These essays — on Fassbinder, the 1975 New York Film Festival, Taxi Driver, and Jeanne Dielman — found Farber at the peak of his powers, blessed with one of the most distinctive (and idiosyncratic) voices in English -
language film criticism.
On top of what reads as an almost encyclopaedic account of English - language writing on and debates around mise en scène, Martin offers appropriate engagement with French film scholarship — both in translation and in the original — plus the thriving world of trans - national Spanish -
language film criticism.
Not exact matches
In addition, and unlike much English -
language film scholarship even today (and certainly television studies), the book is far from Anglophone - or even Francophone - centric in its account of both cinema and
criticism / theory's history, being at pains to emphasise the reality of new - century scholarly discourse as truly global in scope.
Book - length
film studies by amateurs can be traced back to Salman Rushdie's 1992 The Wizard of Oz, the volume that launched the BFI
Film Classics — possibly the most bountiful book series in the history of
film criticism in any
language, and one that sums up some of the gains
criticism generally can boast over the same period, when DVD extras, building on the precedents established with laserdiscs, started to become institutionalized.
The reading of his
film criticism gave me a very different key to American cinema than the one I used in France, a way to ground it in the culture and its
language, to pry it away from its own mythology.
In recent years we've seen plenty of
criticism (including mine) leveled at video games that rehash old ideas; games that rely on genre formulas; games that ape the
language of
film.
Among his most significant themes are: the relationship between art and
language (as in the
film La Pluie, in which water runs down pages erasing the text written by the artist); the status of the work of art and of
criticism in the museum (il Musée d'art moderne — Département des Aigles of 1968 is a museum in which some of the works exhibited are accompanied by the warning «This is not a work of art»); and the play between reality and fiction.
Ironically, art
criticism during the
film noir era of Abstract Expressionism was dominated not by art historians but by poets whose
language was redolent with sensibility.