By Parker Tyler
My experiment at three hundred dpi, bookmarked and OCR'd, 23 pages with b/w photos on the end
goodreads quote: an excellent set of wide-ranging essays, written for numerous courses among 1950 and 1960. The items on Rashomon, Garbo/Barrymore/Valentino, 3D video clips and the Human snapshot in cinema are a true locate, definitely an evidence that what we predict from movie paintings nowadays is significantly less than what used to be in Tyler's personal time (or Tyler himself, at least).
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Additional info for The Three Faces of the Film: The Art, the Dream, the Cult (New and Revised Edition)
There are several things about the movie which argue it as a unique and conscious art, the opposite of a puzzle; or at least, no more of a puzzle than those modern paintings of which a spectator may be heard to say: "But what is it? " My opinion is that the last thing required for the elucidation of Rashomon's mystery is something corresponding to a jury's verdict. Such a judgment, aesthetically speaking, is as inutile for appreciating the substance of this movie as for appreciating the art of Picasso.
The Marienbad film is highbrow camp; certain Pop artists and the better Hollywood buffs propagate middlebrow camp; the movie Harper is, flatly, lowbrow camp. Those who have regard for life as a serious quantity must assert that, among these, the only object worth criticism as an art is that representing highbrow camp. 35 Rashomon as Moe/ern Art 36 Rashomon, the Japanese film masterpiece, is a story about a double crime: rape and homicide (or possibly suicide). D. It is told in retrospect, and in successive layers, by the three participants, the dead warrior (through a mediumistic priestess), his raped wife, and a notorious bandit perhaps responsible for the warrior's death as well as for his wife's violation, and by a woodcutter who alleges himself to have witnessed, accidentally, the whole episode.
But it is, they think, a matter of the motion picture as classifiable with painting or sculpture! Mainly, this is to rely on an insidious concept of antiquated date: the movies as a sort of painting and/or sculpture in motion. In brief, it is to assume Richard Wagner's grand synthesis of the arts transported to the film studios and ipso facto an accomplished fact (musical score by so-and-so). But because Wagner's reputedly "filmic" stage directions are followed today, at Bayreuth, by the projection of film during his operas, does not supply the necessary proof.