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By Pauline Kael

The clever person's consultant to the films, with greater than 2,800 reviews

Look up a film during this consultant, and likelihood is you'll end up analyzing on in regards to the subsequent motion picture and the subsequent. Pauline Kael's stories aren't simply provocative—-they're addictive.

These short, informative experiences, written for the "Goings On approximately Town" component to the recent Yorker, supply a big diversity of listings—-a masterly severe heritage of yankee and overseas movie. this is often most likely the single motion picture consultant you'll are looking to learn for the sheer excitement of it.

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Extra resources for 5001 Nights at the Movies

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Indb 15 9/10/2006 8:31:49 PM 16 h history of film editing following shots could yield widely different results with an audience. In their famous experiment with the actor Ivan Mosjukhin, they used the same shot of the actor juxtaposed with three different follow-up shots: a plate of soup standing on a table, a shot of a coffin containing a dead woman, and a little girl playing with a toy. Audience responses to the three sequences sug­ gested a hungry person, a sad husband, and a joyful adult, and yet the first shot was always the same.

In attitude, Vertov’s work is more experimental and free form than the work of his contemporaries. This sense of freedom and free association becomes particularly important in the work of Alexander Dovzhenko in the Ukraine and Luis Buñuel in France. In terms of editing, Vertov is more closely aligned with the history of the experimental film than with the history of the documentary. In terms of his ideas, however, he is a forerunner of the cinema verité movement in docu­ mentary film, a movement that awaited the technical achievements of World War II to facilitate its development.

Many of his later critics in the Soviet Union believed that he was too academic and his respect for ideas would supersede his respect for Soviet realism, that his politics were too aesthetic, and that his aesthetics were too individualistic. 17 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute. 18 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute. 19 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute.

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