One of Europe's most distinguished screenwriters offers a philosophical rumination on his chosen medium, but those led by the title to expect a glimpse into the hidden world of filmmaking will be disappointed. Film is an art that has evolved at a highly accelerated rate. As Carriäre points out, movies have crammed into less than a century the same process of artistic development that led painting from the walls of the caves of Lascaux to the work of the great modern artists. The result, combined with the intense proliferation of television and videotape, is that we are bombarded relentlessly with images. Even film itself is moving faster, he writes, with quick-cutting moving from rock videos to the big screen at an alarming rate. Today, Carriäre argues, visual Muzak surrounds us constantly, and the image is increasingly devalued. Much of the book is taken up with his thoughts on this phenomenon, which he finds quite disturbing. Elsewhere, Carriäre talks about the ways in which film alters our sense of time, the subterfuges by which film editing expands or compresses ``real time'' into reel time. He also offers an essay on the process by which a screenplay becomes a film, but there is little of practical value here. The author is at his most engaging when he recalls his early apprenticeship under Jacques Tati and some moments from his 19-year collaboration with Luis Bu§uel. Unfortunately, his attempt at film history is filled with generalizations that won't stand up to serious scrutiny, repeating stories that have been disproved by the scholarship of people like Charles Musser and John Fell. Despite that, the book is engaging, and Carriäre's tone—witty, self-effacing, and concerned- -manages to be at once disturbing and soothing, a rare combination indeed. Deserves a place on a small shelf alongside such oddities as Bresson's Notes on Cinematography and Tarkovsky's Sculpting in Time, studies in the philosophy of film written by great practitioners of the art.
Pub Date: Sept. 19, 1994
ISBN: 0-679-42116-5
Page Count: 224
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 1994
BOOK REVIEW
BOOK REVIEW
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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