By James Agee
My experiment at three hundred dpi, OCR'd, eight b/w photographs on the finish integrated - quantity 2 comprises 5 movie scripts, a pdf already exists
Amazon quote: The lion's proportion of 'Agee on movie, vol. I', is dedicated to James Agee's paintings as a columnist for 'The Nation', the place he wrote approximately movie from 1942 to 1948. It isn't precisely transparent if this quantity includes each column he wrote for that journal - nowhere is it pointed out someway, and there are gaps within the dates attributed to the entries. which may be in basic terms simply because he didn't give a contribution to each factor, however it will be great to grasp if this is often the entire fabric from this resource - an writer who charges the Library of the USA therapy premiums an entire assortment. different sections of this quantity comprise some of Agee's weekly movie experiences for 'Time Magazine' from 1941 to 1948, a few miscellaneous articles for 'Partisan Review' and 'Sight and Sound', and 'Life Magazine' positive factors - 'Comedy's maximum Era' and 'Undirectable Director'. the 1st of those gains bargains with the comedians of silent movie - Chaplin, Keaton, Langdon, and Lloyd; the second one matters John Huston. [....]
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Extra resources for Agee on Film, Volume 1: Essays and Reviews
The best of the patriotism is implicit rather than overt. The lovemaking is strictly churchsupper. The entertainment is best. Lack of space, libel laws, and a fondness for entertainers, all prevent any detail on the subject; but we can safely remember that every piece of entertainment, like every political speech or swatch of advertising copy, has nightmarish accuracy as a triple-distilled image of a collective dream, habit, or desire. My favorite few minutes was Gracie Fields's rendition of the Lord's Prayer as set, it sounded, by Stainer or more so.
Public's country is a horse of another color were indeed of another color, glossy and insipid; but I blame this less on the country than on the fact that few of us, conspicuously excepting Walker Evans, have yet learned how to make a camera show what a country it is. It was extremely disconcerting at the end to see a "two worlds" image of Vice-President Wallace's overdrawn to a point at which an image of the Western Hemisphere, described as "free," totally eclipses the "slave" hemisphere. The film as a whole indicates that this unfortunate piece of misorientation could not have been deliberate, but it should be rectified.
The camera work varies between competence in the air and the gummiest sort of "Rembrandt" sentimentalities on the ground. A few all but annihilating cut-ins of actual combat adequately measure the best of the fiction, and my own uneasiness about it. Barring a few infallible bits of slap-stick and one or two kitschy ingenuities with color, Saludos Amigos depresses me. Self-interested, belated ingratiation embarrasses me, and Disney's famous cuteness, however richly it may mirror national infantilism, is hard on my stomach.
Agee on Film, Volume 1: Essays and Reviews by James Agee