By Tom Conley, T. Jefferson Kline
This compendium of unique essays bargains important insights into the existence and works of 1 of an important and influential administrators within the historical past of cinema, exploring his significant movies, philosophy, politics, and connections to different critics and administrators. offers a compendium of unique essays supplying valuable insights into the lifestyles and works of 1 of an important and influential filmmakers within the background of cinema gains contributions from a global forged of significant movie theorists and critics offers readers with either an in–depth examining of Godard’s significant motion pictures and a feeling of his evolution from the hot Wave to his later political sessions Brings clean insights into the good director’s biography, together with reflections on his own philosophy, politics, and connections to different critics and filmmakers Explores the various eighty gains Godard made in approximately 60 years, and contains insurance of his fresh paintings in video
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Extra info for A Companion to Jean-Luc Godard (Wiley-Blackwell Companions to Film Directors)
Although Arthur Conan Doyle’s novels A Study in Scarlet (1887) and The Valley of Fear (1915) had been adapted for the British screen in 1914 and 1916, audiences responded to Holmes’s exotic eccentricities in many other contexts, from the camera trickery of American Mutoscope’s short Sherlock Holmes Bafﬂed (1903) to the stage play Sherlock Holmes (1899), American actor-playwright William Gillette’s fantasia on Holmesian themes, twice ﬁlmed in Hollywood – ﬁrst with Gillette in the starring role (1916), then with John Barrymore (1922).
The knight had pushed the vizor of his helmet back to be sociable, and he was ﬁddling with the knots on the ropes that tied the lady to the tree and not getting anywhere. I stood there and thought that if I lived in the house, I would sooner or later have to climb up there and help him. 17 Cornell Woolrich, the pulp writer who had an even greater impact on crime ﬁlms of the forties, was no one’s idea of a stylist, in either short forms or long, and yet his contribution to the crime ﬁlm was equally metaphoric: a knack of tying particular crimes to a pervasive sense of urban paranoia and a claustrophobic compression of dramatic time.
Criminals have exercised a particular fascination for the literary imagination whenever social orders have been in ﬂux. ”2 With the waning of the notion that the social and economic status of kings and peasants alike reﬂect an eternal, God-given order comes the suspicion that some people may be occupying social places they have no right to – a suspicion that produces the rise of the criminal in literature. Criminals in American literature are as old as American literature itself. The ﬁrst important novel to appear in the United States, Charles Brockden Brown’s Wieland; or, The Transformation (1798), is a supernaturally tinged tale of crime that goes far to anticipate the anxieties of ﬁlm noir in its sense of gathering doom.