By Robert Kolker
During this twentieth-anniversary millennial variation, Kolker maintains and expands his inquiry into the cinematic illustration of tradition by way of 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 on account that 1988, examining these motion pictures that have made vital advances within the directors' careers and that have given reason for rethinking the movies that preceded them. incorporated is a profile of Arthur Penn's occupation via a brand new comparative research of Oliver Stone, who mirrors Penn's perform of drawing his movies out of historic and ideological currents. putting the flicks of Penn, Stone, Kubrick, Scorsese, Spielberg, and Altman in an ideological point of view, Kolker either illuminates their dating to each other and to bigger currents in our tradition, and emphasizes the statements their movies make approximately American society and tradition. This variation incorporates a new preface, a requiem for Stanley Kubrick, up-to-date filmography, and forty eight pictures from a variety of motion pictures mentioned in the course of the textual content.
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Extra info for A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman (4th Edition)
Once she is on the street, they are photographed in a two shot, and they talk and proceed to walk down a sunlit, deserted street, the camera tracking along with them, keeping them together in the shot. The camera remains close as they walk into an apparently abandoned town (the only other figure to be seen is a black man sitting in a chair, and throughout the film Penn will continually 34 A CINEMA OF LONELINESS link Bonnie and Clyde to the marginalized and disenfranchised). They talk, drink Cokes, Clyde does his engaging trick with a matchstick in his mouth and boasts of his outlaw prowess.
Edward Dmytryk’s Murder, My Sweet (made at RKO, the studio of Citizen Kane) and Billy Wilder’s Double Indemnity (made at Paramount)—the first from Raymond Chandler’s Farewell, My Lovely, the second scripted by Chandler from a James M. Cain novel—introduced the major subjects and formal structures of noir, beginning its first cycle that would continue through the violent, off-centered films of Anthony Mann in the late 1940s, such as T-Men (1947), Raw Deal (1948), and Border Incident (1949), and Robert Aldrich’s Kiss Me Deadly (1956).
Mickey sits in a steam bath in a derby and overcoat with turned-up collar; behind him a group of fat men in towels looks on and laughs (one wears a gun). Mickey and a girl swim underwater in a pool. A girl is draped on the hood of a car, face pressed to the window as the wipers turn back and forth. ) Mickey and a girl make love while, in deep focus behind them, a man is beaten up. The sequence comes to a close as Mickey runs in the dark from a man yelling at him, “There’s no place you can hide from them.
A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman (4th Edition) by Robert Kolker