Essential cinema: On the necessity of film canons

Essential Cinema: On the Necessity of Film Canons

Volumn , Issue , 2008, Pages 1-445

  Rosenbaum, Jonathan ^a  

^a NONE

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EID: 84895043345     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Book

References (26)

1. Review of Pauline Kael, "Raising Kane", Film Comment 8, no. 1 (Spring 1972);
2. reprinted as "I Missed It at the Movies: Objections to 'Raising Kane'", in Perspectives on Citizen Kane, ed. Ronald Gottesman (New York: G. K. Hall, 1996), pp. 133-40.
3. Harold Bloom, The Western Canon: The Books and School of the Ages (New York: Harcourt Brace and Co., 1994).
4. For a more detailed discussion of this phenomenon, see the exchanges between James Naremore and Adrian Martin, in "The Future of Academic Film Study", in Movie Mutations: The Changing Face of World Cinephilia, ed. Jonathan Rosenbaum and Adrian Martin (London: British Film Institute, 2003).
5. Pauline Kael, "Circles and Squares", reprinted in I Lost It at the Movies (New York: Bantam Books, 1966), pp. 264-88. Significantly, Kael omitted this essay in her final collection of selected works, For Keeps.
6. For Wollen's revisions to the auteur theory, see Peter Wollen, Signs and Meaning in the Cinema, expanded ed. (London: British Film Institute, 1998), pp. 50-78.
7. See chapter 6 of Movie Wars: How Hollywood and the Media Limit What Movies We Can See (Chicago: a cappella, 2002), for a detailed critique of the AFI's first poll of this kind, on the one hundred greatest American films, as well as a proposed alternative list-my first major attempt at canonizing prior to the list I offer in this book.
8. John Guillory, "Canon, Syllabus, List: A Note on the Pedagogic Imaginary", reprinted in The Best American Essays 1992, ed. Susan Sontag (New York: Ticknor and Fields, 1992), pp. 158-80. Originally published in 1991 in the journal Transition.
9. The full memo was subsequently made available on the DVD of Touch of Evil and on line at www.wellesnet.com/touch memo1.htm, but has yet to appear in print. [2002]
10. Production information about this scene and others in the film is available in "Falling Down, Walking, Destroying Thinking: A Conversation Between Jonathan Rosenbaum and Béla Tarr", Cinema Scope, no. 8(September 2001):21-25.
11. Michael Tarantino, "Movement as Metaphor: The Long Goodbye", published in the same issue of Sight and Sound (44, no. 2 [Spring 1975]: 98-102).
12. "East Coast Journal", Film Comment 12, no. 3 (May-June 1975);
13. reprinted in Moving Places: A Life at the Movies (Berkeley: University of California Press, 1995), pp. 185-86.
14. Toles also cowrote Maddin's Careful (1992)
15. wrote his Sea Beggars (1994)
16. and Twilight of the Ice Nymphs (1997)
17. and wrote about collaborating with Maddin in his collection A House Made of Light (Detroit: Wayne State University Press, 2001), pp. 319-34). [2002]
18. Needless to say, I was thinking of Traffic. [2002] s
19. See my extended review, "Wrinkles in Time", Chicago Reader, February 18, 2000.
20. Film: The Front Line 1983 (Denver: Arden Press, 1983), p. 21.
21. Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), pp. 205-6.
22. Bill Krohn, "Full Metal Jacket", in Incorporations (Zone 6), ed. Jonathan Crary and Sanford Kwinter (New York: Urzone, 1992), pp. 430-31.
23. Quoted in Phil Mariani, "An Interview with Jean-Marie Straub and Danièle Huillet", Wedge: An Aesthetic Inquiry, no. 1(Summer 1982):26.
24. The definitive piece of scholarship on the authorship of the Kane script- and sadly one of the least well known-is Robert L. Carringer's "The Scripts of Citizen Kane", originally published in Critical Inquiry 5(1978):369-400
25. and reprinted in Perspectives on Citizen Kane, ed. Ronald Gottesman (New York: G. K. Hall, 1996), pp. 141-71. [2002]
26. Alexander Dovzhenko: The Poet as Filmmaker, Selected Writings, edited and translated by Marco Carynnyk (Cambridge, Mass.: MIT Press, 1973), p. 7.