By Robert B. Ray
From the airborne dirt and dust jacket: "Robert B. Ray examines the ideology of the main enduringly renowned cinema on this planet – the Hollywood motion picture. Aided by means of 364 body enlargements, he describes the advance of that traditionally overdetermined shape, giving shut readings of 5 usual cases: Casablanca, It's a superb existence, the guy Who Shot Liberty Valance, The Godfather, and Taxi motive force. just like the heroes of those videos, American filmmaking has refrained from dedication, in either plot and method. rather than picking left or correct, avant-garde or culture, American cinema attempts to have it either ways.
Although Hollywood's advertisement luck has led the realm viewers to equate the yankee cinema with movie itself, Hollywood filmmaking is a selected procedure designed to answer particular historic occasions. As an artwork limited in theoretical scope yet wealthy in person diversifications, the yankee cinema poses the main attention-grabbing query of pop culture: Do dissident types have any likelihood of last freed from a mass medium trying to co-opt them?
This isn't the world's top experiment (you can see a part of the scanner's hand from time to time), however it is a readable reproduction of this hard-to-find e-book till a certified experiment comes alongside. "
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Additional info for A Certain Tendency in the Hollywood Cinema, 1930 - 1980
The aspiration to subtlety and complexity might be implicit in the choice of subject, but it was all too often undermined by the crude and laboured quality of the devices which made the subject comprehensible. The sound lm's innovation was not the talking picture but the audible picture. Its arrival improved the medium, as distinct from the mechanism, in the sense that it greatly enlarged the range of communicable subjects, treatments and attitudes. Depth and complexity became compatible with economy over an enormously wider eld once the presentation of events ceased to demand elaborate processes of exposition.
Movies, however, can follow the event through and chart the development which the still photograph ignores. A lm may be complete in a way which is not open to photography. It is invalid to argue from the properties of photography that ‘cinematic lms invoke a reality more inclusive than the one they actually picture’? Bazin and Kracaner share the view that lm is ‘essentially an extension of photography '3 and that as a result ‘the nature of I. Kracauer, Theory 2. aura, p. 11. 3. , |7. ix. of Film, p.
This, the earliest form of cinema, was quite independent of photography. Thus the cinema is a device which creates an illusion of mow ment as much as it is an ‘ extension of photography‘. Every method of using lm presupposes movement, but there are movies — in particular certain fomrs of cartoon — which do not involve photography. The invention of the cinecamera was the nal stage in the development which formed the prehistory of the movies. Thirty years before the camera was able to take the rapid series of pictures needed in order to analyse actual movement, photographs had been incorporated into various forms of optical toy.
A Certain Tendency in the Hollywood Cinema, 1930 - 1980 by Robert B. Ray