Andrew Sarris: Director Categories from “The American Cinema: Directors and Directions ” [Published in ]. “The American Cinema is more than . The American cinema: directors and directions, Responsibility: by Andrew Sarris. Edition: 1st Da Capo Press ed. Imprint: New York: Da Capo Press . Andrew Sarris. · Rating details · ratings · 16 reviews. “The American Cinema is the Citizen Kane of film criticism, a brilliant book that elevated American.
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It’s a good book for info on the “Pantheon” directors and for info on lesser known films, but his criticisms are usually based on “decency” and the necessity for films to directly address issues and ideas Wilder is also Canonical at this point, and his films have aged far better than most of the films from his era. Strong opinions many of which I disagreed withinteresting organization–all major directors fit into various categories like “Expressive Esoterica” or “Less Than Meets the Eye”–a thought-provoking read.
Andrew Sarris – Wikipedia
He wrote for The New York Observer until and was a professor at his alma mater, Columbia University Most famous for his saris “Notes on the Auteur theory” which popularized this film criticism technique in America. Want to Read Currently Reading Read.
If you originally registered with a username please use that to sign in. Film distribution in Greece: Ari rated it liked it Americah 20, Later he remembered, ” The Voice had all these readers—little old ladies who ameerican on the West Side, guys who had fought in the Spanish Civil War—and this seemed so regressive to them, to say that Hitchcock was a great artist”. Sarris was a co-founder of the National Society of Film Critics. Lost and Found Books Condition: It is not necessary to agree with all of his judgments, but if your ameridan of any of the films he really rates is greatly at odds with his, you would do well to go back and re-view the work a few times, because, like as not it will be you that has missed something clnema, not Sarris who has over-estimated Has a good binding and tight pages.
Used book in very good condition. His overall view, shared by Manny Farber, that genre films are ignored in favor of forgettable prestige movies resonated with me. Brandon Isaacson rated it really liked it Nov 23, Find Rare Books Book Value.
May 02, Alan Keep rated it it was ok. He also, breathtakingly, sweeps aside in a cinemq phrases Bridge on the River Kwai masterpieceand more generally is loath to admit great films from directors he consigns to the categories of Strained Seriousness and Less Than Meets the Eye. But Sarris, who was film critic in chief of Village Voice at the time it was written, was at an intellectual level far beyond that of most film academics and he used his chatty, hip style to make his undiluted and penetrating analysis accessible to all.
The American Cinema
In addition, the book includes a chronology of the most important American films, an alphabetical list of over films with their directors and years of release, and the seminal essays “Toward a Theory of Film History” and “The Auteur Theory Revisited. This is an older printing. Using the new thinking in this book, Sarris re-evaluated the pantheon of important American directors who had made films between and Edition 1st Da Capo Press ed.
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But I guess it was Sarris who put it all down, strove to authenticate it, and demanded that film be seen as equal to the highbrow. Now the issue of credit could be set aside in favor of a more personal accounting: The book commences with “The woods and the trees”, one of the most brilliant analyses of the nature of film art in the era of the Hollywood Studio system. To see what your friends thought of this book, please sign up.
His career is discussed in For the Love of Movies: There are no discussion topics on this book yet.
Tye to Book Page. All text is legible and may contain extensive markings, highlighting, worn corners, folded pages, etc. Marcine Miller rated it it was amazing Aug 13, Endlessly reviewing and revising his opinions, Sarris defended his original article “Notes on Auteur Theory” in The American Cinema stating: Archived from the original on