The Films of John Cassavetes: Pragmatism, Modernism, and the Movies
The Films of John Cassavetes: Pragmatism, Modernism, and the Movies is the first book to tell in detail the story of a maverick filmmaker who worked outside the studio system. Providing extended critical discussion on six of his most important films (Shadows, Faces, Minnie and Moskowitz, A Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams), Ray Carney argues that Cassavetes' work is a distinctly life-affirming form of modernist expression that is at odds with the world-denying modernism of many of the most important art works produced in this century. Cassavetes is revealed to be a profoundly thoughtful and self-aware filmmaker and a deeply philosophical thinker, whose work takes its place in the American tradition along with the writings of Ralph Waldo Emerson and William James. The six films treated here emerge as expressive interpretations of the bewildering challenges in contemporary American cultural experience.
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abstract acting action actors American artistic asks attempt behavior Ben Gazzara camera character's characters Chet Chinese Bookie cinematic Citizen Kane complex conception Cosmo Vitelli critics D. H. Lawrence director editing Emerson emotional emotionally experience expressive Faces Faces's feelings figures film film's filmmaker forms Gena Rowlands gestures Hitchcock Hollywood Hugh Husbands identities imaginative impulses intellectual interaction James's Jeannie John Cassavetes keep Kubrick Lelia lives Longhetti Love Streams Mabel Maria McCarthy meaning metaphor Minnie and Moskowitz moments move movements movie Myrtle narrative never Nick Opening Night performance Peter Falk play plot possible present reality realm relationship resistance Richard Robert Harmon role Sam Shaw Sarah Lawson savetes scene script sense sequence Seymour Seymour Cassel Shadows shooting shot social stances style stylistic talk tell things tones Tony truth understanding Val Avery viewer vision visionary William James Woman Zelmo