Hollywood quarterly : film culture in postwar America, by Eric Smoodin, Ann Martin
By Eric Smoodin, Ann Martin
Creation : The Hollywood Quarterly, 1945-1957 / Eric Smoodin -- half 1. The Avant-Garde -- Experimental Cinema in the United States, half One : 1921-1941 / Lewis Jacobs -- Experimental Cinema in the United States, half : The Postwar Revival / Lewis Jacobs -- The Avant-Garde movie noticeable from inside / 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 -- track and the lively comic strip / 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 glints Out : Notes at the Passing of the March of Time / Raymond Fielding -- half four. Radio -- The Case of David Smith : A Script, with statement 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 fancy dress challenge : From Shot to level 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 behavior and personal tastes / may possibly V. Seagoe -- how you can examine tv / T.W. Adorno -- half 7. The Hollywood photograph -- Why look forward to Posterity? / Iris Barry -- Hollywood : phantasm and truth / John Howard Lawson -- Negro Stereotypes at the reveal / Leon H. Hardwick -- brand new Hero : A overview / John Houseman -- An Exhibitor Begs for 'B's' / Arthur L. Mayer -- A be aware of warning for the clever patron of films / Franklin Fearing -- there is rather No company Like convey enterprise / Jay E. Gordon -- there is nonetheless No enterprise love it / Jean Hersholt ... [et al.] -- Hollywood's overseas Correspondents / Harva Kaaren Sprager -- half eight. Scenes from in another country -- complicated education for movie employees : Russia / Jay Leyda -- complex education for movie employees : France / Charles Boyer -- the worldwide movie / Vsevolod Pudovkin -- The Postwar French Cinema / Georges Sadoul -- whilst 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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Additional resources for Hollywood quarterly : film culture in postwar America, 1945-1957
Another contribution that the avant-garde film offered was "distortion" or "dissection" of a movement or a form. The desire of the early cubists to dissect the object and to rebuild it in terms of painting instead of nature, was reflected on the screen (which is also a canvas). Did the artists who distorted and dissected familiar objects wish to give a kind of distance to our conventional perception of these objects and thus a new ― 54 ― aspect to our surroundings in general? Man Ray shot through mottled glass; Cavalcanti printed through monk's cloth; Chomette-Beaumont used multiple exposure; Germaine Dulac used distorting lenses; I turned the camera sideways.
Cold and formal in structure, the Whitneys' exercises are warm and diverting in effect. As distinctive experiments in an independent cinematic idiom they offer possibilities within the abstract film that have still to be explored. They suggest opportunities for more complex and plastic ensembles that can be endowed with power and richness. A more intuitive approach to nonobjective expression is manifested in the fragmentary color films of Douglas Crockwell: Fantasmagoria, The Chase, and Glenn Falls Sequence.
In extreme contrast to the violent movement and darkness of the preceding shots, the screen now shows an ice-covered telegraph pole, sparkling with the sunlight's reflected rays like a star. This is followed by white, scintillating shots of ice-covered trees that sway with a gentle motion in the breeze. The scenes take on added beauty by the juxtaposition of extreme contrasts. Throughout, the music accentuates the emotion. At the climax of the storm the music and the natural sound effects rage against each other, clashing, fighting for power.