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The American Cinema: Directors and Directions 1929-1968 (Inglese) Copertina flessibile – mar 1986

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EUR 67,87
Copertina flessibile, mar 1986
EUR 53,89 EUR 24,67
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Book by Sarris Andrew

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Le recensioni clienti più utili su (beta) (Potrebbero essere presenti recensioni del programma "Early Reviewer Rewards") 4.6 su 5 stelle 18 recensioni
1 di 1 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle They Might be Giants 20 marzo 2015
Di Gerry Robinson - Pubblicato su
Formato: Copertina flessibile Acquisto verificato
Read this many years ago and am planning to re-read it. The part about the tension between the material and the artist never made much sense and Sarris never applied it during his movie reviewing career. We all read it because it was a touchstone on what to watch and a tool for organizing your thinking about films and what separates a good director from a great one. You can pretty much find the bad ones on your own. The fight between Sarris and Pauline Karl enriched film criticism. They were equally matched great critics. There willnever be another pair like them or as illuminating as they were. David Debby and Anthony Lane apparently no longer work at the New Yorker and the magazine isn't saying why. I called the magazine to inquire and never received a return call. I'm discovering RogerEbert's writing after years of thinking he was a jerk on television.Anybody worth reading that I'm overlooking?
3 di 3 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle The bible of film criticism... 20 settembre 2007
Di EDL - Pubblicato su
Formato: Copertina flessibile Acquisto verificato
If you don't know this book, buy it immediately. It takes American film criticism up to about 1970 and coincides with the time Sarris was involved with the (real) Village Voice, Jonas Mekas, American Cahiers,and the founding of the NY Film Festival and the national society of film critics. It took me about five years of reading his reviews until I finally got it - Sarris had understood that the most profound thoughts and themes were played out with style and panache by genre filmmakers with personal obsessions and ideas that did not require Western Union to spell it out.

There's some things to quibble about (I never could see why he thought so highly of Blake Edwards, but I keep trying because I trust his insight. Even Sarris can change his mind as he did on Billy Wilder a few years back).

If you are a film buff and have not discovered his work (also recommended:
Confessions of a Cultist; The John Ford Mystery Book; You Ain't Seen Nothing Yet are among the best) start here. That goes double if you experience guilty pleasure and see things no one else does in people like Anthony Mann, Michael Powell, Sam Fuller, Max Ophuls, Budd Boetticher or James Whale. I have often given this book as a gift to film loving friends. It opens a world of discovery and rapport when a friends "gets it" and suddenly, you both have a shared sensibility and frame of reference.
Also, check out his website for yearly top ten lists and also the work of his wife Molly Haskell (especially good on Howard Hawks).
5.0 su 5 stelle A classic and excellent book, a definitive piece of cinematic criticism and ... 16 maggio 2017
Di Amazon Customer - Pubblicato su
Formato: Copertina flessibile Acquisto verificato
A classic and excellent book, a definitive piece of cinematic criticism and an invaluable tool for watching the best films. I wish his students would update it.
1 di 2 persone hanno trovato utile la seguente recensione
3.0 su 5 stelle Interesting Historical Work 25 agosto 2014
Di J. Ricciardelli - Pubblicato su
Formato: Copertina flessibile Acquisto verificato
I am not a contrarian by nature but there are several points that require clarification among the many reviews of Sarris’ seminal “The American Cinema.” In an historical context, the book is of interest because he is an early proponent of the director as auteur theory. I would compare it to an early English dictionary in that word origins are delineated and classifications and definitions are from years ago. Meanings have remained the same for many but others have changed and new words have been added. Sarris was wise in his introduction to state that this work was not the last word on the subject but more of springboard for further discussion.
Surely no one would argue that Mr. Sarris is very erudite and an excellent writer very similar, in fact, to David Thompson. These characteristics may sway many even though his opinions may be erroneous. Although true that various directors’ works are reevaluated, it is hard to conceive that Billy Wilder was not recognized as an important director. I know that he later admitted this transgression and corrected himself. Still other now esteemed directors such as Sidney Lumet, John Huston, Elia Kazan, and Stanley Kubrick are not given their true value. He stated that Robert Mulligan never directed an entirely satisfactory film yet he helmed one of the great films of the sixties “To Kill a Mockingbird. “. In Sarris’ defense some of the artists’ better films were yet to be made. I was impressed that he recognized Francis Coppola’s talent before “The Godfather.”
In summary, “The American Cinema” is interesting to read in its historical context. It is not a reliable reference book due to its antiquated inaccuracies and the cursory treatment of many of the subjects covered. Mr. Sarris’ scholarly approach is impressive but does not convince with his incorrect assessments of several directors of major talent.
4.0 su 5 stelle Four Stars 8 ottobre 2015
Di Jonathan Stein - Pubblicato su
Formato: Copertina flessibile Acquisto verificato
Fun--detailed--not comprehensive, but plenty of history.

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