By Robert Kolker
During this twentieth-anniversary millennial version, Kolker maintains and expands his inquiry into the cinematic illustration of tradition through updating and revising the chapters at the administrators mentioned within the first edition-- Stanley Kubrick, Martin Scorsese, Robert Altman, and Steven Spielberg-- to incorporate their most crucial works because 1988, reading these movies that have made very important advances within the directors' careers and that have given reason for rethinking the movies that preceded them. integrated is a profile of Arthur Penn's profession through a brand new comparative examine of Oliver Stone, who mirrors Penn's perform of drawing his motion pictures out of ancient and ideological currents. putting the flicks of Penn, Stone, Kubrick, Scorsese, Spielberg, and Altman in an ideological point of view, Kolker either illuminates their courting to each other and to greater currents in our tradition, and emphasizes the statements their movies make approximately American society and tradition. This version incorporates a new preface, a requiem for Stanley Kubrick, up to date filmography, and forty eight photographs from a variety of motion pictures mentioned in the course of the textual content.
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Extra resources for A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman (4th Edition)
The film creates a desire for emulation; the characters attempt to create versions of themselves to be emulated. Like the figures of a traditional gangster film, a genre that Bonnie and Clyde reflects upon and updates—Rico (Edward G. Robinson) in Little Caesar (1931), Tony Camonte (Paul Muni) in Scarface (1932)—Bonnie and Clyde are concerned about their image, about how they look to the world. They photograph each other and send the pictures to the newspapers. Bonnie’s doggerel verse about their exploits so thrills Clyde that his potency returns (the impotence motif in the film, the substitution of gun for penis, is an obvious element, which still manages to work as a significant cultural image of substitution, the establishment of sexuality as violent domination).
It is itself the subject of influence. The film existed for a number of years as a screenplay in search of a French director. 9 The film adopts, to a point, Truffaut’s sensibility of lyrical agitation. At the same time it uses a narrative form that appears straightforward and “realistic” in its detail but is in fact highly manipulative. It carefully forges a relationship between viewer and central characters without hiding the fact that it is doing this. All Hollywood cinema aspires to forge such a close relationship; few films combine that aspiration with a foregrounding of their own methods of construction.
The words connote a fashionable (for the mid-sixties) religious angst, yet their irony and, finally, their poignancy in relation to Mickey’s loneliness and fear are undeniable. Loneliness and fear become manifest to Mickey in images of himself throughout the film. One sequence in particular indicates how clearly the world perceived by Mickey enfolds and reflects him. He flees the automobile graveyard and, as he flees, turns to watch a car that is bursting into flames. The camera is positioned behind him, and as he moves to screen left away from the fire, the shot begins to dissolve to another shot of Mickey, now on screen right and to the rear of the frame, walking as if through the fire, down a street toward the camera, drinking from a bottle.
A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman (4th Edition) by Robert Kolker