Podcasts about tom gunning

Legendary American scholar and critic Tom Gunning has changed the way we think about film history and the future of the medium, profoundly influencing generations of academics, artists, and cinephiles. On Sunday, April 27, Devika Girish and Clinton Krute hosted a live conversation with Gunning and curator David Schwartz at the Museum of the Moving Image, following a screening of Hal Hartley's Flirt (1995), an experimental narrative of love and loss set in three cities—New York, Berlin, and Tokyo. The event was part of a multiday series of screenings and discussions organized by Schwartz, taking place at venues including MoMI, Anthology Film Archives, and Light Industry. This special weekend marked the publication of a new collection of Gunning's writing, entitled The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde. The conversation covered a wide range of topics, from Gunning's seminal essay “The Cinema of Attractions” (1986) to his teacher-student relationship with Hartley to some contemporary films that he's (perhaps surprisingly) enjoyed.

本期是「4.23世界读书日」特别节目，我们无望做最长的读书日节目，但我们可以做全网最晚上线的！电影巨辩筛选出129本有助于构建电影知识体系的电影书，分类详解每本书的内容和特点，优点和缺点。对大多数人来说，这些书无助于考研升学，无助于搞钱和自我提升，无助于我们每一天的生活，甚至无助于你从电影中享受到更多快乐。它是百分之百全然无用的。但我们聊书的过程中，却真的爽到了，是截至目前录得最爽的一期节目。为什么电影书会让我们这么爽？请谨慎收听。本次节目聊到的129本书（也有的是一套），具体书目详见下方。因为字数限制，部分英文书没有标注英文名。详细时间轴：04:23 防杠声明06:13 电影理论与美学《电影是什么》，安德烈·巴赞《当代电影分析》，雅克·奥蒙、米歇尔·玛利《电影艺术：形式与风格》，大卫·波德维尔、克里斯汀·汤普森《电影理论1945-1990》，弗朗西斯卡·卡塞蒂[Theories of Cinema, 1945-1990, by Francesco Casetti]《电影理论读本》，杨远婴编《电影理论与批评辞典》，雅克·奥蒙《电影研究关键词》，苏珊·海沃德《电影导演的电影理论》，雅克·奥蒙《电影实践理论》，诺埃尔·伯奇《电影声音：理论与实践》，伊丽莎白·维斯、约翰·贝尔顿编《声音》，米歇尔·希翁《作为媒介考古学的电影史》，托马斯·埃尔塞瑟《明星》，理查德·戴尔《电影中的表演》，詹姆斯·纳雷摩尔《宽忍的灰色黎明：法国哲学家论电影》，李洋编33:59 类型电影《电影／类型》，里克·奥特曼《好莱坞类型电影》，托马斯·沙茨《黑色电影：历史、批评与风格》，詹姆斯·纳雷摩尔《西部电影的发明：五十年文化史》，斯科特·西蒙《幻像电影：美国先锋电影1943-2000》，P·亚当斯·西特尼44:09 电影史与国族电影《电影史：理论与实践》，罗伯特·C·艾伦、道格拉斯·戈梅里《世界电影史》，克里斯汀·汤普森、大卫·波德维尔《牛津世界电影史》，杰弗里-诺维尔-史密斯 主编《日本电影史》，佐藤忠男《韩国电影史：从开化期到开花期》，金美贤、韩国电影振兴委员会《意大利电影：从新现实主义到现在》，彼得·邦达内拉《懊悔的迷雾：经典法国电影的文化与情感》，达德利·安德鲁《新浪潮》，米歇尔·玛利《当代法国电影指南》，福克斯、玛利、拉德纳《迷影：创发一种观看的方法，书写一段文化的历史 1944—1968》，安托万·德巴克《魏玛电影及之后：德国的历史想象》，托马斯·埃尔塞瑟《新德国电影史》，托马斯·埃尔塞瑟《闹鬼的银幕》，洛特·艾斯纳[The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt, by Lotte Eisner]64:53 好莱坞《美国电影史十卷本》[History of the American Cinema Volumes 1-10]《古典好莱坞电影：1960年之前的电影风格和制作模式》，大卫·波德维尔、珍妮特·斯泰格、克里斯汀·汤普森《巴别塔与巴比伦：美国无声电影的观众》，米莲姆·汉森《新好莱坞电影导论》，杰夫·金《逍遥骑士、愤怒公牛：新好莱坞的内幕》，彼得·比斯金《低俗电影：米拉麦克斯、圣丹斯和独立电影的兴起》，彼得·比斯金《电影战争：好莱坞和媒体如何限制我们观影》，乔纳森·罗森鲍姆《越战到里根时代的好莱坞》罗宾·伍德《岁月已逝》，凯文·布朗洛《体制的天才：好莱坞大片厂时期的电影制作》，托马斯·沙茨《史诗、奇观和大片：一种好莱坞历史》，谢尔顿·霍尔、史蒂夫·尼尔85:42 影人传记与研究《戈达尔：七十岁艺术家的肖像》，科林·麦凯布《侯麦传》，安托万·德巴克、诺尔·艾柏《帕索里尼传：安魂曲》，巴特·大卫·施瓦茨《罗西里尼的冒险》，泰格·加拉格[The Adventures Of Roberto Rossellini: HisLife and Film, Tag Gallagher]《铸就传奇：约翰·福特的生命与时光》，斯科特·埃曼《万里黄沙万里情：塞尔吉奥·莱昂内传》，克里斯托弗·弗雷林《卡赞自传》，伊利亚·卡赞[A Life, by Elia Kazan]《让·雷诺阿》，安德烈·巴赞《英格玛·伯格曼》，雅克·奥蒙《重访希区柯克》，罗宾·伍德《德莱叶的电影》，大卫·波德维尔《小津与电影诗学》，大卫·波德维尔[Ozu and the Poetics of Cinema, by David Bordwell]《爱森斯坦的电影》，大卫·波德维尔[The Cinema of Eisenstein, by David Bordwell]《弗里茨·朗的电影：视界与现代性的多重寓言》，汤姆·甘宁[The Films of Fritz Lang: Allegories of Vision and Modernity, by Tom Gunning]118:16 电影评论BFI经典电影解读系列《我生命中的电影》，弗朗索瓦·特吕弗《电影时代：宝琳·凯尔评论集》，宝琳·凯尔《美国电影：导演和导演之道，1929-1968》，安德鲁·萨里斯[The American Cinema: Directors And Directions, 1929–1968]《伟大的电影》系列，罗杰·伊伯特《电影精华：电影经典的必要性》，乔纳森·罗森鲍姆[Essential Cinema: On the Necessity of Film Canons, by Jonathan Rosenbaum]《庸俗的现代主义》，J·霍伯）[Vulgar Modernism: Writing on Movies and Other Media, by J. Hoberman]《艾吉论电影》，詹姆斯·艾吉[Agee on Film: Criticism and Comment on the Movies, by James Agee]《法伯论电影》，曼尼·法伯[Farber on Film: The Complete Film Writings of Manny Farber, by Manny Farber]《电影院与世界：二十年手册生涯》，塞尔日·达内[The Cinema House and the World: The Cahiers du Cinema Years, 1962–1981, by Serge Daney]《电影手册选集四卷本（1950-1978）》[Cahiers Du Cinéma: Volume 1-4, 1950-1978]《60风尚：中国学生周报影评十年》，罗卡编《淋漓影像馆》，李焯桃151:43 产业与制度《美国电影产业》，迪诺·巴里奥编[The American Film Industry, edited by Tino Balio]《好莱坞经济学：极端不确定性如何塑造电影产业》，阿瑟·德瓦尼[Hollywood Economics: How Extreme Uncertainty Shapes the Film Industry, by Arthur De Vany]《国家电影制度》，刘立行《银幕自由：国家电影审查的法律挑战，1915-1981》，劳拉·威腾-凯勒[Freedom of the Screen: Legal Challenges to State FilmCensorship, 1915-1981, by Laura Wittern-Keller]《电影节的历史、理论、方法、实践》，玛莉·德·法尔克158:02 创作与技术《故事：材质、结构、风格和银幕剧作的原理》，罗伯特·麦基《电影剧本写作基础》，悉德·菲尔德《编剧》，威廉·戈德曼《表演的艺术》，斯特拉·阿德勒《电影剪辑技巧》，卡雷尔·赖兹、盖文·米勒《眨眼之间：电影剪辑的奥秘》，沃尔特·默奇《欧洲剪辑大师访谈录》，罗杰·克里滕登《电影语言的语法》，丹尼艾尔·阿里洪《摄影师手记》，内斯托·阿尔曼德洛斯《制作电影：欧洲电影摄影百年史》，欧洲电影摄影师协会《如何拍电影：夏布罗尔导演札记》，克劳德·夏布洛尔《电影风格与技术：历史与分析》，巴里·索特173:38 访谈录《希区柯克与特吕弗对话录》，弗朗索瓦·特吕弗《对话比利·怀尔德》，卡梅伦·克罗《我是奥逊·威尔斯》，彼得·博格达诺维奇《究竟谁拍的这部电影：传奇导演谈话录》，彼得·博格达诺维奇《电影的节奏是心跳：罗贝尔·布列松谈话录》，米莲娜·布列松编《异端的影像：帕索里尼访谈录》，皮埃尔·保罗·帕索里尼《樱桃的滋味：阿巴斯谈电影》，阿巴斯·基阿鲁斯达米《胡金铨武侠电影作法》，山田宏一、宇田川幸洋《后台故事1-5：编剧访谈》[Backstory 1-5: Interviews with Screenwriters]188:48 华语电影研究《中国电影发展史》，程季华、李少白、邢祖文《电的影子》，陈力[Dianying/Electric Shadows, by Jay Leyda]《华语电影工业：方法与历史的新探索》，叶月瑜编《中国电影批评史》，李道新《北影纪事》，杨远婴编《中国电影：一个制度与观念的历史》，启之《银幕艳史：都市文化与上海电影1896-1937》，张真《回望纯真年代：中国著名电影导演访谈录（1981-1993）》，罗雪莹《北京电影学院故事：第五代电影前史》，倪震《看不见的影像》，张献民《台湾电影：政治、经济、美学（1949-1994）》，卢非易《台湾电影年鉴》《跨世纪台湾电影实录1898-2000》《台湾电影百年漂流：杨德昌、侯孝贤、李安、蔡明亮》，叶月瑜、戴乐为《杨德昌的电影世界》，让-米歇尔·付东《无人是孤岛：侯孝贤的电影世界》，詹姆斯·乌登《煮海时光：侯孝贤的光影记忆》，白睿文《三十年细说从头》，李翰祥《香港电影王国：娱乐的艺术》，大卫·波德维尔《香港电影：额外的维度》，张建德《冷战与香港电影》，李培德、黄爱玲编《香港的「中国」》，傅葆石、刘辉编《国泰故事》，黄爱玲编《风起潮涌：七十年代香港电影》，吴君玉编《超前与跨越：胡金铨与张爱玲》，卓伯棠编《乘风变化：嘉禾电影研究》，蒲锋、刘嵚《溜走的激情：80年代香港电影》，家明编《香港电影工业结构及市场分析》，陈清伟《新香港电影丛书》，阿克巴·阿巴斯编《王家卫：不只是拍电影》，约翰·鲍尔斯《银河映像，难以想像》，潘国灵编《光影言语：当代华语片导演访谈录》，白睿文推荐关注：电影巨辩的轻量版：电影巨辩5min联系：邮箱：dyjb1895@foxmail.com合作：dyjb1895（添加微信说明来意）

Seriah is joined by Christopher Ernst and Saxon/Super Inframan for some fascinating discussion. Topics include an elaboration on a Scottish ghost sighting described directly by the witness, a humorous suggestion for a drinking game, Chris and other WDTRG guests experiences working at MTV, late talk show host Morton Downey Jr. and his UFO encounter including missing time, an alleged hypnotic regression, psychology, skeptics/debunkers, different perceptions of the abduction experience, Travis Watson and paranormal fog, abduction as a non-physical experience, Jenny Randles and her book “Time Storms”, Raymond Fowler, Betty Andreasson, the perils of hypnotic regression, Downey's hate crime hoax, polygraphs, the dangers of cigarette smoking, personality and show business, reality TV, John E.L. Tenney, screen memories, Sigmund Freud, Mike Clelland, David M. Jacobs, Mothman, the Owlman of Kent (UK), Tony "Doc" Shiels, ghost hunting and necromancy, Spiritualism, Western culture's failure to deal with the reality of death, the Apple series “Invasion”, the 2023 Strange Realities Conference, Tom Gunning and Jainie Geiser, peer-reviewed psy research ay Cornell University, Spiritualism and early cinema, CIA investigation into psychic practices, “Stalking the Wild Pendulum” book by Itzhak Bentov, Psychic ability and the martial arts, mudras and sigils, government disclosure and its misinterpretation, Grusch the alleged whistleblower, Wernher von Braun, cell phone dead zones in strange areas, Bigfoot in Michigan, John Keel and fear fields, an “Alpine Portal” in upstate New York involving Sasquatch and many other paranormal activity, “Connecticut Hill” area, the Oz effect, and much more! Through a very fortunately saved VHS tape, Downey (who died in 2001) tells the story in his own words. This is a unique and fascinating episode, not to be missed!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4656375/advertisement

The tension between spectacle and narrative is investigated through the seminal work of Tom Gunning and his formulation of the “cinema of attractions” in this latest Footnote episode, in which Chris and Alex hold cinema's propensity for exhibitionist visual display and its later development of story in delicate balance. Listen as they reflect on the emergence of actuality shorts, travelogues, and the ‘trick' films of Georges Méliès; the acquisition and integration of narrative by cinema that challenged earlier modes of presentationalism; the role of technological innovation in the default myths of silent cinema; and how Gunning's “cinema of attractions” model defining early film spectatorship and style intersects with both the screen histories and creative figures of fantasy and animation. **Fantasy/Animation theme tune composed by Francisca Araujo**

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Dana Stevens joins Elizabeth and John to discuss Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century. Her fantastic new book serves as occasion to revel in the work and working world of Buster Keaton, that "solemn, beautiful, perpetually airborne man." Although packed with fascinating tidbits from Keaton's life, Camera Man is much more than just a biography. It performs its own airborne magic, lightly traversing topics like the crackdown on the use of children in vaudeville, the fluidity of roles before and behind the camera in early Hollywood and the doors that were briefly (ever so briefly) opened for female directors. Among other treats, Dana unpacks one of Keaton's early great "two-reelers" One Week ( a spoof of brisk upbeat industrial films) and his parodic "burlesques" e.g. of Lillian Gish. People, Films, Books and Ideas in the conversation include: Roscoe ("Fatty") Arbuckle: got Keaton his start in early films like Butcher Boy, reportedly filmed the day Keaton first stepped onto a set. He said "Buster lived inside the camera." "Cinema of Attractions." a phrase coined by film historian Tom Gunning to describe the way the early years of cinema (1895 to 1913, more or less) achieved success by way of gags, stunts, special effects and other dazzling technological innovations--rather than plot or character development,. John and Dana rave about Keaton's last great film (age 33!), The Cameraman (1928) and deprecate the later silents (with a silent caveat for the pancake scene Grand Slam Opera). Mabel Normand: Arbuckle's longtime collaborator and briefly a rising director--Charlie Chaplin kneecapped her at a crucial moment in her career. Dana singles out for special praise Fatty and Mabel Adrift (1916) starring Luke, the first canine movie star. Singing in the Rain as a MGM-friendly myth-making explanation for Clara Bow's eclipse (and the famous vocal failure moment: "I can't stand 'im") Steamboat Bill Jr. ( 1928, Buster Keaton feature) "Keaton's most mature movie" says Dana. Read the transcript here. Elizabeth Ferry is Professor of Anthropology at Brandeis University. Email: ferry@brandeis.edu. John Plotz is Barbara Mandel Professor of the Humanities at Brandeis University and co-founder of the Brandeis Educational Justice Initiative. Email: plotz@brandeis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Kim and Laura welcome newcomer Brian Smith to reflect on some developments that have shaken up the the entertainment industry in the past year and discuss the shifting culture around film viewing. Will AMC survive the shift to streaming? Will the government ever regulate the film industry again? Will Julia forgive Kim for her slights against the French? Only time will tell. A single cool link for further inquiry: Tom Gunning's "The Cinema of Attraction" https://film110.pbworks.com/f/Gunning+Cinema+of+Attractions.pdf

As a PhD candidate at the School of Oriental and African Studies (SOAS), Rakesh Sengupta researched early Indian cinema. His essay 'Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies', published in the Dec 2018 issue of Bioscope [no. 9.2] won the Best Journal Article by Screenwriting Research Network and also received High Commendation for Screen's Annette Kuhn Debut Essay Prize. On today's episode, we talk about the way in which the lack of script archives dictated the methods of research, how the vocation of screenwriting propelled fantasies of self-improvement and socioeconomic ascendancy in the 1930s and 1940s and the way in which the study of early cinema has been revitalised in the contemporary context of OTT and web programming. We also have some lovely anecdotes about serendipitous discoveries of forgotten Indian cinema scripts in other corners of the world. Click here to access the Image+ Guide & view the material being discussed in the podcast: https://sites.google.com/view/artalaap-podcast-resources/episode-9. Credits: Producer: Tunak Teas Design & artwork: Mohini Mukherjee Marketing: Dipalie Mehta Musical arrangement: Jayant Parashar Images: Rakesh Sengupta Additional support: Kanishka Sharma, Amy Goldstone-Sharma, Raghav Sagar, Shalmoli Halder, Arunima Nair Audio courtesy: Vernouillet by Blue Dot Sessions [CC BY-NC 4.0] References: Ashish Rajadhyaksha, 'The Phalke Era: Conflict of Traditional Form and Modern Technology', The Journal of Arts and Ideas, 1987. Kaushik Bhaumik, 'The Emergence of the Bombay Film Industry, 1913-1936', D. Phil Diss., University of Oxford, 2001. Priya Jaikumar, 'Cinema at the End of Empire', Duke University Press, 2006. Debashree Mukherjee, 'Notes on a Scandal: Writing Women's Film History Against an Absent Archive', Bioscope: South Asian Screen Studies' [Vol. 4.1], pp. 9-30, Jan. 2013. Bombay Hustle: Making Movies in a Colonial City',Columbia University Press, 2020. 'Somewhere Between Human, Nonhuman and Woman: Shanta Apte's Theory of Exhaustion', Feminist Media Histories [Vol. 6.1], pp. 21- 51, 2020. Tom Gunning, 'The Cinema of Attractions', Amsterdam University Press, 2006. André Gaudreault and Phillipe Marion, 'The Cinema as a Model for the Genealogy of Media', Convergence: The International Journal of Research into New Media Tecnologies [8.4], pp. 12-18, Dec. 2002. Ravi Vasudevan, 'The Melodramatic Public: Film Form and Spectatorship in Indian Cinema', Palgrave Macmillan US, 2010. Rachel Dwyer, 'Filming the Gods: Religion and Indian Cinema', Routledge, 2006. Rosie Thomas, 'Bombay Before Bollywood: Film City Fantasies', SUNY Press, 2015. Sudhir Mahadevan, 'A Very Old Machine: The Many Origins of the Cinema in India', SUNY Press, 2015. André Bazin, 'What Is Cinema?', trans. Hugh Gray, University of California Press, 1967. Stephen Hughes, 'The Production of the Past: Early Tamil Film History as a Living Archive', Bioscope: South Asian Screen Studies, pp. 71-80, June 2013. Ravikant, 'Words in Motion Pictures: A Social History of the Language of Hindi Cinema (c. 1931 till present)', Unpublished diss., University of Delhi, 2015. Henry Jenkins, 'Converge Culture: Where Old and New Media Collide', NYU Press, 2006. Virchand Dharamsey, 'Light of Asia: Indian Silent Cinema', 1912-1934, eds. Suresh Chabria, Paolo Cherchi Usai, Niyogi Books, 1994.

This week on The Spectator Film Podcast… The Wizard of Gore (1970)  8/30/19 Featuring: Austin, Maxx Commentary track begins at 10:08 — Notes — “The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde” by Tom Gunning — Here’s a link to the wonderful essay we seem to discuss every other week. It’s one of the most insightful and engaging film theory essays you’ll find. If there’s any subtext in The Wizard of Gore at all, this essay will provide some insight into it. “Scraping the Bottom: Splatter and the Herschell Gordon Lewis Oeuvre” by Jonathan Crane from The Horror Film (Ed. Stephen Prince) — This is one of the more prominent pieces of academic criticism discussing Herschell Gordon Lewis which I was able to uncover within the time frame for the episode – it’s a good read! Also provides some interesting insight into the entire genre of these gore/exploitation films in which H.G. Lewis worked, and helped to create. I haven’t read the remainder of the essays in this book, but I have plenty of faith in Stephen Prince and I’m sure it’s great.

This week on The Spectator Film Podcast… House of Wax (1953) 8/16/19 Featuring: Austin, Maxx Commentary Track begins at 10:36 — Notes — We watched the Warner Bros. home video release of House of Wax for the show this week. It has excellent bonus features and comes with an awesome commentary track. Also comes with a 3D version of the film. “The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde” by Tom Gunning — Here’s a link to the wonderful essay we seem to discuss every other week. It’s one of the most insightful and engaging film theory essays you’ll find. Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953-1968 by Kevin Heffernan — Here’s a link to a fantastic book discussing the cycle of “gimmick horror” that took off at this point in american film history. It’s full of both technical information and insightful readings of the films discussed. Highly recommended. Joan of Arc on the Pyre by Jules-Eugene Leneuveu — The painting that’s being referenced by the staging of the Joan of Arc wax figure

Robert Pippin and Tom Gunning discuss Douglass Sirk’s film All That Heaven Allows (1955).  Pippin’s “Love and Class in Douglas Sirk’s All That Heaven Allows” was published in the Summer 2019 issue of Critical Inquiry.  You can also listen and subscribe … Continue reading →

Robert Pippin and Tom Gunning discuss Douglass Sirk’s film All That Heaven Allows (1955).  Pippin’s “Love and Class in Douglas Sirk’s All That Heaven Allows” was published in the Summer 2019 issue of Critical Inquiry.  You can also listen and subscribe … Continue reading →

This week on The Spectator Film Podcast… Ministry of Fear (1944) 12.20.18 Featuring: Austin, Maxx Commentary begins at 24:00 — Notes — We watched the Criterion Collection release of Ministry of Fear for this episode. “The sprawling, obsessive career of Fritz Lang” by Noel Murray from The Dissolve — Here’s an incredibly thorough and enjoyable article discussing the entirety of Lang’s career, devoting space to each movie along the way. “Lang, Fritz” by Dan Shaw from Senses of Cinema — The “Great Directors” page at Senses of Cinema is a great resource for learning more about your favorite directors, and their profile of Fritz Lang is characteristically exciting and informative. The Films of Fritz Lang: Allegories of Vision and Modernity by Tom Gunning — This was the book we used to help framed our discussion of the film, and while it doesn’t discuss Ministry of Fear directly, it’s a fantastic resource for anyone trying to learn more about Fritz Lang’s work. I’ve come to expect excellence from Tom Gunning’s film criticism, and this book is no exception. We’ll include some of the relevant passages below. On the Destiny-machine: “To define a concept I will discuss in detail, The Destiny-machine determines the environment in which Lang's characters struggle, serving in most cases as an obstacle. This corresponds in many ways to the theme of fate or destiny…which has become such a cliché of Lang criticism that recent commentators have tended to treat it with scorn.” (10) “The point is that for Lang destiny is not a metaphysical concept (and actually not a fight against the gods) but a material one, less a meaning than a structure. Destiny appears in Lang's films, not as a philosophy, but as a machine, whose mechanical nature in most of the films remains very literal. This is not to say that Lang's films are about a Luddite struggle against machines (although Metropolis does dramatize such a revolt). The machine in Lang does stand for something beyond itself. But, rather than a metaphor for a view of human nature or metaphysics, the machine is a metonymy, a fragment which stands for the whole systemic nature of the modern world which Lang sees as a complex determining destiny” (10). “…[Lang’s] plots trace the attempts by different characters to control or at least work in concert with a system that operates separately from their desires and according to its own mechanical logic. Lang stages again and again the varying relations characters can have with this system which I term the Destiny-machine” (16). “This struggle with a systematic order often becomes staged as a battle to control the narrative structure of the film itself, as if the attempt of these characters to seize control of the Destiny-machine mimicked the power of the director over the film. Lang at points seems to confuse the clear separation between diegetic story and action and extra-diegetic style, as characters seem to assert control over the visual devices of the film itself, especially its editing” (16). Gunning utilizes Lang’s dubious tale of encountering Goebbels to elaborate on the concept of Destiny-machine and how it works in Lang’s films: “The clock provides the suspense of the story, the sense of the need for immediate escape…The turning hands of the clock (…Lang said the clock ‘moved and moved and moved'), its relentless motion stressing Lang's immobility, stuck in Goebbels' office. But the clock also relates Lang to the world outside this office, a network of clock-determined deadlines – the banks which will close, the train schedules which could take him out of Germany. The clock hands tick towards ‘the last moment you can be sure of getting out of Germany'” (10). “The subjection that the character Fritz Lang feels to the clock inside Minister Goebbels' window inscribes his place within a system he cannot control. Lang does not describe his dilemma simply in terms of his fear of Goebbels' power and tyranny. His dramatic agony comes from the possibility that he might not be able to make it in time, get to the bank, get his money, make his train – and from the second-by-second frustration of his intentions” (15). “The question becomes not which is more powerful, an individual's will or the decree of the gods, but rather who is in control of a system by which events are interrelated and characters' destinies become interlocked, who can make use of its order and power and who will be crushed by it? Will Lang be able to leave the office and carry out his plans by making the connections the system of train schedules and banking hours allows? Or will Goebbels seem to work in concert with the clock…and frustrate Lang's intentions?” (16) On the “visionary moments” experienced by Lang’s characters: “He balances his exposition of the Destiny-machine with another device, equally important to his narrative style: moments of revelation, visionary moments in which characters must read reality in a different manner than they did previously. The revelations offered by these visionary moments also provide the film's viewer with a deeper insight into the dynamics of the film in the form of visual emblems which the viewer, as well as the character, must interpret” (16). “Visionary moments are granted to many of Lang's characters, and they mark and motivate turning points in the plots. For the most part, these are moments when a character sees through the surface of things and gains a vision of the Destiny-machine pulsing beneath… These images do not simply visualize a hallucination or fantasy. In Lang's films, they trigger a moment of realisation and interpretation, a reading of signs, in which the true mechanism controlling reality is perceived by a character. These readings contradict the ordinary view of things and astonish the characters who experience them. Most often the characters become alienated from their previous sense of existence through these visions” (22).

This time, we introduce The Lawrence Duo to Tom Gunning.Loose Canons Minisode Ep. 4 Red Sparrow

Following last episode’s segment on graduate student-run journals, we present a segment on the undergraduate journal Film Matters, featuring co-editor-in-chief Tim Palmer of University of North Carolina Wilmington, guest editor-in-chief Gregory Chan of Kwantlen Polytechnic University, and editorial board members Jen Pintao and Kailyn Warpole. In addition, we feature an excerpt of the SCMS Fieldnotes interview with Tom Gunning of University of Chicago, discussing a wide range of topics with Scott Curtis of Northwestern University after receiving the Distinguished Career Award at SCMS 2015.

Download: Cult_Tech_014_Gunning_Moving_Image.mp3This episode features a bootleg recording of film historian Thomas Gunning delivering the lecture "Inventing the Moving Image (and then Forgetting It)" in June 2010 at the workshop On the Periphery of Cinema: Practices, Materials, Objects organized by Katja Müller-Helle and Alena J.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Film historian Tom Gunning examines an important precursor to modern film: the magic lantern. He considers the eighteenth and nineteenth century's fascination with this new, very modern way of experiencing images and how this form of visual media ushered in the era of motion pictures. Copyright 2005 The University of Chicago

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Film historian Tom Gunning examines an important precursor to modern film: the magic lantern. He considers the eighteenth and nineteenth century's fascination with this new, very modern way of experiencing images and how this form of visual media ushered in the era of motion pictures. Copyright 2005 The University of Chicago

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Film historian Tom Gunning examines an important precursor to modern film: the magic lantern. He considers the eighteenth and nineteenth century's fascination with this new, very modern way of experiencing images and how this form of visual media ushered in the era of motion pictures. Copyright 2005 The University of Chicago