By Jerry Roberts
From the 1st released motion picture overview in the past due 1800s to the 21st-century period of the great motion picture critics’ wake,” this chronicle experiences the character, scope, and controversies in American movie feedback. relocating throughout the Silent period, the pre- and post-war years, the golden age of the Nineteen Seventies, and the eventual decline of the Eighties and Nineteen Nineties, this exhaustive assessment comprises biographical info on essentially the most influential movie criticsincluding Leonard Maltin, Roger Ebert, Pauline Kael, and James Ageeas good as a old list and demanding evaluation in their paintings. Illuminating numerous previous controversies, this worthy reference files the battles among auteur theorists and their opposing critics in addition to among the critics and studios, filmmakers, or even themselves. Little-known facets of movie feedback lore also are comparable, similar to the epic battles waged in print by means of Pauline Kael and Andrew Sarris, the studio boycotts of the hot York instances and ny usher in Tribune over unflattering press, and the critics barred from attending premieres through studios for writing "negative" studies. Honoring those that make clear the inventive visions and storytelling sensibilities that experience graced the massive monitor, this authoritative consultant is a must have for pros, movie historians, and picture buffs.
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Extra info for The Complete History of American Film Criticism
Sample text
This unity, or “compound cinema,” in Potamkin’s terms, required evolutionary catalysts to keep it fresh, for which he was always on the lookout. ” Potamkin wanted to see the medium progress artistically, and emphasized that “intensiveness” went hand in hand with that. The intensiveness was inherent in his own reaction to Carl Theodor Dreyer’s The Passion of Joan of Arc (1929). As Russell Campbell explained in 1978, progressive for Potamkin meant the dominant ordering of most films, mostly in the Hollywood tradition of sequential time.
Actually, I Am a Fugitive is not a moralizing treatise. ” Born Leonard MacTaggart Lorentz in Clarksburg, West Virginia, on December 11, 1905, Lorentz attended Buckhannon High School, West Virginia Wesleyan, and West Virginia University. He adopted his father’s first name as his own, and 56 The Complete History of American Film Criticism edited Moonshine, a humor magazine in Morgantown. He quit school at age 19 to try a journalism career in New York, where he edited the General Electric Company’s house organ, then was hired as film critic of Judge, a post he held for a decade.
As Russell Campbell explained in 1978, progressive for Potamkin meant the dominant ordering of most films, mostly in the Hollywood tradition of sequential time. W. Griffith, who had invented the flashback as a narrative film device, had succumbed to the stasis of the Hollywood line of sequential films. ” In a later era, Potamkin might have been a fan of writer-director Quentin Tarantino, whose films often 46 The Complete History of American Film Criticism move back and forth in time. Potamkin was born in 1900 in Philadelphia and studied at the University of Pennsylvania and New York University.