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Full Description
After over a century of existence, the cinema still has its mysteries. Why, for example, is the job we call movie stardom unlike any other in the world? How do films provide so much unconcealed information that we fail to notice? What makes it hard to define what counts as "acting"? How do movies like Casablanca and Breathless store the film and world histories of their generations? How can we reconcile auteurism's celebration of the movie director's authority with the camera's automatism? Why have the last four decades of film criticism so often neglected such questions? After beginning with an overview of film studies, this book proposes a shift from predictable theoretical approaches to models that acknowledge the perplexities and mysteries of the movies. Deriving methods from cinephilia, Wittgenstein, Richard Rorty, Stanley Cavell, Eleanor Duckworth, V. F. Perkins, and James Naremore, Robert B. Ray offers closereadings that call attention to what we have missed in such classic films as La Règle du Jeu, It Happened One Night, It's a Wonderful Life, Vertigo, Holiday, The Philadelphia Story, Casablanca, Breathless, and Tickets.
Contents
Part I: Film Studies and Its Problems.- 1. Movie vs. Screen: The Great Divide in Film Studies.- 2. The Automatic Auteur, or, A Certain Tendency in Film Criticism.- Part II: Cinephilia, Cavell, and Description-as-Method.- 3. Cinephilia and Method.- 4. Cavell, Thoreau, and the Movies.- Part III: Movie Star Performance.- 5. The Mystery of Movie Stardom.- 6. Vertigo: Why Doesn't Scottie Recognize "Madeleine"?.- 7. Notes on Fred Astaire.- Part IV: Memory Theaters.- 8. Memory Theaters: Casablanca and Breathless.- Part V: The Structure of Complex Images.- 9. The Cukor "Problem": David Copperfield, Holiday, and The Philadelphia Story.- 10. The Structure of Complex Images: Abbas Kiarostami's Tickets.
