- Stanley Kubrick, Martin Scorsese, Robert Altman, and Steven Spielberg-- to incorporate their most vital works seeing that 1988, reading these movies that have made vital advances within the directors' careers and that have given reason for rethinking the movies that preceded them. integrated is a profile of Arthur Penn's profession by means of a brand new comparative research of Oliver Stone, who mirrors Penn's perform of drawing his motion pictures out of historic and ideological currents. putting the movies of Penn, Stone, Kubrick, Scorsese, Spielberg, and Altman in an ideological viewpoint, Kolker either illuminates their dating to each other and to bigger currents in our tradition, and emphasizes the statements their motion pictures make approximately American society and tradition. This variation contains a new preface, a requiem for Stanley Kubrick, up to date filmography, and forty eight pictures from quite a few motion pictures mentioned in the course of the textual content.
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Additional info for A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman (4th Edition)
Porter’s Uncle Josh at the Moving Picture Show (1902, itself a remake of an earlier British film), in which a spectator leaps out of his seat to examine the motion picture screen on which are projected different moving images. 1 Or we can turn to Buster Keaton’s Sherlock Jr. (1924), in which Buster plays a projectionist who walks into the film he is showing and gets caught in its montage. In the USSR, both Sergei Eisenstein and Dziga Vertov played against the already institutionalized classical form of film to bring the viewer into active participation with the meaning-making process.
Noir, for the moment, had lost some of its conventions, and would return only in the seventies, when the form was rediscovered by filmmakers who, having studied film in school, were anxious to revive the one form that appeared to them available for formal experiment and as a vehicle for personal anxieties. 26 A CINEMA OF LONELINESS Coming as it does after the major period of film noir, but before the noir revival (of which his own Night Moves is a major part), Penn’s Mickey One stands in a sort of generic limbo, carrying over the figure of the frightened and withdrawn male from the fifties and foreshadowing the paranoia films of the early seventies, reevaluating the narrative structure of the noir films that preceded it.
Many of the visual strategies that would be further developed in Citizen Kane can be seen in them, particularly in The Long Voyage Home, though they stand very much apart from the content. It took Welles to integrate technology and narrative. Body’s Montage, History’s Mise-en-Scène, Contours of the Horizontal Line 23 Dracula [Todd Browning, both 1931], and their sequels—which were heirs to the German style, and the films of Josef von Sternberg) gave way to a deeper focus and keener sense of the effect of light and shadow, just as the heroic male of the thirties gave way to a more vulnerable, anxiety-ridden character.