By James Naremore
In 1895, Louis Lumière supposedly stated that cinema is "an invention with no future." James Naremore makes use of this mythical comment as a kick off point for a meditation at the so-called demise of cinema within the electronic age, and as a fashion of introducing a wide-ranging sequence of his essays on videos prior and current. those essays comprise discussions of authorship, model, and performing; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and reports of newer paintings through non-Hollywood administrators Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. very important topics recur: the family among modernity, modernism, and postmodernism; the altering mediascape and demise of older applied sciences; and the necessity for powerful serious writing in an period whilst print journalism is waning and the arts are devalued. The booklet concludes with essays on 4 significant American movie critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.
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Additional info for An Invention Without a Future: Essays on Cinema
New Criticism also had democratic effects: it called attention to the way language constructs the world, and, in the words of Jonathan Culler, it enabled “the meanest student who lacked the scholarly information of his betters” to make “valid comments on the language and structure of the text” (3–4). ” The overwhelming majority of introductory classes on media “language” taught in universities Authorship, Auteurism, and Cultural Politics / 27 are still based on methods of formal analysis not completely unlike the New Critical analysis of poetry; as a result, they’re less concerned with who makes films than with how films are made and with how they generate meanings and artistic effects.
These two individuals were themselves situated differently in history, and a study of their careers can produce a fine-grained understanding of both film style and the general culture. Echoing a statement by F. R. Leavis, Wood argues that it is “only through the medium of the individual that ideological tensions come into particular focus” (Hitchcock’s Films Revisited, 292). 3. Contrary to what Foucault suggests in his famous essay on the idea of the author, it can be very important for us to know who is speaking.
A highly personal movie (at least in the intellectual sense), it gives its auteur an opportunity to identify with both Michel (Jean-Paul Belmondo), a French wise guy who is infatuated with everything American, and Patricia (Jean Seberg), a sensitive, rather intellectual young woman from America who fears that she might be getting too deeply involved with the underworld. The two facets of the director’s imaginary identity are represented in the form of a perversely romantic and failed relationship, much like the ones in Hollywood film noir; and the relationship is echoed in a dense pattern of allusions to two different kinds of text: genre movies, mostly associated with Michel, and highcultural literature, music, or painting, mostly associated with Patricia.
An Invention Without a Future: Essays on Cinema by James Naremore