By Jonathan Rosenbaum
The esteemed movie critic Jonathan Rosenbaum has introduced international cinema to American audiences for the final 4 a long time. His incisive writings on person filmmakers outline movie tradition as a various and ever-evolving perform, unpredictable but topic to analyses simply as diverse as his personal discriminating tastes. For Rosenbaum, there isn't any excessive or low cinema, in basic terms extra attention-grabbing or much less attention-grabbing motion pictures, and the items gathered right here, from an appreciation of Marilyn Monroe’s intelligence to a vintage dialogue on and with Jean-Luc Godard, amply testify to his huge mind and multi-faceted expertise. Goodbye Cinema, hi Cinephilia gathers jointly over fifty examples of Rosenbaum’s feedback from the prior 4 a long time, each one of which demonstrates his ardour for how we view video clips, in addition to how we write approximately them. Charting our altering matters with the interconnected matters that encompass video, DVDs, the net, and new media, the writings accumulated right here additionally spotlight Rosenbaum’s polemics about the electronic age. From the rediscovery and recirculation of vintage motion pictures, to the social and aesthetic effect of technological alterations, Rosenbaum doesn’t disappoint in assembling a magisterial solid of little-known filmmakers in addition to the conventional faces and iconic names that experience helped to outline our era.
As we circulate into this new decade of moviegoing—one during which Hollywood will proceed to think the shockwaves of the electronic age—Jonathan Rosenbaum remains a important advisor. Goodbye Cinema, hi Cinephilia is a consummate number of his paintings, no longer easily for fanatics of this seminal critic, yet for all these open to the wide range of flicks he embraces and is helping us to elucidate.
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Additional info for Goodbye Cinema, Hello Cinephilia: Film Culture in Transition
That’s how we worked it out. And that’s how the script was written. We shot enough material to make these versions possible. It would be possible to release this film with the concept that it was, so to speak, hand-made. That if you go to a different cinema, you’ll see the same film but in a slightly different version, and if you go to yet another cinema, you’ll see yet another version, seemingly the same film but a little different. Maybe it’ll have a happier ending, or maybe slightly sadder—that’s the chance you take.
Although we were happy to find that a large number of the original reviews of the reedited Touch of Evil took some trouble to differentiate what we had done from a restoration or a director’s cut, thanks to our efforts, some of this emphasis vanished over time, so that some supposedly authoritative reference books have misrepresented our efforts by reverting to those terms—which, to all practical purposes have now become trade terms rather than aesthetic or material descriptions of our work. The commodification of artworks ultimately affects not only their definitions and catalog descriptions but also to some extent their distribution.
I’m thinking above all of Jacques Tourneur’s sublime Stars in My Crown (1950), in which an enlightened and imaginative preacher (Joel McCrea) manages to prevent a lynching by the local Ku Klux Klan of a black man (Juano Hernandez) who has refused to sell his property. And not far behind this masterpiece are two other underrated low-budget dramas that directly address interracial issues: Leo C. Popkin and Russell Rouse’s The Well (1951), which charts the snowballing effects through which a simple accident involving a black girl slowly builds into a race riot, and Roger Corman’s The Intruder (1962), adapted by Charles Beaumont from his own novel about a rabble-rousing Yankee racist stirring up Southern whites in a town whose high school is about to become desegregated.
Goodbye Cinema, Hello Cinephilia: Film Culture in Transition by Jonathan Rosenbaum