A Light in the Dark
A History of Movie Directors
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- 10,99 €
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- 10,99 €
Beschreibung des Verlags
From the celebrated film critic and author of The Biographical Dictionary of Film--an essential work on the preeminent, indispensable movie directors and the ways in which their work has forged, and continues to forge, the landscape of modern film.
Directors operate behind the scenes, managing actors, establishing a cohesive creative vision, at times literally guiding our eyes with the eye of the camera. But we are often so dazzled by the visions on-screen that it is easy to forget the individual who is off-screen orchestrating the entire production--to say nothing of their having marshaled a script, a studio, and other people's money. David Thomson, in his usual brilliantly insightful way, shines a light on the visionary directors who have shaped modern cinema and, through their work, studies the very nature of film direction. With his customary candor about his own delights and disappointments, Thomson analyzes both landmark works and forgotten films from classic directors such as Orson Welles, Alfred Hitchcock, Jean Renoir, and Jean-Luc Godard, as well as contemporary powerhouses such as Jane Campion, Spike Lee, and Quentin Tarantino. He shrewdly interrogates their professional legacies and influence in the industry, while simultaneously assessing the critical impact of an artist's personal life on his or her work. He explores the male directors' dominance of the past, and describes how diversity can change the landscape. Judicious, vivid, and witty, A Light in the Dark is yet another required Thomson text for every movie lover's shelf.
PUBLISHERS WEEKLY
Film critic Thomson (The Big Screen) returns in this scattershot meditation on some of the movie business's most famous directors. In 14 essays, the author covers such directors as the "artful careerist" Fritz Lang, "intellectually brilliant" Jean-Luc Godard, and "rebel" Nicholas Ray. The book opens with a promise to show how "those intruders, the directors" became "heroes and masters" whose influence may be waning in the era of computer-generated imagery. But what ensues is less a history than a series of essays that each nominally focuses on one or more directors before devolving into unconvincing metaphors and tangents (such as a section wondering if Jane Campion is left-handed). There are insights to be found, about both directing and cinema in general: Godard, Thomson states, "was uncannily aware of (and angry about) the way romance was a commercial-cultural construct of reality being imposed upon us," and Thomson's analysis of Quentin Tarantino—"an advocate for an ideology that has had woeful consequences"—is refreshing and original. While film snobs may enjoy Thomson's roving insights on whether "the cult of directors could be ending," those looking for a comprehensive history of directorial masters will be left wanting.