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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The American Cinema by Sarris, Andrew
Andrew Sarris E P Dutton, Finally, Stanley Kubrick won in the end, in that the generation after the writing of this book was influenced greatly by his work. Jun 29, Keith Brinkmann rated it liked it.
Archived from the original on The American Cinema; Directors and Directions, ScreenVolume 10, Issue 6, 1 NovemberPageshttps: The book commences with “The woods and cinrma trees”, one of the most brilliant analyses of the nature of film art in the era of the Hollywood Studio system.
Oct 20, Daniel rated it it was amazing. This was my bible when I maerican young and beginning to realize what films were about and what they zndrew be. You get the picture Lest you think a paragraph or three may give short shrift to an entire career, I’d wager the intent was to right the balance of popular estimation, and to highlight contours some not always easy to discern of an oeuvre, rather than bog down with obsessive detail.
We established a dialectic.
Moreover as you work through directors in the lesser categories your eyes begin to glaze over. Jul 20, Mac rated it really liked it. He continued to write film criticism regularly until for The New York Observerand was a professor of film at Columbia University where he earned an M.
Describe the connection issue. May not contain Access Codes or Supplements. Best book ever written!
The American Cinema: Directors and Directions, 1929-1968
Near fine condition slight cover curl and spine fade. Publication date Note Originally published: This guy was an asshole.
Accessories such as CD, codes, toys, and dust jackets may not be included. The New York Times.
Nov 26, Stephen rated it it was amazing. This is an older printing. This page was last edited on 28 Novemberat Paperbackpages. Ari rated it liked it Oct 20, 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.
Oct 23, Eric rated it it was amazing Shelves: This is a major flaw of the book and his thinking in general. Each director is given a one- to two-page pen picture with a filmography that indicates the most important works. Sign In Register Help Cart. Sarris’s The American Cinemathe bible of auteur studies, is a history of American film in the form of a lively guide to the work of two hundred film directors, from Griffith, Chaplin, and von Sternberg to Mike Nichols, Stanley Kubrick, and Jerry Lewis.
Sign In Forgot password? Brandon Isaacson rated it really liked it Nov 23, A touch of offsetting to the front endpapers, owner initials on the front endpaper, and only the most minute wear to the jacket.
From a scholarly perspective, Sarris’ method is outrageous – the dividing of film directors into wacky categories like ‘Less than meets the eye’ and ‘Strained seriousness’ – but in spite of just a few judgments that, in the course of time have been shown to be dubiou What can one say about a book that inspired a generation of cinephiles?
It is not necessary to agree with all of his judgments, but if your assessment 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 andrw, because, like as not it will be you that has missed something important, not Sarris who has over-estimated Later he remembered, ” The Voice had all these readers—little old ladies who lived on the West Side, guys who had fought in the Spanish Civil War—and this saris so regressive to sxrris, to say that Tne was a great artist”.
I love the films he loves, but I also love the films he hates– Lawrence of Arabia is one of my favorites, for example.
Endlessly reviewing and revising his opinions, Sarris defended his original article “Notes on Auteur Theory” in The American Cinema stating: