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By James Naremore

In 1895, Louis Lumière supposedly stated that cinema is "an invention and not using a future." James Naremore makes use of this mythical comment as a kick off point for a meditation at the so-called demise of cinema within the electronic age, and as a manner of introducing a wide-ranging sequence of his essays on video clips earlier and current. those essays comprise discussions of authorship, edition, and performing; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and experiences of more moderen paintings by way of non-Hollywood administrators Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. vital topics recur: the relatives among modernity, modernism, and postmodernism; the altering mediascape and dying of older applied sciences; and the necessity for powerful severe writing in an period while print journalism is waning and the arts are devalued. The publication concludes with essays on 4 significant American movie critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.

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To Griffith’s True-Heart Susie, because I think one should mention Griffith in all articles about the cinema: everyone agrees, but everyone forgets none the less. Griffith, therefore, and André Bazin, too, for the same reasons; and now that is done, I can get back to . . A Time to Love and a Time to Die. . But here I pause for a moment to say that, next to Le Plaisir, this is the greatest title in all cinema, sound or silent, and also to say that I heartily congratulate UniversalInternational on having changed the title of Erich Maria Remarque’s novel, which was called A Time to Live and a Time to Die.

The practice is enshrined during Hitchcock’s interview with Truffaut, in which Hitchcock claims that the approach he usually takes to sources is to “read a story only once, and if I like the basic idea, I just forget about the book and start to create cinema” (71). He would never adapt Crime and Punishment, he says, in part because he thinks that feature films are more like short stories than like novels and in part because “in Dostoyevsky’s novel there are many, many words and all of them have a function” (72).

62) Authorship, Auteurism, and Cultural Politics / 21 Godard is implicitly attacking not only the bourgeois tradition of quality but also certain features of modernism and the avant-garde. ” Godard and many of the other auteurists were different. They were opening the possibility for artists to engage in what Huyssen calls an “experimental mixing and meshing” of the old cultural domains (189). There was, moreover, an irony in the French fascination with American cinema: the auteurists’ rise to success as filmmakers was facilitated by the decline of the Hollywood studios, which had dominated the marketplace in the years between the two world wars.

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