Goodbye Cinema, Hello Cinephilia: Film Culture in Transition
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The esteemed film critic Jonathan Rosenbaum has brought global cinema to American audiences for the last four decades. His incisive writings on individual filmmakers define film culture as a diverse and ever-evolving practice, unpredictable yet subject to analyses just as diversified as his own discriminating tastes. For Rosenbaum, there is no high or low cinema, only more interesting or less interesting films, and the pieces collected here, from an appreciation of Marilyn Monroe’s intelligence to a classic discussion on and with Jean-Luc Godard, amply testify to his broad intellect and multi-faceted talent. Goodbye Cinema, Hello Cinephilia gathers together over fifty examples of Rosenbaum’s criticism from the past four decades, each of which demonstrates his passion for the way we view movies, as well as how we write about them. Charting our changing concerns with the interconnected issues that surround video, DVDs, the Internet, and new media, the writings collected here also highlight Rosenbaum’s polemics concerning the digital age. From the rediscovery and recirculation of classic films, to the social and aesthetic impact of technological changes, Rosenbaum doesn’t disappoint in assembling a magisterial cast of little-known filmmakers as well as the familiar faces and iconic names that have helped to define our era.
As we move into this new decade of moviegoing—one in which Hollywood will continue to feel the shockwaves of the digital age—Jonathan Rosenbaum remains a valuable guide. Goodbye Cinema, Hello Cinephilia is a consummate collection of his work, not simply for fans of this seminal critic, but for all those open to the wide variety of films he embraces and helps us to elucidate.
NIKA BOHINC (1979-2009) and ALEXIS TIOSECO (1981-2009) Introduction I Position Papers Goodbye Cinema, Hello Cinephilia In Defense of Spoilers Potential Perils of the Director's Cut Southern Movies, Actual and Fanciful: A Personal Survey Ala recherche de Luc Moullet: 25 Propositions Bushwhacked Cinema What Dope Does to Movies Fever Dreams in Bologna: 11 Cinema Ritrovato From Playtime to The World: The Expansion and Depletion of Space within Global Economies II Actors,
shows and features that the two actors had appeared in, including a few features - such as Howard in Cool Hand Luke (1967) and Majors in Will Penny (1968)-that four decades earlier had shown on the big screen at the Shoals, in 35 mm. Only now the screen, a mere fraction as big, was planted directly behind the two actors and hostess on the stage, who were seated in swivel chairs, and even though the brief excerpts from both of these CinemaScope films were shown in the proper screen ratio, their
his films as indications and abbreviations of projected meta-films that were either reduced and reedited by the studios or, in the case of Queen Kelly, never completed in any form. It is central to Stroheim's reputation that he is valued today more for the unseen forty-two-reel version of Greed than the ten-reel version that we do have. And if history and legend have conspired to install Stroheim as an exemplary figure in cinema - virtually the patron saint of all directors who have suffered
charged with metaphysical forces and intimations of fatality that the "realism" they project is not one in which free will predominates; characters are usually doomed to be what they are by class and social position, heredity, mysterious turns of fate, or some malign combination of all three. Steuban and the Armstrong couple can easily be seen as first drafts of Karamzin and the Hughes couple in Foolish Wives-an elaborated remake in many respects. (The Devil's Passkey, made during the interval
his obsequious manner in my memories are blurred by the racially informed confusions of my own childhood. Making things even more difficult for me is the fact that, in spite of my having grown up in the Deep South and being around many black servants, I've never been able to understand large portions of what this actor says because of his heavy dialect. (Whether or not this makes his dialect inauthentic is impossible for me to judge.) I should add that in between Judge Priest's stopping of a