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Motion pictures --- Motion picture plays --- Cinéma --- Scénarios de cinéma --- History. --- History and criticism. --- Histoire --- Histoire et critique --- Cinéma --- Scénarios de cinéma --- Motion picture plays, American --- 791.43 --- CDL --- History --- History and criticism

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After over a century of existence, the cinema still has its mysteries. Why, for example, is the job we call movie stardom unlike any other in the world? How do films provide so much unconcealed information that we fail to notice? What makes it hard to define what counts as “acting”? How do movies like Casablanca and Breathless store the film and world histories of their generations? How can we reconcile auteurism’s celebration of the movie director’s authority with the camera’s automatism? Why have the last four decades of film criticism so often neglected such questions? After beginning with an overview of film studies, this book proposes a shift from predictable theoretical approaches to models that acknowledge the perplexities and mysteries of the movies. Deriving methods from cinephilia, Wittgenstein, Richard Rorty, Stanley Cavell, Eleanor Duckworth, V. F. Perkins, and James Naremore, Robert B. Ray offers close readings that call attention to what we have missed in such classic films as La Règle du Jeu, It Happened One Night, It’s a Wonderful Life, Vertigo, Holiday, The Philadelphia Story, Casablanca, Breathless, and Tickets.

Motion pictures --- History. --- History and criticism --- Motion pictures. --- Motion pictures—History. --- Close Reading. --- Film Theory. --- Film History. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts

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Motion pictures --- History.

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Robert B. Ray examines the ideology of the most enduringly popular cinema in the world--the Hollywood movie. Aided by 364 frame enlargements, he describes the development of that historically overdetermined form, giving close readings of five typical instances: Casablanca, It's a Wonderful Life, The Man Who Shot Liberty Valance, The Godfather, and Taxi Driver. Like the heroes of these movies, American filmmaking has avoided commitment, in both plot and technique. Instead of choosing left or right, avant-garde or tradition, American cinema tries to have it both ways.Although Hollywood's commercial success has led the world audience to equate the American cinema with film itself, Hollywood filmmaking is a particular strategy designed to respond to specific historical situations. As an art restricted in theoretical scope but rich in individual variations, the American cinema poses the most interesting question of popular culture: Do dissident forms have any chance of remaining free of a mass medium seeking to co-opt them?

Motion pictures --- Motion picture plays, American --- History. --- History and criticism. --- USA. --- USA. --- Los Angeles- Hollywood. --- United States. --- Air Force. --- Althusser, Louis. --- Beatty, Warren. --- Bonnie and Clyde. --- Cahiers du cinéma. --- Casablanca. --- Classic Hollywood. --- Cool Hand Luke. --- Easy Rider. --- Ford, John. --- Godard, Jean-Luc. --- Graduate, The. --- Hardy, Andy. --- Huckleberry Finn. --- Johnny Guitar. --- King and I, The. --- Little Big Man. --- Maltese Falcon, The. --- New Wave. --- On the Waterfront. --- audience. --- blurring of oppositions. --- continuity conventions. --- dichotomies. --- displacement. --- eyeline match. --- formal paradigm. --- intent versus effect. --- intertextuality. --- mythology (myth). --- parody. --- reconciliation. --- reluctant hero.