Phillip Lopate has been obsessed with movies from the start. As an undergraduate at Columbia, he organized the school's first film society. Later, he even tried his own hand at filmmaking. But it was not until his ascent as a major essayist that Lopate found his truest and most lasting contribution to the medium. And, over the past twenty-five years, tackling subjects ranging from Visconti to Jerry Lewis, from the first New York Film Festival to the thirty-second, Phillip Lopate has made film his most cherished subject. Here, in one place, are the very best of these essays, a joy for anyone who loves movies.…mehr
Phillip Lopate has been obsessed with movies from the start. As an undergraduate at Columbia, he organized the school's first film society. Later, he even tried his own hand at filmmaking. But it was not until his ascent as a major essayist that Lopate found his truest and most lasting contribution to the medium. And, over the past twenty-five years, tackling subjects ranging from Visconti to Jerry Lewis, from the first New York Film Festival to the thirty-second, Phillip Lopate has made film his most cherished subject. Here, in one place, are the very best of these essays, a joy for anyone who loves movies.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Phillip Lopate is a central figure in the resurgence of the American essay, both through his best-selling anthology The Art of the Personal Essay and his collections Bachelorhood, Against Joie de Vivre, Portrait of My Body, Portrait Inside My Head, and To Show and to Tell: The Craft of Literary Nonfiction. He directs the nonfiction MFA program at Columbia University, where he is Professor of Writing.
Inhaltsangabe
Introduction MEMORIES Anticipation of La Notte: The “Heroic” Age of Moviegoing The First New York Film Festival—1963 Three on a Couch: Jerry Lewis Adjusts Contempt: The Story of a Marriage Antonioni’s Cronaca Diary of a Country Priest: Films as Spiritual Life Fassbinder’s Despair FILMS AND FILMMAKERS The Operatic Realism of Luchino Visconti The World According to Makavejev Fourteen Koans by a Levite on Scorsese’s The Last Temptation of Christ Truffaut’s The Woman Next Door David Lynch’s Wild at Heart Kenji Mizoguchi The Legacy of John Cassavetes A Taste for Naruse Sidney Lumet, or The Necessity for Compromise The Experimental Films of Warren Sonbert Three Ozu Films from the Fifties CAN MOVIES THINK? The Passion of Pauline Kael The Gallant Andrew Sarris The Last Taboo: The Dumbing Down of American Movies In Search of the Centaur: The Essay-Film When Writers Direct The Images of Children in Film The 32nd New York Film Festival Interview with Abbas Kiarostami Was It a Montage for You, Too, My Dear? Index
Introduction MEMORIES Anticipation of La Notte: The “Heroic” Age of Moviegoing The First New York Film Festival—1963 Three on a Couch: Jerry Lewis Adjusts Contempt: The Story of a Marriage Antonioni’s Cronaca Diary of a Country Priest: Films as Spiritual Life Fassbinder’s Despair FILMS AND FILMMAKERS The Operatic Realism of Luchino Visconti The World According to Makavejev Fourteen Koans by a Levite on Scorsese’s The Last Temptation of Christ Truffaut’s The Woman Next Door David Lynch’s Wild at Heart Kenji Mizoguchi The Legacy of John Cassavetes A Taste for Naruse Sidney Lumet, or The Necessity for Compromise The Experimental Films of Warren Sonbert Three Ozu Films from the Fifties CAN MOVIES THINK? The Passion of Pauline Kael The Gallant Andrew Sarris The Last Taboo: The Dumbing Down of American Movies In Search of the Centaur: The Essay-Film When Writers Direct The Images of Children in Film The 32nd New York Film Festival Interview with Abbas Kiarostami Was It a Montage for You, Too, My Dear? Index
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