The Death of Classical Cinema: Hitchcock, Lang, Minnelli (Google eBook)

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SUNY Press, Feb 1, 2012 - Performing Arts - 269 pages
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The Death of Classical Cinema uncovers the extremely rich yet insufficiently explored dialogue between classical and modernist cinema, examining the work of three classical filmmakers—Alfred Hitchcock, Fritz Lang, and Vincente Minnelli—and the films they made during the decline of the traditional Hollywood studio system. Faced with the significant challenges posed by alternative art cinema and modernist filmmaking practices in the early 1960s, these directors responded with films that were self-conscious attempts at keeping pace with the developments in film modernism. These films—Lang’s The Thousand Eyes of Dr. Mabuse, Hitchcock’s Marnie, and Minnelli’s Two Weeks in Another Town—were widely regarded as failures at the time and bolstered critics’ claims concerning the irrelevance of their directors in relation to contemporary filmmaking. However, author Joe McElhaney sheds new light on these films by situating them in relation to such acclaimed modernist works of the period as Godard’s Contempt, Fellini’s La dolce vita, Antonioni’s Red Desert, and Resnais’s Last Year at Marienbad. He finds that these modernist films, rather than being diametrically opposed in form to the work of Hitchcock, Lang, and Minnelli, are in fact profoundly linked to them.
  

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Contents

The Thousand Eyes of Dr Mabuse
27
Marnie
85
Two Weeks in Another Town
141
Or The Death of Cinema Is No Solution
201
Notes
213
Index
249
Copyright

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Page 10 - Melodrama starts from and expresses the anxiety brought by a frightening new world in which the traditional patterns of moral order no longer provide the necessary social glue.
Page 15 - The auteur is the fiction, the necessary fiction one might add, become flesh and historical in the director, for the name of a pleasure that seems to have no substitute in the sobered-up deconstruction of the authorless voice of ideology.
Page 11 - But modernism does not establish a prevalent style of its own; or if it does, it denies itself, thereby ceasing to be modern. This presents it with a dilemma which in principle may be beyond solution but in practice leads to formal inventiveness and resourceful dialectic — the dilemma that modernism must always struggle but never quite triumph, and then, after a time, must struggle in order not to triumph.

About the author (2012)

Joe McElhaney is Assistant Professor of Film Studies at Hunter College, The City University of New York.

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