By Jonathan Rosenbaum
The esteemed movie critic Jonathan Rosenbaum has introduced worldwide cinema to American audiences for the final 4 many years. His incisive writings on person filmmakers outline movie tradition as a various and ever-evolving perform, unpredictable but topic to analyses simply as different as his personal discriminating tastes. For Rosenbaum, there's no excessive or low cinema, simply extra fascinating or much less attention-grabbing motion pictures, and the items accrued right here, from an appreciation of Marilyn Monroe’s intelligence to a vintage dialogue on and with Jean-Luc Godard, amply testify to his wide mind and multi-faceted expertise. Goodbye Cinema, hi Cinephilia gathers jointly over fifty examples of Rosenbaum’s feedback from the previous 4 many years, each one of which demonstrates his ardour for a way we view videos, in addition to how we write approximately them. Charting our altering issues with the interconnected concerns that encompass video, DVDs, the web, and new media, the writings gathered right here additionally spotlight Rosenbaum’s polemics in regards to the electronic age. From the rediscovery and recirculation of vintage motion pictures, to the social and aesthetic impression of technological alterations, Rosenbaum doesn’t disappoint in assembling a magisterial solid of little-known filmmakers in addition to the wide-spread faces and iconic names that experience helped to outline our era.
As we circulation into this new decade of moviegoing—one within which Hollywood will proceed to consider the shockwaves of the electronic age—Jonathan Rosenbaum remains a helpful advisor. Goodbye Cinema, hi Cinephilia is a consummate selection of his paintings, now not easily for fanatics of this seminal critic, yet for all these open to the big variety of flicks he embraces and is helping us to elucidate.
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Additional resources for Goodbye Cinema, Hello Cinephilia: Film Culture in Transition
But if we decide that they’re two different versions of the same film, don’t we then have to construct, at least implicitly, a theoretical or Platonic model of this “same film” that necessarily qualifies as a third version? And don’t we then have to judge the two versions according to how close each one comes to this model? In order to make a distinction between aesthetic and business ways of dealing with this issue, it seems worth arguing that the long version of Out 1 was never given an opportunity to function in commercial terms once it was rejected by French television—or at least it wasn’t until it finally surfaced on cable television many years afterwards, in the early 1990s, long after its historical moment had passed.
Feels shorter than the 125-minute version that he was asked by his producer to edit—which is the only version that was commercially available until the 169-minute was belatedly released on DVD twenty years later. I would also argue that the longer version is more interesting, more coherent, and even more commercial—which is always or almost always the case with Rivette, especially if we recall that in 1968 the long version of L’amour fou performed better at the box office. The case of Out 1 is more debatable, of course—and less directly relevant to the concerns of this discussion, because both versions qualify as director’s cuts: the 760-minute film of 1971 in eight episodes, made for (but rejected by) French state television, where Rivette hoped it would be run as a serial, and the radically different 255-minute version that he prepared in 1972, with a separate editor, for theatrical showings.
Bertrand Tavernier, who once codirected a reputable documentary with Robert Parrish called Mississippi Blues (1983), also opted two years earlier to adapt Jim Thompson’s pulp novel about a police chief, Pop. 1280, by transposing the action from the American South to French West Africa, and according to most accounts, the resulting Coup de torchon (Clean Slate, 1981) is a plausible fit. Furthermore, it’s worth stressing that a few irreproachable films dealing with relations between black and white characters in small-town settings that are putatively Southern manage to fulfill this agenda without emphasizing or even addressing any specifically Southern traits.