By Joe McElhaney
Read or Download Albert Maysles PDF
Similar movies books
Notwithstanding mostly forgotten this day, the 1949 movie Pinky had an important effect at the international of cinema. Directed by means of Elia Kazan, the movie used to be a field place of work good fortune regardless of facing the era’s such a lot taboo subjects—miscegenation and racial passing—and garnered an Academy Award nomination for its African American superstar, Ethel Waters.
Severe questions particular to movie diversifications have to be not just built yet confirmed. And, those questions, those techniques, have to be available to scholars, who're now not but educationally subtle sufficient to digest simply theoretical fabric. reading Literature-to-Film variations: A Novelist's Exploration and consultant indicates an exploration into movie edition from a novelists' standpoint, from the writer operating with a screenwriter, embarking on a trip to appreciate the consequences of literature-to-film version and the complexities and difficulties it increases.
The philosophy and specific insights of the past due French movie critic are published in those essays
Pauline Kael, Andrew Sarris, and Roger Ebert have been 3 of America’s so much respected and greatly learn movie critics, extra recognized than some of the videos they wrote approximately. yet their striking contributions to the burgeoning American movie feedback of the Nineteen Sixties and past have been deeply encouraged by way of 4 past critics: Otis Ferguson, James Agee, Manny Farber, and Parker Tyler.
- A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 (Social History of Iranian Cinema (Paperback))
- Filmspeak: How to Understand Literary Theory by Watching Movies
- Displaced Allegories: Post-Revolutionary Iranian Cinema
- Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business
- Cowboy Metaphysics
- Unthinking Eurocentrism: Multiculturalism and the Media
Additional resources for Albert Maysles
While this attempt to reproduce realistic details is also apparent in the Maysles brothers’ earlier films, the earlier films were less obviously tied to traditional narrative and character development and were almost wholly preoccupied with the world of the rich and famous. Showman and Meet Marlon Brando are shot in a handheld direct-cinema style, but they have an aura of glamor to them, partly due to the presence of movie stars (in addition to Loren and Novak in Showman, we see Deborah Kerr, Tony Randall, Burt Lancaster, and Stanley Baker—and footage of Natalie Wood and Warren Beatty was shot but not used in the final cut) but also due to the ways in which they are filmed.
Instead, the film is intended to raise questions more than it is meant to supply answers. Mamber supports this thesis when he writes that “Maysles films do not attempt to ‘hide’ a message in a surface of uninterpreted observation; they simply refuse to spoon-feed interpretation when the material itself is open to consideration from a number of points of view. . [N]one of the thinking is done for you in the form of narration or an easily followed plot” (Mamber 147). indd 16 Albert Maysles 1/12/09 4:05:30 PM these films (especially Salesman, Gimme Shelter, and Grey Gardens) are relatively “open” texts.
The human subjects, while taken from the “real world,” begin to fuse with and resemble figures out of myth and fairy tale. “Fiction triumphs over the real, or rather it gives it its true dimension, relating it back to archetypes and constantly recalling the moral of the fable” (Comolli 228). Such a paradoxical experience of a documentary film is hardly surprising. It taps into one of the most persistent myths about the cinematic image as it attempts to capture the reality in front of its lens: namely, that the camera’s powers of indexicality are so strong and immediate that they transform their subjects into something extraordinary and unreal.