Download Hollywood quarterly : film culture in postwar America, by Eric Smoodin, Ann Martin PDF

By Eric Smoodin, Ann Martin

Advent : The Hollywood Quarterly, 1945-1957 / Eric Smoodin -- half 1. The Avant-Garde -- Experimental Cinema in the US, half One : 1921-1941 / Lewis Jacobs -- Experimental Cinema in the US, half : The Postwar Revival / Lewis Jacobs -- The Avant-Garde movie noticeable from inside of / Hans Richter -- Cinema sixteen : A exhibit for the Nonfiction movie / Amos Vogel -- half 2. Animation -- Animation Learns a brand new Language / John Hubley and Zachary Schwartz -- tune and the lively sketch / Chuck Jones -- Notes on lively Sound / Norman McLaren -- Mr. Magoo as Public Dream / Milton J. Rosenberg -- half three. Documentary -- Postwar styles / John Grierson -- The Documentary and Hollywood / Philip Dunne -- Time sparkles Out : Notes at the Passing of the March of Time / Raymond Fielding -- half four. Radio -- The Case of David Smith : A Script, with observation via Sam Moore, Franklin Fearing, and Cal Kuhl / Abraham Polonsky -- Radio's allure for Housewives / Ruth Palter -- a brand new type of international relations / Gene King -- half five. perform -- a dressing up challenge : From Shot to degree to reveal / Edith Head -- functionality stressed / Alexander Knox -- Designing The Heiress / Harry Horner -- the restrictions of tv / Rudy Bretz -- half 6. tv -- Hollywood within the tv Age / Samuel Goldwyn -- You and tv / Lyman Bryson and Edward R. Murrow -- kid's tv conduct and personal tastes / may perhaps V. Seagoe -- the way to examine tv / T.W. Adorno -- half 7. The Hollywood photograph -- Why stay up for Posterity? / Iris Barry -- Hollywood : phantasm and fact / John Howard Lawson -- Negro Stereotypes at the monitor / Leon H. Hardwick -- modern-day Hero : A assessment / John Houseman -- An Exhibitor Begs for 'B's' / Arthur L. Mayer -- A notice of warning for the clever shopper of movies / Franklin Fearing -- there is relatively No enterprise Like exhibit company / Jay E. Gordon -- there is nonetheless No company love it / Jean Hersholt ... [et al.] -- Hollywood's international Correspondents / Harva Kaaren Sprager -- half eight. Scenes from in a foreign country -- complex education for movie employees : Russia / Jay Leyda -- complicated education for movie staff : France / Charles Boyer -- the worldwide movie / Vsevolod Pudovkin -- The Postwar French Cinema / Georges Sadoul -- while in Rome ... / Hugh grey -- half nine. Notes and Communications -- J'Accuse / Pierre Descaves -- Je Confirme / Robert Joseph -- The Cinematheque Francaise / Henri Langlois -- Jean Vigo / Siegfried Kracauer -- perspectives of a Director-- Billy Wilder / Herbert G. Luft and Charles Brackett -- discussion among the Moviegoing Public and a Witness for Jean Cocteau / Raymond Jean

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All represent the flood of feeling created through music in cinematic terms, by color and graphic design welded together in patterns of rhythmic movement. He manipulates the simplest kinds of shapes—the square, the circle, the triangle —along a curve of changing emotional patterns suggested by the music and based upon the laws of musical form. Thus he creates a unique structural form of his own in which can be sensed rocket flights, subtly molded curves, delicate gradations, as well as tight, pure, classical shapeliness.

Behind this phenomenal postwar revival were two forces that had been set in motion during the war years. The first was the circulation of programs from the Film Library of the Museum of Modern Art, at a nominal cost, to nonprofit groups. The Museum's collection of pictures and its program notes on the history, art, and traditions of cinema went to hundreds of colleges, universities, museums, film-appreciation groups, and study groups. These widespread exhibitions, as well as the Museum of Modern Art's own showings in its theater in New York City, exerted a major influence in preparing the way for broader appreciation and production of experimental films.

Crockwell's technique is an extension of the methods of animation. His first efforts, the Fantasmagoria series, were made with an overhead camera and the surface of a piece of glass upon which oil colors were spread in meaningless fashion. The colors were animated with stop motion. As the work progressed, colors were added, removed, and otherwise manipulated by razor blades, brushes or fingers, as whim dictated. In a later picture, The Chase, nondrying oils were mixed with the colors, other glass levels were added, and—which was most important—the painting surface was shifted to the underside of the glass.

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