Death of Classical Cinema, The: Hitchcock, Lang, Minnelli
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.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
actors Alphaville American Andrus Antonioni argues attempt auteur auteurist Band Wagon Barzelli Beautiful becomes body Bordwell Cahiers du Cinéma Carlotta central characters cinephilia classical cinema Classical Hollywood Cinema close-up Contempt Cornelius creates critics Daney death decor Deleuze desire detective director door earlier Elsaesser emotional Eyes of Dr face fascination Figure film’s filmmakers final frame French New Wave Fritz Fritz Lang function German Godard Hitchcock Hitchcock’s cinema Hotel Luxor Jack Jack’s Jacques Rivette Jean-Luc Godard kind Kras Kruger La dolce vita Lang’s looks Luxor Mabuse Mabuse’s Mark Marnie Marnie’s master criminal melodrama metaphoric Minnelli’s films mirror modern modernist montage mother musical Naremore narrative Nazi opening period play postwar production protagonist rape relation relationship Rivette role sense sequence sexual shot simply space spectator star strongly studio style Testament of Dr Thousand Eyes tion Town trans Travers Truffaut Veronica Vincente Minnelli Weeks woman writes
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 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.