Word: spielbergisms
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Dates: during 1980-1989
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Twentieth century art has always liked the random. Chance meetings of images, the weird threat an unfocused eye hooks from the normal texture of life: these have fueled the reverie and invention of innumerable artists. From De Chirico's piazzas to Steven Spielberg's suburbs, our culture is intermittently fascinated by the noonday goblin-the sense that something is askew within the well lit, the ordinary, and that the closer you peer the odder it gets. Jennifer Bartlett, whose recent paintings are currently on view at the Paula Cooper Gallery in Manhattan, is a connoisseur of this kind...
...Steven Spielberg...
...Spielberg has tapped directly into the power source of youthful fantasies and produced two remarkable works of popular art. Poltergeist, which he supervised from original story to final cut, is a horror movie about malevolent spirits that infiltrate the home of an ordinary California family. E.T. The Extra-Terrestrial, which he devised and directed, tells of a creature from outer space who is mistakenly abandoned on earth and befriended by three school-age children. "Poltergeist is a scream," Spielberg says. "E. T. is a whisper." The first film means to thrill, the second to enthrall. Both succeed beyond anyone...
...financial contours of summer '83 are similar to those of '82: one super-smash (Return of the Jedi) from the mega-hit monopoly of Spielberg-Lucas (the six top alltime grossers, including last year's E.T.: The Extra-Terrestrial, were either produced or directed by Steven Spielberg or George Lucas); one surprise hit from early spring that gained momentum by the summer (Porky's in 1982, Flashdance this year); and the usual olio of comedies, thrillers and musicals. As of last week, seven 1983 films had earned more than $50 million: Jedi ($216.9 million), Flashdance...
These films mark returns to prominence by directors who have been working in movies for at least a quarter of a century. But where are the Japanese equivalents of Spielberg and Lucas, Coppola and Scorsese-younger directors who can revitalize the box office and the art form? Some are locked into the industry's tradition-bound system of slow advancement, where experience is rewarded but rarely offered. "This brutal apprenticeship has long controlled the Japanese studio system," notes American Writer-Director Paul Schrader, who will soon go to Japan to film a biography of Novelist Yukio Mishima. "I think...