Andrew Sarris 1st Ed 1971 Hollywood Voices Interviews With Film Directors HC DJ

Description: Hardcover. 8vo. Bobbs Merrill and Company, Indianapolis, IN/New York. 1971. 180 pgs. Illustrated with Black and White Plates. First Edition/First Printing. DJ has light shelf-wear present to the DJ extremities. Bound in cloth boards with titles present to the spine. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. Hollywood is also a country of the mind. The natives – Cukor, Mamoulian, Preminger, Sturges – talk to the visitor about the practicalities of being a film director, how to survive, how to do what one wants to do while still pleasing one’s masters, how indeed to be one’s own master. Then there are the fugitives – Huston, Losey, Polonsky, Ray, Welles – whose statements reflect both Hollywood’s failure to contain its cleverest children and the pressure for a radically individualistic alternative to Hollywood. This absorbing collection of confrontations centers on the director’s responsibility and on the auteur theory. Talking to William Pechter in 1962 Polonsky describes his blacklisting and sees no possibility of making films again. Mamoulian discusses with Andrew Sarris, and Cukor with Overstreet, the details of their craft. Preminger, in conversation with Ian Cameron, Mark Shivas and Paul Mayersberg, maintains his absolute creative autonomy. Welles, in a long interview originally published in Cahiers du Cinema, talks about his career in the theatre and cinema, his relationship with Hemingway, his feelings about America, his isolation. The interviews by Penelope Houston and John Gillett with Losey and Ray raise, by contrast, specific problems of critical response and communication. There are no irrevocable conclusions in this lively and undogmatic volume. Andrew Sarris 1st Ed 1971 Hollywood Voices Interviews With Film Directors HC DJ Click images to enlarge Description Up For Sale Today is Hollywood Voices Interviews With Film Directors by Andrew Sarris Hardcover. 8vo. Bobbs Merrill and Company, Indianapolis, IN/New York. 1971. 180 pgs. Illustrated with Black and White Plates. First Edition/First Printing. DJ has light shelf-wear present to the DJ extremities. Bound in cloth boards with titles present to the spine. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. Hollywood is also a country of the mind. The natives – Cukor, Mamoulian, Preminger, Sturges – talk to the visitor about the practicalities of being a film director, how to survive, how to do what one wants to do while still pleasing one’s masters, how indeed to be one’s own master. Then there are the fugitives – Huston, Losey, Polonsky, Ray, Welles – whose statements reflect both Hollywood’s failure to contain its cleverest children and the pressure for a radically individualistic alternative to Hollywood. This absorbing collection of confrontations centers on the director’s responsibility and on the auteur theory. Talking to William Pechter in 1962 Polonsky describes his blacklisting and sees no possibility of making films again. Mamoulian discusses with Andrew Sarris, and Cukor with Overstreet, the details of their craft. Preminger, in conversation with Ian Cameron, Mark Shivas and Paul Mayersberg, maintains his absolute creative autonomy. Welles, in a long interview originally published in Cahiers du Cinema, talks about his career in the theatre and cinema, his relationship with Hemingway, his feelings about America, his isolation. The interviews by Penelope Houston and John Gillett with Losey and Ray raise, by contrast, specific problems of critical response and communication. There are no irrevocable conclusions in this lively and undogmatic volume. Andrew Sarris provides a general introduction, as well as critical notes on the individuals included. FROM WIKIPEDIA: Andrew Sarris (October 31, 1928 – June 20, 2012) was an American film critic, a leading proponent of the auteur theory of criticism Sarris' method of ranking directors in The American Cinema has been criticized as elitist and subjective. Those who do not make the cut of the Pantheon category are dismissed under categorical headings listed in the table of contents that descend as follows: The Far Side of Paradise, Fringe Benefits, Less Than Meets The Eye, Lightly Likable, Strained Seriousness, Oddities, One-Shots, and Newcomers, Subjects for Further Research, Make Way for the Clowns!, and Miscellany. Criticism of the auteur theory often stems from a misunderstanding of its "dogmatic" nature. Famously a revisionist, Sarris defends his original article "Notes on Auteur Theory" in The American Cinema stating: “the article was written in what I thought was a modest, tentative, experimental manner, it was certainly not intended as the last word on the subject.”He further has stated that the auteur theory should not be considered a theory at all but rather "a collection of facts, a reminder of movies to be resurrected, of genres to be redeemed, of directors to be rediscovered." OUR MISSION STATEMENT: Our goal is to provide the best books for the lowest prices. We understand that you have more choices than ever to buy books, so we strive to provide the best service, accurate descriptions, the cheapest shipping and the best customer service in the realm of bookselling. Thank you for visiting this listing and we hope to see you again soon! 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End Time: 2024-02-27T02:44:46.000Z

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