By David Bordwell
Hollywood moviemaking is likely one of the constants of yank existence, yet how a lot has it replaced because the glory days of the large studios? David Bordwell argues that the foundations of visible storytelling created within the studio period are alive and good, even in today's bloated blockbusters. American filmmakers have created a sturdy tradition-one that we should always no longer be ashamed to name inventive, and one who survives in either mainstream leisure and niche-marketed indie cinema. Bordwell strains the continuity of this practice in a big selection of movies made on account that 1960, from romantic comedies like Jerry Maguire and Love truly to extra enforcing efforts like a stunning brain. He additionally attracts upon testimony from writers, administrators, and editors who're acutely aware of applying confirmed rules of plot and visible sort. in the limits of the "classical" technique, innovation can flourish. Bordwell examines how ingenious filmmakers have driven the premises of the method in motion pictures equivalent to JFK, souvenir, and Magnolia. He discusses generational, technological, and fiscal elements resulting in balance and alter in Hollywood cinema and comprises shut analyses of chosen pictures and sequences. because it levels throughout 4 many years, analyzing classics like American Graffiti and The Godfather in addition to contemporary luck just like the Lord of the earrings: the 2 Towers, this ebook presents a shiny and fascinating interpretation of ways Hollywood moviemakers have created a energetic, innovative culture of cinematic storytelling that keeps to interact audiences worldwide.
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Extra resources for The Way Hollywood Tells It (1st Edition)
These ﬁlms (the procedural also appeared at this time in radio and television series, like Dragnet and The Lineup, and detective ﬁction) dealt like ﬁlm noir with the world of crime but focused less on the plights of individual criminals (as in Double Indemnity or The Postman Always Rings Twice) or on private investigators (as in The Big Sleep) and concentrated instead on the procedures by which governmental agents (whether members of municipal police forces or national agencies) acted in coordinated groups to solve crime.
An alternate title for Gun Crazy, Deadly is the Female, encapsulates this perception. Out of the Past provides a useful instance. Jeff (Robert Mitchum) is a private detective hired by a gangster, Whit (Kirk Douglas), to locate his girlfriend, Kathie (Jane Greer), who has both shot him and stolen $40,000 from him. Jeff ﬁnds her but she seduces him and they run off together. He thereby reneges on his professional responsibility to Whit. When Jeff’s partner tracks them down, Kathie kills the partner and returns to Whit.
The movie’s frame story resembles a utopian documentary. In its prologue, a “Voice of God” narrator describes the duties and advanced technology of Treasury agents and we see well-lit, documentary footage of the monumental US Treasury Building in Washington, DC and work being done in its sophisticated, state-of-the-art crime laboratories. An actual Treasury Department ofﬁcial, Elmer Lincoln Irey (who was also known at the time as the director of the Internal Revenue Service’s lead investigation unit during the successful federal tax evasion prosecution of the notorious gangster Al Capone), directly addresses the viewer to provide the historical context for the ﬁlm’s events (Plates 12 and 13).