By Lisa Dombrowski
This can be the retail PDF, yet be aware that pages ii-v are unreadable.
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A groundbreaking filmmaker dogged via controversy in either his own existence and profession, Elia Kazan used to be essentially the most vital administrators of postwar American cinema. In landmark movies equivalent to A Streetcar Named hope, at the Waterfront, East of Eden, and elegance within the Grass, Kazan crafted an emotionally uncooked type of mental realism. His attractiveness has rested on his Academy award-winning paintings with actors, his provocative portrayal of sexual, ethical, and generational clash, and his unpopular choice to call former colleagues as Communists earlier than the home Un-American actions Committee in 1952. yet a lot of Kazan's influential cinematic legacy is still unexamined. Arriving within the wake of his centenary, Kazan Revisited engages and strikes past latest debates relating to Kazan's contributions to movie, tackling the social, political, business, and aesthetic importance of his paintings from more than a few serious views. that includes essays by means of verified movie critics and students reminiscent of Richard Schickel (Time), Victor Navasky (The Nation), Mark Harris (Entertainment Weekly), Kent Jones (Film Comment), Jonathan Rosenbaum (Essential Cinema, 2004), Jeanine Basinger (The celebrity desktop, 2007), and Leo Braudy (On the Waterfront, 2008), this publication is a needs to for diehard cinephiles and people new to Kazan alike.
Contributors comprise: JEANINE BASINGER, LEO BRAUDY, LISA DOMBROWSKI, HADEN visitor, MARK HARRIS, KENT JONES, PATRICK KEATING, SAVANNAH LEE, BRENDA MURPHY, VICTOR NAVASKY, BRIAN NEVE, JONATHAN ROSENBAUM, RICHARD SCHICKEL, ANDREW TRACY, and SAM WASSON.
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Extra resources for Kazan Revisited
Sample text
The text is what the writer gives him, but, as he says, the subtext is what the director directs, and the more the text can be conveyed by subtext, the happier Kazan seems to be. With that attitude, it’s easy to assume that writers had a tough time with Kazan. Budd Schulberg’s script for On the Waterfront, for example, first published in 1980, twenty-six years after the film appeared, often bears little resemblance to what appears on the screen. Is this competitive? Is it Schulberg getting his own back?
In The Dramatic Event (New York: Atheneum, 1968), 110. 36 jon ath a n rosenbau m leo br audy “The Director, That Miserable Son of a Bitch” Kazan, Viva Zapata! and the Problem of Authority My advice and warning to people starting out in this field is not to surrender authority to anyone. eli a k a z a n A strong man makes a weak people. v i va z a pata! W henever the discussion turns to a particular film director, the whole question of the auteur theory reemerges, with its assumptions—or at least its conjectures—about personal style, aesthetic control, and, most basic of all, the equivalence between authority and value: What makes a Kazan film and what makes it good?
Confronted with an extremely varied and uneven body of work, one is irresistibly drawn to the solace of formulas. In his conscientious, thoughtful study of Kazan (born 1909) in the Seghers series Roger Tailleur proposes a gradual movement from “third” to “second” to “first” person—a plausible enough theory, particularly when one comes to the later films, although Kazan seems to contradict it in an interview when he asserts that The Arrangement (1969) is “about Judith Crist’s neighbor or Vincent Canby’s cousin .