By Robert Kolker
During this twentieth-anniversary millennial variation, Kolker keeps and expands his inquiry into the cinematic illustration of tradition by means of 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 vital works in view that 1988, examining these movies that have made vital 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 occupation by way of a brand new comparative learn of Oliver Stone, who mirrors Penn's perform of drawing his motion pictures out of old and ideological currents. putting the movies of Penn, Stone, Kubrick, Scorsese, Spielberg, and Altman in an ideological point of view, Kolker either illuminates their dating to each other and to bigger currents in our tradition, and emphasizes the statements their movies make approximately American society and tradition. This variation encompasses a new preface, a requiem for Stanley Kubrick, up to date filmography, and forty eight photos from numerous motion pictures mentioned during the textual content.
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Additional resources for A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman (4th Edition)
At the end of his rope, unable to find sufficient employment in his work as a screenwriter, Dix thinks he has found love with a strong woman. But he is unable to be domesticated, and his rage is contagious and threatening. 6 Containment was the order of the decade on the geopolitical and the personal-political level. Tough guys still existed and could be placed within an anticommunist setting, as in Samuel Fuller’s deeply noir Pickup on South Street (1953). Even here, the girlfriend-bashing gangster turns out to be misunderstood, a commie dupe despite himself.
Noir’s contemporaries were quite aware of just how far their studios would allow them to go. Mickey One tests the limits. It fractures causality, suppresses motivations, and not merely draws the viewer into an observation of the central character but forces one to share his perception, a perception that is confused, paranoid in the extreme, and unable to comprehend the world in anything but a jagged, fragmented manner. The noir world is internalized, and is seen the way the character sees it—not through his eyes, but with his sensibility.
The gang’s car is shown in a far shot by a lake. Another car quietly glides into the frame in front of it. The policeman, serpent-like, insinuates himself into the gang’s place of rest. They jump him, then take his picture and taunt him.
A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman (4th Edition) by Robert Kolker