Word: cinema
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Dates: during 1970-1979
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...Kosinski's attempt to harness to the novel the devices of another medium--television. This is the foremost example of the easy-to-follow, one-character plot ridden with sex and violence. The novel as a popular art form may soon smother in the voluminous fluff of television and cinema. Kosinski senses this and innovatively adopts many of the devices, the timing and pace, of TV and cinema--hence the accessibility of his novels. What's remarkable is that he manages this without in any way compromising his literary integrity...
IGNORE THE TITLE. Director Coline Serreau's new film, Pourquoi Pas! is not yet another link in that chain of European fast--film cinema called "romantic comedy". It does not send its American audiences out into the night tingling with a Gallic glow--a glow derived from watching lithe, continental bodies tumble about in a variety of Kama Sutra positions. Yes, there is plenty of sex in Pourquoi Pas!, and all persuasions, but it is a natural extension of the plot and not the sole motivation behind the film, as is the case in anything starring Laura Antonnelli. The title...
Maybe Director Francis Coppola should not have bragged to everyone that he was making the definitive film of the Viet Nam War with Apocalypse Now [Aug. 27]. Maybe he was his own worst p.r. man. But what he did do was create one helluva tremendous cinema experience that stunned me and many others into silence. The film, like the war, is overpowering, brutal, unrelenting, spectacular. Who cares if Coppola had second thoughts about the ending? Did the war itself end as we Americans planned...
Tatar managed to pack expressionistic poetry, architecture and the Bauhaus, Weimar opera and cinema, and an analysis of the economy's inflation and stabilization into her "Weimar Culture" course...
White Knuckles Cinema screens its features every Thursday and Friday, three times a night. They are thrillers and horrors and suspense films, but they are less distinctive for being frightening or suspenseful than for being tough, violent and fanatical. Most of the films are cheaply made and American--throwaway B-pictures produced from a collaboration of unruly talent. Nearly all of them fit into what critic Manny Farber has called "the termite range" of art, art which is characterized by stubborn, quirky, all but brainless energy...