Search Results for Hollywood cinema

... of the Hollywood cinema—and so the stakes of Gatsby’s love and death are radically reduced, resulting in a “story [that] doesn’t seem weighty enough for the footage it consumes” ( Film Daily 1926 ). In finally conforming to the standards of the industry—following, however inconsistently, the dicta of the Hays...

... communication with Hollywood cinema than with any other cultural discourse of the period. This is not to say that Stein, any more than all of those Fred Astaire musicals and society comedies, was wholly, or even primarily, intent on class manipulation, but simply...

... 335 Hitchcock: From Theater to Cinema to Hollywood Beyond Sabotage itself, Hitchcock left no commentary on the play Conrad could not bear to watch. Although allusions and verbal nuances indicate that Hitchcock and his collaborators returned closely to the novel...

... Ford Coppola’s Godfather. But Killen’s genea- logical backstory of this new Hollywood cinema peters out prematurely, slighting some of these films’ most important precursors, including European art films such asBlow-Up , Jean-Luc Godard’s Masculine Femi- nine, and Ingmar Bergman’s Persona...

... an institutional matter. Yet cinema during the Seventeen Years, despite some surprising similarities to Hollywood, was no subsidiary of it. The power structure was dominated not by marketing concerns — film production was inte- grated and centrally regulated — but by ideological needs, manifested...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

..., the ‘solution.’ ”3 For Max Horkheimer and Theodor W. Adorno, the Hollywood movie is the quintessential end-oriented cultural product. Its value is determined completely by its conclusion, which can be glimpsed in every moment of the text: “As soon as the film begins, it is quite clear how it will end...

...’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June...

...’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June...

..., in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June 2006 tionship between the cinema of poetry and its prosaic double had changed...

...’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June...

... constructed their poetic redoubts. For Serge Daney, the rela- 2  “ ‘Evolution of the New Wave’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA...

...’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June...

... of contemporaneous film theory, that the innovation of sound films would represent “a new opportunity . . . of testing public interest in the question of a Universal language,” precisely because Hollywood studios, which had grown dependent on foreign markets, would now find themselves incentivized to train...

... Helen , and Hollander John , 157 – 77 . New York : Oxford University Press . Marx John , and Cooper Mark Garrett . 2013 . “ I. A. Richards’s Failed MOOC .” Humanities after Hollywood (blog), September 18 . https://humanitiesafterhollywood.org/2013/09/18/i-a-richardss...