By Robert B. Ray
From the dirt jacket: "Robert B. Ray examines the ideology of the main enduringly well known cinema on the earth – the Hollywood motion picture. Aided via 364 body enlargements, he describes the advance of that traditionally overdetermined shape, giving shut readings of 5 normal situations: Casablanca, It's an excellent lifestyles, the guy Who Shot Liberty Valance, The Godfather, and Taxi motive force. just like the heroes of those video clips, American filmmaking has refrained from dedication, in either plot and method. rather than determining left or correct, avant-garde or culture, American cinema attempts to have it either ways.
Although Hollywood's advertisement good fortune has led the area viewers to equate the yankee cinema with movie itself, Hollywood filmmaking is a selected method designed to answer particular ancient events. As an paintings constrained in theoretical scope yet wealthy in person adaptations, the yank cinema poses the main fascinating query of pop culture: Do dissident kinds have any likelihood of final freed from a mass medium looking to co-opt them?
This isn't the world's top test (you can see a part of the scanner's hand from time to time), however it is a readable replica of this hard-to-find e-book until eventually a qualified experiment comes alongside. "
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Extra info for A Certain Tendency in the Hollywood Cinema, 1930 - 1980
And The Pawnshop (both 1 9 1 6 ) , Chaplin's props w e r e e m p l o y e d to define character and express inner feelings, g i v i n g depth to the surface c o m e d y . B u t central to the success of all Chaplin's films w e r e the intelligence and grace of his o w n performance. 19 The Keystone Kops. Mack Sennett's seven-man comic force made its first appearance in December 1912. Led by Ford Sterling's Chief Teheezel, the Kops became a proving ground for aspiring comics. T h e r e is an irony in the title of Chaplin's debut film, Making a Living (1914), for, as a founder of the star system, his value rose and his artistic i n d e p e n d e n c e g r e w e n o r m o u s l y w i t h each n e w contract.
Since he was responsible for so m u c h i n n o v a t i o n during this Expressionist period, it is hardly surprising that C a r l M a y e r was a prime m o v e r i n the break w i t h sanitized studio p r o d u c t i o n . H o w e v e r , although he c o n c e i v e d the idea for Berlin, Symphony of a Great City (1927), it was W a l t e r R u t t m a n n w h o , exulting in the shapes and rhythms of daily life, edited Karl Freund's candid-camera footage into a dazzling 'city s y m p h o n y ' .
34 21 Charles Chaplin's Modern Times (1936) borrowed heavily from Rene Clair's A Nous la liberie (1931) but its greater debt was to Soviet revolutionary cinema, causing it to be banned as Communist propaganda by Hitler and Mussolini. Chaplin took his revenge with The Great Dictator (1940). If Chaplin's style remained largely theatrical, Buster Keaton's was w h o l l y cinematic, despite his o w n vaudeville b a c k g r o u n d . In 1 9 1 7 , K e a t o n (1895—1966) began w o r k i n g w i t h Fatty A r b u c k l e and o v e r the next t w o years p r o d u c e d fifteen two-reelers of increasing sophistication.
A Certain Tendency in the Hollywood Cinema, 1930 - 1980 by Robert B. Ray