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Nearly three-quarters of a century of criticism - much of it misguided, sometimes even wrong-headed - has obscured a crucial facet of D.W. Griffith's accomplishment in Intolerance. This original and lucid study argues that Intolerance is, like Joseph Conrad's Heart of Darkness, a proto-modernist text. Both works exhibit an ahistoric consciousness of disorder, destruction and skepticism, and reflect - to different degrees - the aesthetic experimentalism of the early 20th century. Through a close analysis of Griffith's film and its manifold affinities with Conrad's tale - and more cursorily with the works of other exponents of modernism in the traditional arts - the author demonstrates that, contrary to the conventional criticisms of Intolerance as a cluttered, disjointed text, the film's eccentric form and unruliness are among the vital components of its meaning and modernity.
From bestselling author Gary Krist, the story of the metropolis that never should have been and the visionaries who dreamed it into reality Little more than a century ago, the southern coast of California—bone-dry, harbor-less, isolated by deserts and mountain ranges—seemed destined to remain scrappy farmland. Then, as if overnight, one of the world’s iconic cities emerged. At the heart of Los Angeles’ meteoric rise were three flawed visionaries: William Mulholland, an immigrant ditch-digger turned self-taught engineer, designed the massive aqueduct that would make urban life here possible. D.W. Griffith, who transformed the motion picture from a vaudeville-house novelty into a cornerstone of American culture, gave L.A. its signature industry. And Aimee Semple McPherson, a charismatic evangelist who founded a religion, cemented the city’s identity as a center for spiritual exploration. All were masters of their craft, but also illusionists, of a kind. The images they conjured up—of a blossoming city in the desert, of a factory of celluloid dreamworks, of a community of seekers finding personal salvation under the California sun—were like mirages liable to evaporate on closer inspection. All three would pay a steep price to realize these dreams, in a crescendo of hubris, scandal, and catastrophic failure of design that threatened to topple each of their personal empires. Yet when the dust settled, the mirage that was LA remained. Spanning the years from 1900 to 1930, The Mirage Factory is the enthralling tale of an improbable city and the people who willed it into existence by pushing the limits of human engineering and imagination.
Consisting of detailed discussions in which film directors and actors analyse key scenes from their film output, Mark Cousins's study covers the period from the 1940s through to the 1990s. The author discusses approximately forty of the most important scenes ever shot.
A classic on the aesthetics of filmmaking from the pioneering Soviet director who made Battleship Potemkin. Though he completed only a half-dozen films, Sergei Eisenstein remains one of the great names in filmmaking, and is also renowned for his theory and analysis of the medium. Film Form collects twelve essays, written between 1928 and 1945, that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an introduction by Jay Leyda, this volume allows modern-day film students and fans to gain insights from the man who produced classics such as Alexander Nevsky and Ivan the Terrible and created the renowned “Odessa Steps” sequence.