By James Naremore
In 1895, Louis Lumière supposedly stated that cinema is "an invention with no future." James Naremore makes use of this mythical comment as a place to begin for a meditation at the so-called dying of cinema within the electronic age, and as a fashion of introducing a wide-ranging sequence of his essays on video clips prior and current. those essays contain discussions of authorship, version, and appearing; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and experiences of newer paintings via non-Hollywood administrators Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. very important issues recur: the kinfolk among modernity, modernism, and postmodernism; the altering mediascape and demise of older applied sciences; and the necessity for powerful severe writing in an period whilst print journalism is waning and the arts are devalued. The booklet concludes with essays on 4 significant American movie critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.
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Extra resources for An Invention Without a Future: Essays on Cinema
28 Potemkin, 1925. Courtesy Janus Films. Still provided by Moving Image and Sound Archives. It is difficult for modern viewers to see Eisenstein as anything but a com mitted Marxist. His films are almost as naive as those of Griffith in their simple devotion to their own view of life. In the 1920s, whether he was aware of it or not, Eisenstein discovered the visceral power of editing and of visual composition, and he was a master of both. He was dangerous in the same sense that every artist is dangerous: He was his own person, a unique individual.
The camera recording the image and the disk recording the voice or music had to be in continuous synchronization so that, on playback, picture and sound would have a direct and constant relationship to one another. indb 39 9/10/2006 8:32:09 PM 40 h history of film editing carried through so that during projection the sound disk and the picture were synchronized. In sound-on-film systems, the sound reader had to be located on the projector so that it was read precisely at the instant when the corresponding image was passing under the light of the projector.
In his silent work, The Big Parade (1925) and The Crowd (1928), and later in his early sound work, Billy the Kid (1930) and Our Daily Bread (1934), he presented sequences that were narrative-driven, like Griffith’s work, and idea- or concept-driven, like Eisenstein’s. Both Griffith and Eisenstein were influen tial on the mainstream cinema, and their influence extended far beyond the silent period. indb 35 L’Age d’Or, 1936. Still provided by Moving Image and Sound Archives. 43 L’Age d’Or, 1936.