By Robert Kolker
During this twentieth-anniversary millennial version, Kolker maintains and expands his inquiry into the cinematic illustration of tradition via 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 crucial works due to the fact 1988, interpreting 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 profession by means of a brand new comparative research of Oliver Stone, who mirrors Penn's perform of drawing his motion pictures out of ancient 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 greater currents in our tradition, and emphasizes the statements their movies make approximately American society and tradition. This variation contains a new preface, a requiem for Stanley Kubrick, up-to-date filmography, and forty eight pictures from quite a few movies mentioned in the course of the textual content.
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Additional info for A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman (4th Edition)
His is a ghost world in which others are phantoms of his anxiety of desire. In the 1950s, even westerns, like Arthur Penn’s first film, The Left Handed Gun, would become containers for sensitive male angst. Noir, for the moment, had lost some of its conventions, and would return only in the seventies, when the form was rediscovered by filmmakers who, having studied film in school, were anxious to revive the one form that appeared to them available for formal experiment and as a vehicle for personal anxieties.
Robinson) in Little Caesar (1931), Tony Camonte (Paul Muni) in Scarface (1932)—Bonnie and Clyde are concerned about their image, about how they look to the world. They photograph each other and send the pictures to the newspapers. Bonnie’s doggerel verse about their exploits so thrills Clyde that his potency returns (the impotence motif in the film, the substitution of gun for penis, is an obvious element, which still manages to work as a significant cultural image of substitution, the establishment of sexuality as violent domination).
The initial shootout is presented as slapstick. The gang members bulldoze their way out, Blanche is hysterical (which annoys not only the rest of the gang but the viewer as well, for no real threat or upset is desired, no realization that this is a desperate situation); the gang retain their control. The police are harmless until they themselves become concentrated in a single person, Texas Ranger Frank Hamer (Denver Pyle), who is humiliated by the gang. The sequence with Hamer tests and confirms devotion to the main characters.