"MOVIE" is a long-venerated journal of serious film criticism, founded in 1962 by four young British critics--among them Ian Cameron and V.F. Perkins, who are still active members of the editorial board. The magazine set out to promote the idea of the director as effective author of the film, a view that would become known as "auteur" theory, and to communicate an enthusiasm for American cinema, which was at that time largely scoffed at by serious critics. Since then the journal's criticism has grown to combine detailed ...
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"MOVIE" is a long-venerated journal of serious film criticism, founded in 1962 by four young British critics--among them Ian Cameron and V.F. Perkins, who are still active members of the editorial board. The magazine set out to promote the idea of the director as effective author of the film, a view that would become known as "auteur" theory, and to communicate an enthusiasm for American cinema, which was at that time largely scoffed at by serious critics. Since then the journal's criticism has grown to combine detailed stylistic analysis with a focus on the socio-historical contexts and political implications of the films at hand. "MOVIE 36" continues "MOVIE"'s role at the forefront of writing about cinema. The centerpiece of this issue is an extended study by Douglas Pyle of the concept of point-of-view in the cinema, a notion often invoked by critics but rarely given thorough interrogation. The issue also includes two articles on masculinity in films like "Lethal Weapon" and "Terminator 2," two essays on Max Olphus, and an essay on the horror films of Vincent Price.
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Seller's Description:
Good-Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name-GOOD PAPERBACK Standard-sized.
