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Andrew Sarris

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Journal Article
Camera Obscura (2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
... of books on film and culture for Columbia University Press. From 1978 to 1986, he was a colleague of Andrew Sarris at Columbia University. © 2015 by Camera Obscura 2015 Andrew Sarris Bertolt Brecht Romantic myth Cinema-Scope Eastman Color copyright Figure 1. The Mammoth Circus displays...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 43–75.
Published: 01 May 2007
... use in resurrecting a series of neglected Hollywood classics under the aegis of a few exceptional directors. Later appropriations of auteur theory contain two distinct moments that I will associate with the names of Andrew Sarris and Peter Wollen. Sarris, the emi- nent critic, was impelled...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 127–136.
Published: 01 September 1988
... with each new group, but not its character. It remained, and may still be, a locus for hopeful disgruntlement, for productively excessivewriting, for embryonic directors. A mythical magazine, it came to this country filtered through Lindsay Anderson at Sight and Sound and through Andrew Sarris in his...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 137–159.
Published: 01 May 2014
... cycles can be charac- terized in the terms Andrew Sarris uses to describe the former — a cinema of “alienation, anomie, anarchy, and absurdism”12 — for their focus on character and atmosphere over plot, their taste for violence and other taboo subject matter, and their intense self...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 159–167.
Published: 01 December 2013
... deaths (but is death ever “timely of Robert Sklar, Miriam Hansen, Peter Brunette, Anne Friedberg, Teshome Gabriel, and, more recently, Andrew Sarris, Paul Willemen, and Alexander Doty have led me to recon- sider film studies in terms of the figures who have contributed some of the field’s...
Journal Article
Camera Obscura (1982) 3-4 (2-3-1 (8-9-10)): 161–185.
Published: 01 December 1982
... products. And I’m not as good as Japanese car builders. . . . The real producer for me is not Barry Diller at Paramount, or someone else in another company, it’s you, it’s Vincent Canby, it’s Andrew Sarris, it’s people like that who make the. . . . I74 PK: I think our word is fairly benign, I...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 144–180.
Published: 01 September 1991
..., “Personal Best, Olympic LovNew York Times 131 (Feb. 5, 1982): C8. See also Ellsworth, “Illicit Pleasures” 46-47; Robert Hatch, “Personal Best,” The Nation 234.6 (Feb. 27, 1982): 251-252; Joritz, “Neither Personal Nor Best” 57; Andrew Sarris, “Popular Cinema...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 8–27.
Published: 01 January 1990
... for excluding the con- tributions of women (e.g., the auteurism championed by Andrew Sarris and the sociological histories of Kevin Brownlow and Lewis Jacobs), they also challenged feminist “discoveries” of female directors in the Hollywood cinema and criticized attempts to reclaim films directed...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 35–61.
Published: 01 December 2011
... in both Alda’s films and persona. Critic Andrew Sarris, in his review of Tynan, writes, “I must give full credit to Alan Alda for writing good women’s roles and for acting opposite them in a supportive man- ner that enhanced...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 109–149.
Published: 01 September 2013
... more authorship than others, a distinction Andrew Sarris made in his early investigation of film auteurship by separating auteurs from mere metteurs en scène, with the latter defined as essentially industrial cogs and the former as artists.50 In many important respects, television studies...
Journal Article
Camera Obscura (1995) 12 (2 (35)): 106–128.
Published: 01 May 1995
.... Andrew Sarris (Indianapolis: Bobbs Merrill, 1968) 387-402. 18. Kevin Brownlow, "Leni Riefenstahl" Film Winter 1966: 14-19. 19. Corliss 92. 124 20. Budd B. Schulberg, "Nazi Pin-up Girl: Hitler's No. 1 Movie Actress," Saturday Evening Post 30 March 1946: 11-41. 21. Tiefland...
Journal Article
Camera Obscura (2012) 27 (1 (79)): 127–155.
Published: 01 May 2012
..., Andrew Sarris, “Freudian Fantasy,” New York Times, December A number of scholars have provided nuanced analyses of Temple’s pedophilic appeal. See, for example, Valerie Walkerine, Daddy’s Girl: Young Girls and Popular Culture (Cambridge, MA: Harvard University Press...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 187–219.
Published: 01 December 2004
...), 45–48; and Andrew Sarris, “Fassbinder and Sirk: The Ties That Unbind,” Village Voice, 3 September 1980, 37–38. For a wonderful analysis of Far from Heaven that addresses (among other things) the relationship between Haynes’s and Sirk’s work, see Sharon Willis, “The Politics...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 149–183.
Published: 01 May 2005
..., “The Manchurian Candidate and the Gender of the Cold War,” Literature/Film Quarterly 28 [2000]: 39). See also Andrew Sarris, “Film Fantasies, Left and Right,” Film Culture, no. 34 (1964): 33. Raymond’s claim that he did not call because he alone could stop “them” suggests that he...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... that immediately precede them in the filmography. I do not think it will offend many ears to say that Litvak was not one of Holly- wood’s greatest auteurs; he did not rank an entry in Andrew Sarris’s The American Cinema (1968), not even in one of the book’s colorful minor categories like “Fringe Benefits...